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Crafted by Goebel of West Germany, this hand-painted porcelain figurine features a kneeling king in regal attire, crowned and robed in a green cloak, presenting an open treasure chest filled with colorful offerings. A part of a traditional nativity set, this piece is distinguished by its thoughtful detail and vivid glaze, exemplifying Goebel's mid-century craftsmanship. The underside is marked with the Goebel bee logo and W. Germany, along with the incised model number 260 P. A fine addition to seasonal displays or collectors of religious-themed porcelain art. Measures approximately 8.75"H.Dimensions: See DescriptionCountry of Origin: GermanyCondition: Age related wear.

19th century small house tavern carved from wood and partly polychromed and gilded in white and gold and decorated with high relief with chalice and host, folk religious art Southern Europe19e eeuws klein huistabernakel gesneden in hout. Deels gepolychromeerd in wit, verguld en versierd met hoogreliëf met kelk en hostie. Religieuze volkskunst uit Zuid-Europa30.5 x 15 x 14 cm

Juan del Río (Cuba, final third of the 18th century)‘Portrait of a Gentleman’Oil on canvas. Signed with "Rio lo pinto en la Havana en 18015 [1815]" (Rio painted it in Havana in 1815).95 x 68,5 cm.There are three patches on the back.The sitter holds a missive addressed to ‘Ala. Sra. Da Francisca Perez in Santander’ in his hand.As we read in the small illustrative publication, dedicated to Juan del Río, published in 1958 by the Palace of Fine Arts of Cuba, Juan del Río was a renowned and outstanding colonial painter who, despite having a different style in his work, is believed to have been a disciple of Vicente Escobar.  ‘The first recognised paintings by the artist date from the last decade of the 18th century. His masterpiece is perhaps the marvellous and eloquent portrait of Luis Ignacio Caballero, which is proof of his knowledge of Spanish painting in this genre. He also collaborated with Báez, an outstanding engraver. A print of the Virgin of Covadonga, drawn by him and engraved by Báez, is kept in the collection at the National Museum’.Likewise, in Opus Habana, we read that: ‘Juan del Río (1748-18...?), painter of religious subjects and portraitist, is one of the few known painters from our colonial history and immortalised captains general, aldermen, mayors and nobles’.  Through his effort, dedication and vocation as a painter, Juan de los Ríos became a renowned artist who left a legacy of a large number of important artworks, including stage sets for theatre, drawings and oil paintings.  The Museo Nacional de Bellas Artes de Cuba has the aforementioned painting of Don Luis Ignacio Caballero (perpetual alderman of Havana) as well as one of Our Lady of Mercedes.The inscription ‘Juan del Río painted it’, which del Río placed at the foot of his artworks, gives further value to the collection, which is appreciated as being part of the history of Latin American art.Reference bibliography;- Opus Habana. Volumen II, nº 3 1998. Pág. 62 – 63 https://www.opushabana.cu/index.php/articulos/36-articulos-casa-de-papel/325- -  (2001). Https://www.bellasartes.co.cu/sites/default/files/public/publicaciones/patronato_1958.pdf (currently known as the Museo Nacional de Bellas Artes de Cuba) in which Juan del Río's painting of our Lady of Mercedes is discussed.

WILLIAM CHARLES THOMAS DOBSON RA RWS (BRITISH 1817 - 1898), THE YOUNG FISHERMAN oil on canvas, monogrammedframedimage size 36cm x 31cm, overall size 53cm x 47cm Note: W C T Dobson was born in Hamburg on 8 December 1817, the son of John Dobson, an English merchant, who had married in Germany. As the result of financial concerns, the family moved to England in 1826, and Dobson was educated in London. He began his study of art by making drawings of antiquities at the British Museum, and received his earliest lessons from Edward Opie, a nephew of the portrait painter, John Opie. In 1836, he entered the Royal Academy Schools, where he studied, most notably, under Charles Lock Eastlake, who rarely took pupils. In 1841, while living at 4 King’s Terrace, Bagnigge Wells Road (now King’s Cross Road), he was awarded a silver medal by the Society of Arts for his oil painting, The Prodigal Son. He began to exhibit regularly at the Royal Academy in 1842, following his move to 28 Exmouth Street, Spa Fields. Through the influence of Eastlake, Dobson gained a teaching position at the new Government School of Design at Somerset House. In 1843, Dobson moved to Birmingham to take up the position of headmaster of its Government School of Design. He remained in the Midlands until 1846, the year that he married Caroline Parkes in Kings Norton (then in Worcestershire). They then travelled to Italy, and stayed mainly in Rome, where he furthered his studies. While there, he may have made the acquaintance of members of the Nazarene school of German religious painters. Certainly, he moved on to Germany, and absorbed the Nazarene influence so strongly that he then devoted himself to historical and, increasingly, Biblical subjects in both oil and watercolour. In 1847, he entered two historical cartoons, Lamentation and Boadicea, into the competition to produce murals for the new Houses of Parliament. The commission by Queen Victoria of The Almsdeeds of Dorcas (1855; Royal Collection) as a birthday present for Prince Albert confirmed his reputation as a painter of religious subjects. In both these and secular genre scenes, he focussed on idealised images of children. While abroad, Dobson gave his address as 23 Newman Street, his London studio in the artists’ quarter north of Oxford Street. On his return, he settled at 5 Chalcot Villas, Haverstock Hill, with his growing family, which, by 1851, included two young sons, William and Henry. A third son, Edmund, who would become a painter of rustic genre, was born in 1857. Dobson also took on pupils, including, in about 1854, Edward Poynter, who would gain fame as a painter of neo-classical subjects. In the late 1850s, he returned to Germany, and resided in Dresden. By 1861, and for at least 20 years from that date, he and his family lived at Eldon House, Rosslyn Park. Dobson was elected an Associate of the Royal Academy in 1860, and a full Academician in 1871. Working increasingly in pure watercolour as well as in oil, he was elected an Associate of the Society of Painters in Water Colours in 1870, and a full member in 1875, exhibiting about 60 works there in all. He was also a member of the Etching Club. In 1878, he was appointed a British juror for the Exposition Universelle, Paris, and was represented there by three watercolours. Late in life, Dobson and his wife, moved to Gentilhurst, a house in the hamlet of Lickfold, northeast of Midhurst, Sussex. He exhibited the last of more than 100 works at the Royal Academy in 1894, and retired from that institution a year later. He died at Undercliff House, a boarding house at Ventnor on the Isle of Wight, on 30 January 1898. His work is represented in the Royal Collection.

A unicorn gold seal ring, 15th - 16th century, the heavy ring with round bezel intaglio carved with a unicorn restant within a corded border, the interior of the band inscribed in Medieval French gothic script ‘Le voyr’, weight 15.3gm, ring size Q. £8,000-£10,000 --- Provenance: From a private family collection, circa 1970, and thence by family descent. The Medieval French inscription ‘le voyr’ or ‘le voir’ translates as ‘see it/him’, probably alluding to the unicorn. Whilst a titled gentleman’s signet ring bore his family crest or coat of arms, by the late Medieval and post Medieval periods, signet rings were in wider use often engraved with para-heraldic devices. “The image graven on the bezel needed only to be a visual representation or device of an individual; something that was enough to create a distinctive, identifiable sign... Many rings with non heraldic devices attempt in part to make reference to true heraldry... This could in turn elevate a man’s status socially and this was one means of defining his masculinity”. (Awais-Dean, N.) Of all the mythical beasts, the unicorn is one of the most elusive and secretive: its essential characteristics being the single horn, the magical quality of repelling poison, its fierceness and fleetness of foot and its ability to elude capture. They are said to represent purity, innocence and truth. In the Middle Ages the unicorn was sometimes used to symbolise the death and sacrifice of Christ, whilst in the 13th century a more romantic imagery was popular: Richard de Furnival, in Bestoire d’Amour, referred to the unicorn as “symbolising the lover, beguiled by the virgin who represents his beloved”. In his work on Mythical Beasts, John Cherry notes that where the unicorn is depicted in Medieval art “one cannot be sure whether it is the triumph of religious or secular love that is being celebrated. It is this ambiguity that makes the unicorn one of the most fascinating mythical beasts.” Literature: Awais-Dean, N., Bejewelled: Men and Jewellery in Tudor and Jacobean England, British Museum Press, pub. 2017. Cherry, J., Mythical Beasts, British Museum Press, pub. 1995. Condition Report According to a PMI test on an XRF machine the gold is testing as 21ct. Some general surface wear, but in overall fine condition, detail still crisp. Bezel measures 12mm diameter. Gross weight 15.3gm.

MONET CLAUDE: (1840-1926) French Impressionist painter. A fine A.L.S., Claude Monet, two pages (written to the first and final sides of the bifolium), n.p. (Rouen), n.d. (´Mardi soir, 9h 1/2´, 1892/93), to [Alice Hoschedé] (´Ma cherie´), in French. Monet states that he is sending a few lines so that his wife doesn´t worry and informs her that he has just finished dinner at Deauville (?), remarking that he had promised to go at 6.30pm, but ´J´étais encore devant ma cathedrale, fievreux et assoncé de fatigue´ (Translation: ´I was still in front of my cathedral, feverish and overcome with fatigue´) and adding ´Ce ne sera pas faute d´energie si je n´en tire pas quelque chose. Mais que de mal malgré cet admirable temps´ (Translation: ´It won't be for lack of energy if I don't get something out of it. But what a pain, despite the wonderful weather´). Monet also thanks his wife for all the trouble she is taking over an unfortunate piece of land and expresses his hope that the permission will be finally given to close it. The artist concludes his letter in affectionate terms and in a postscript makes a reference to his stepdaughter, ´C´est demain le retour de Marthe que de choses elle aura à raconter´ (Translation: ´Marthe is coming back tomorrow; she will have so much to tell´). A letter of excellent content, conjuring up a wonderful image of Monet at work on one of his famous series of paintings of Rouen Cathedral. About EXAlice Hoschedé Monet (1844-1911) French artists' model, wife of the art collector Ernest Hoschedé and later of the Impressionist painter Claude Monet (from 1892).Marthe Hoschedé Butler (1864-1925) was the daughter of Alice and Ernest Hoschedé. In 1900 Marthe married Claude Monet´s friend, the American Impressionist painter Theodore Earl Butler (1861-1936). Butler had previously been married to Marthe´s sister, Suzanne, from 1892 until her death in 1899. The famous series of paintings Monet made of Rouen Cathedral - more than thirty in total - were created between 1892 and 1893 and then reworked in Monet´s studio in 1894, before being exhibited in Paris the following year. Each of the paintings capture the facade of the cathedral at different times of the day and year and reflect changes in its appearance under different lighting conditions. Historically, the series was well-timed. In the early 1890s, France was seeing a revival of interest in Catholicism and the subject of one of its major cathedrals was well received. Apart from its religious significance, Rouen Cathedral - built in the Gothic style - could be seen as representing all that was best in French history and culture.

MONET CLAUDE: (1840-1926) French Impressionist painter. A good A.L.S., Claude Monet, two pages (written to the first and fourth sides of the bifolium), 8vo, n.p. (Rouen), n.d. (7th April 1893), to Alice Hoschedé, in French. Monet states that he will send a few words ´car il est tard et mon frère m´attend au café´ (Translation: ´because it's late and my brother is waiting for me at the café´), lamenting the fact that he may have hurt her feelings, but is aware of his condition, ´J´ai un orgueil et un amour propre du diable´ (Translation: ´ I have an ego and self-esteem like hell´). Monet continues to write of his current work on the famous series of Rouen Cathedral paintings, ´Je veux faire mieux et voudrais que ces cathédrales soient très bien, et je ne peux pas. Je tatonne et m´acharne aux memes recherches, au détriment de beaucoup de choses, et quand il me faut constater après des journées de travail, que je n´avance pas d´un pas, il faut bien me rendre à l´évidence. C´est bien triste, et me ronge. Il a fait un temps superbe aujourd´hui et j´ai travaillé comme un acharné. Si le temps continue je me donne 8 jours et s´il n´y a pas progrès je lache´ (Translation: ´I want to do better and want these cathedrals to be very good, and I can't. I flounder and struggle with the same searches, to the detriment of many things, and when I have to admit after days of work that I haven't made any progress, I have to face the facts. It's very sad, and it's eating away at me. The weather was superb today and I worked like a Trojan. If the weather holds, I'll give it eight days, and if there's no progress, I'll give up´). In concluding the artist confirms that he will be in Vernon early the following morning, unless the weather turns grey, and sends his kisses and best wishes to all. A couple of small, minor ink blots to the text. VGAlice Hoschedé Monet (1844-1911) French artists' model, wife of the art collector Ernest Hoschedé and later of the Impressionist painter Claude Monet (from 1892).The famous series of paintings Monet made of Rouen Cathedral - more than thirty in total - were created between 1892 and 1893 and then reworked in Monet´s studio in 1894, before being exhibited in Paris the following year. Each of the paintings capture the facade of the cathedral at different times of the day and year and reflect changes in its appearance under different lighting conditions. Historically, the series was well-timed. In the early 1890s, France was seeing a revival of interest in Catholicism and the subject of one of its major cathedrals was well received. Apart from its religious significance, Rouen Cathedral - built in the Gothic style - could be seen as representing all that was best in French history and culture. The present letter is also of interest for its reference to Monet´s little-known elder brother, Léon Monet (1836-1917). Léon Monet, a chemist and industrialist with a factory in Rouen, was one of the first patrons of the Impressionist movement who not only supported his brother when he was poor and struggling to make his name, but also assisted other painters including Pierre-Auguste Renoir, Camille Pissarro, and Alfred Sisley. Léon Monet built a remarkable collection of art and had his portrait painted by Claude Monet in 1874.

This collection includes a diverse selection of books focused on Asian art, history, and culture. The Mongol Warlords explores the legacy of Genghis Khan and his successors with richly detailed illustrations, while East Asian Lacquer from the Metropolitan Museum of Art presents an in-depth study of lacquerware from China, Japan, and Korea. The Arts of South and Southeast Asia and Orientations magazine highlight significant sculptures and artistic traditions from the region, offering insights into religious and cultural influences. History of Art by H. W. Janson provides a comprehensive overview of global art movements, placing Asian and European masterpieces in historical context. Together, these volumes offer valuable scholarly perspectives on the artistic and historical achievements of various civilizations. Largest item measures: 9"L x 2"W x 11.75"H.Dimensions: See DescriptionCondition: Age related wear.

ORIGINAL PAINTINGS COMMISSIONED FOR A PRINTED POSTER ENTITLED 'THE LIFE STORY OF THE REVERED GANDHIJI' PUBLISHED BY HEMCHANDER BHARGAVA, DELHI BY LAXMILAL NANDLAL NATHDWARA, INDIA, CIRCA 1948 gouache on card, comprising 10 small-sized paintings, one signed by the artist, depicting the life of Gandhi, from a baby depicted in a Krishna-style presentation crib, to his early and later education dressed in a suit, his marriage, his time in South Africa, when he reached India, his change of dress, his peaceful marches, his speeches, his wisdom (10) 15.1cm x 15.5cm largest Bonhams, India in Books, Photography, Maps and Manuscripts, 13 October 2006, lot 429.Private UK Collection.  Created at an important moment in history these 10 original paintings were commissioned by publishers Hemchander Bharagava & Co of Delhi to form part of a dramatic biographical poster. “Poojya Gandhiji ki Jivan Caritra” or “The Life Story of Revered Gandhiji”, leads the viewer through the important events of Ghandi’s life culminating in his assassination. The story, told through each piece of art, commences in the bottom left-hand corner and moves vertically up the left-hand side of the poster before traversing horizontally and then down the right-hand side. Leading the viewer through his education and his arrival in South Africa, the poster then charts Ghandi’s journey back to India where he engages with key domestic issues before formulating his campaign of non-violent protests. Whilst the latter part of the story focuses on Ghandi’s campaign for Britain to quit India the dominant image is of his assassination which is placed front and centre to directly engage the viewer.These paintings provide a rich visual biography which need to be considered against the dramatic political change of the period. In 1947 India was partitioned along religious lines to create the two independent states of India and Pakistan. This division displaced millions of people creating a refugee crisis, violence and large-scale loss of life. 6 months later Ghandi was shot dead in New Delhi on 30th January 1948. These events created turmoil and uncertainly in a country which had only just begun to realise its freedom. At a time when there was no television and radio was only just starting to make inroads, print makers took a lead in visual communication. As a result, these prints would have been highly prized, passed from hand to hand or displayed proudly in homes. It is also likely that they were affixed to walls, doors, or poster boards in public areas. They were meant for large scale communication but not designed to last. Gandhi figured prominently in these prints and whilst not a religious character he was often portrayed within the ranks of the divine depicted alongside Budda and Jesus. Artists also borrowed heavily from Catholic theology suggestingthat the dripping blood, as seen within this poster design, represents Ghandi’s absorption into the blood stream of the nation. Ghandi’s identity was thus inextricably linked to India and vice versa. Artists also sought to portray a safe future for India. Whilst little is known about the artist of these artworks, Laxmilal Nandlal from Nathdwara, undoubtedly was a classically trained artist who was favoured by the publishing company Hemchander Bhargava & Co., for he went on to create a similar style biographical poster of Nehru, and also painted Indian deities, such as Lord Shiva and Parvati.

AN ILLUSTRATION FROM THE MAHABHARATA: THE SAGE MARKANDEYA'S VISION OF THE INFANT KRISHNA FLOATING ON A BANYAN LEAF INDIA, PUNJAB HILLS, KANGRA, CIRCA 1830 gouache and gold on paper, dark blue border, depicting a large banyan tree rising from the ocean with five leaves and its orange fruit, the infant Krishna is lying on one of the leaves joyfully sucking his toe whilst the sage Markandeya is dressed in white with his frail and aged body standing on a leaf holding a parasol and worshipping before the infant Krishna, mounted, glazed and framed sight size 20cm x 15.5cm  Private UK collection. For comparison and further discussion about this emotive religious subject of Krishna floating in a cosmic ocean see: Philadelphia Museum of Art , accession no. 1955-11-1, and; Christie's , An Eye Enchanted: Indian Paintings from the Collection of Toby Falk, 27 October, 2023, lot 95.

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: 310gProvenance: 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.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), THE FISH GUTTER (1966) oil on board, signedframedimage size 96cm x 72cm, overall size 120cm x 96cmProvenance: Titled and dated (1966) on Open Eye Gallery (Edinburgh) exhibition label verso. Open Eye Gallery purchase invoice available to the purchaser.Note: John Bellany was known to be working on "Scottish Fish Gutter" at the same time as "Allegory 1964" (Scottish National Gallery of Modern Art). "The Fish Gutter" might well have been started at around the same time but the Open Eye Gallery label dates it to 1966. The figure depicted in "The Fish Gutter" is understood to be an actual fish gutter from Port Seton who was a member of a small religious sect. The irony that a messianic and self-righteous believer could at the same time slaughter and gut fish so mercilessly would not have been lost on Bellany. There is the added significance that in Christian iconography the fish is a symbol of Christ. It is well documented that Bellany exclusively used hardboard until 1969. ''In 1969 Bellany painted his second triptych Homage to John Knox. It brought together the principal themes in his work at the time and was heavily influenced by Max Beckmann's painting "Departure". This was (almost) the last time Bellany painted on hardboard. He now began painting on canvas, which he found frustrating for the first six months until he got used to the 'tooth' of the surface. The change altered his technique. His use of glazes and meticulous handling were replaced by a more modern and overtly expressionist style''. This change defines two very significant periods in Bellany's work. Early pre 1970 work on board and his later body of work, on canvas. John Bellany's early work is highly prized by collectors and their appearances at auction are ever rarer. Because many of his early works were on a monumental scale, much of it is simply too large for private collectors and furthermore many of the early larger paintings are now held in public collections. It is extraordinary to contemplate that Bellany was only in his early twenties when he painted these exceptional works about which London Standard art critic Brian Sewell later commented ".... in the 1960s (Bellany) painted such pictures as to make us think him as a painter with Rembrandt". In 1963 and 1965 Bellany and Sandy Moffatt staged "protest" exhibitions of their work during the Edinburgh Festival, first on the railings in Castle Terrace and then on The Mound steps (beside the Royal Scottish Academy). The Bellany/Moffat outdoor exhibitions were a watershed for Scottish art in two ways: they proved that it existed, and they showed the way for a radical new direction. The works included "Allegory", later acquired by the Scottish National Gallery of Modern Art, "The Gospel Spreaders" "The Finnon Smoker (1965)" (sold McTear's Sept 2022 for £80,000 hammer) and only a few other stunning tableaux, now mostly in public collections. "We were rebellious characters," remembers Moffat. "That was the period when our generation did make a stand. There was very little representation of Scottish art at the festival ... (we thought] if we can't get in the official festival, we'll put it into the streets. Scottish art didn't really exist. It existed in the studios of Edinburgh College of Art, but it didn't exist in the arts establishment, which was completely Anglicised, I believe. There has been an enormous sea-change. It's almost impossible to measure, but I think we had a hand in the beginning of that, the turn of the tide." It meant Port Seton, it meant fishermen, it meant working people – that had never been painted before. People had painted fishing boats, but nobody had ever painted about the life of people who did the fishing. That was John's fantastic contribution. "His place in Scottish art is defined by the Port Seton thing. That's really his life's work, the way he has mythologised the life of the fisherman. The fears, the spirit, the whole thing, the way he found the special imagery, that had never been done before, to say all those things – that puts him into the history books forever." Keith Hartley, senior curator at the Scottish National Gallery of Modern Art, agrees. "What he was doing in the mid-1960s in many ways changed the course of Scottish painting. It was like a manifesto: I don't want to do paintings for Edinburgh drawing rooms, I want to do something which moves people, about ordinary people's lives. It was very much a protest." Two hundred and seventy-nine of John Bellany's artworks are held in UK public collections. His work is also held by The Museum of Modern Art, New York (MOMA), the Metropolitan Museum, New York, and the Yale Center for British Art, New Haven, Connecticut. David Bowie was an enthusiastic collector (and become a close friend) from a relatively early age and owned multiple examples including "Fishermen in the Snow, 1965" (sold David Bowie Collection September 2016, Sotheby's for £85,000 hammer). Damien Hirst is also known to have acquired many of Bellany's paintings and in 2003 praised him as "one of the major painters of the twentieth century." "The Fish Gutter" has been in a private Scottish collection for approximately twenty years and represents an ever rarer opportunity to acquire an early oil on board work by John Bellany.

* JOSEPH O'REILLY (BRITISH b. 1957), PROTEAS acrylic on board, signed, titled and dated 2006 label versoframed and under glass image size 30cm x 26cm, overall size 48cm x 44cm Handwritten label versoLabel verso: Portal Painters, LondonNote: Joseph O’ Reilly was born in Huddersfield where he studied at the Batley School of Art & Design (1976 –77), going on to Sheffield Polytechnic of Art and Design (1977- 80) and graduating with a first class honours degree in Fine Art. Joseph’s work has featured in many group and solo shows in his native north of England – Sheffield, Huddersfield and Manchester, but also in London at the Piccadilly Gallery. Working in oils and acrylics O’Reilly has specialised in exquisite still life painting for 25 years. He is fascinated by what is beyond the outward appearance of the objects in a still life, where there is often a deeper significance – a symbolism of inference that may be of a philosophical, intellectual religious or purely personal nature. O’ Reilly has a wonderful feeling for light and the play of light and shadows to create a particular mood. Joseph is interested in contrasts of subject matter and textures, he says:‘ I might, for example make a painting of a leather jacket and some flowers. The jacket takes on the shape of my body after a time, while the flowers are delicate and ephemeral.’ The play of light and shadows is another important element in respect of modelling and defining forms. In some recent paintings Joseph has explored the way light falls across white drapery as a backdrop or in conjunction with the objects creating exciting sculptural effects. Awards & Prizes include: JJ Lloyd Fine Art Prize and Yorkshire Arts Award ( 1981); Artist in Industry Fellowship ( 1985); Manchester Academy People’s Prize ( 1991 & 1992); Hunting Art Prize – Most Popular Work (1996 & 1998); Edward Oldham Award – Manchester Academy of Fine Art (1997) Collections include: Boston University, Sheffield Art Gallery, Calderdale Museum & Art Gallery, Kirklees Museum and Art Gallery. Private Collections: The Duke of Devonshire, other collections in Britain, Holland, USA & Australia. Joseph O’ Reilly exhibits with Portal Painters at The London Art Fair in January, The Affordable Art Fair in Battersea in March and at The British Art Fair at The Saatchi Gallery in September. The typical gallery price for a painting of this size be Joseph O'Reilly is around £3000. His work is extremely rare at auction, anywhere.

New Kingdom, 18th Dynasty, 1353-1336 B.C. A 'stirrup' type ring with a substantial oval-shaped bezel bearing the name of Pharaoh Akhenaten - Nefer-kheperu-re Wah-en-re; supplied with a museum-quality impression. Cf. Lacovara, P., Teasley Trope, B., and D’Auria, S.H., The Collector’s Eye: Masterpieces of Egyptian Art from The Thalassic Collection, Ltd., Atlanta, 2001, pp.106-107, no. 59, for an almost identical ring in electrum. 7.28 grams, 19.03 mm overall, 12.08 mm internal diameter (3/4 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.Akhenaten, an 18th Dynasty pharaoh (c. 1353-1336 BCE), introduced a major religious shift by promoting the Aten, the sun disc, as the sole god. Rejecting the traditional polytheistic religion of ancient Egypt, Akhenaten elevated the Aten above all other gods and even changed his name from Amenhotep (IV) to Akhenaten, meaning ‘Effective for the Aten’. He founded a new short-lived capital in Middle Egypt called Akhetaten. However, traditional polytheism was restored after his death, and his reforms were largely reversed.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 antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

House of Lancaster, 1400-1450 A.D. With rectangular cross-section, the exterior engraved with a black letter inscription reading '+ Je decir vovs cervir' translating to 'I desire to serve you' with an elaborate sprig of leaves on each side of the word 'vous'. Cf. Portable Antiquities Scheme, refs. OXON-D90644, DUR-B533B9, YORYM-D33826, YORYM-680214, for type; similar variations on the spelling of 'servir', see WMID-F4CF43 and SWYOR-34A5B0; cf. Jones, M., 'The Beautiful Game: Courtly Love Posies in Anglo-Norman Inscribed on Jewellery and Seals' in Journal of the British Archaeological Association 176 (2023), 1-30, here 17-18, DOI:10.1080/00681288.2024.2351731]. 2.15 grams, 19.55 mm overall, 16.73 mm internal diameter (approximate size British M, USA 6, Europe 12.46, Japan 12) (3/4 in.). [A video of this lot is available to view on Timeline Auctions Website]Found near Great Holland, Frinton and Walton, Essex, on Thursday 2nd March 2023 by Paul Sheedy. Declared as treasure under the Treasure Act with reference no.2023 T585, and disclaimed and disclaimed by the Crown. Accompanied by a copy of the British Museum's Portable Antiquities Scheme (PAS) report no.ESS-AFFADD. Accompanied by a copy of an email from PAS explaining that the Crown's interest in the ring has been disclaimed with reference no.2023 T585. Accompanied by a copy of two photographs of the ring taken at the time of finding. Accompanied by a copy of an article about the finding of this ring in the Daily Gazette and Essex County Standard. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12738-234089. 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.Passage from Dr Jones's essay referencing this ring (The Beautiful Game: Courtly Love Posies in Anglo-Norman Inscribed on Jewellery and Seals, 2023, pp.17-18) explains further regarding the inscriptions on courtly rings: 'The courtly lover wishes only amer et seruir (to love and serve), as attested on a ring found in East Sussex. The same legend appeared, according to an inventory of his jewels made c. 1420, on a pendant owned by Louis d’Anjou (d. 1384), but as it is described as being in the form of a cross, it is perhaps religious love and service that is at issue here. There can be no doubt, however, about a ring found recently in Essex, which reads je decir vovs ceruir (I desire to serve you). A hefty 15th-century ring in the V&A is inscribed iaym servir (I love to serve) on the exterior and voeil obeir (I wish to obey)inside the hoop, while a ring found in Yorkshire reads simply ie vueil servir (I wish to serve). The assumption is that these were rings worn by male lovers who wished to serve their ladies — vueil plein[men]t a vous servir, the slightly fuller version on a ring recorded by Evans, is not quite as fulsome as the legend on a ring found recently in the West Midlands: tant que murai vous seruire [published as seroire] (Till I die I will serve you), or as florid as Deus me octroye de vous seruir / a gree com moun couer desire (God grant me to serve you / acceptably as my heart desires).'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 antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

7th century B.C. Matched pair of hollow-formed pendants, each a bull's head modelled in the round with a rosette to the rear beneath the loop. Cf. Torn Broers, P., ‘A Late Bronze Age Gold Bull Head Pendant from Tel Dor’ in Davidovich, U., Yahalom-Mack, Matskevich, S., Agypten und Altes Testament, 110, Material, Method and Meaning, Papers in Eastern Mediterranean Archaeology in Honor of Ilan Sharon, Münster, 2022, pl.10.1, for a similar bull head. 5.39 grams total, 23-24 mm (7/8 in.). [2] Acquired in 1986. with Taisei Gallery, Gold & Silver Auction, Part II, Ancient to Renaissance, 5 November 1992, The Conrad Salon, The Waldorf-Astoria, New York, no.165. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11969-210472. 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.In Cyprus, the cult of the bull developed from the 3rd millennium B.C. until the 6th century B.C. The bull was a 'frequently invoked manifestation of divinity', and its cult was widespread since the Minoan Age. The appearance of gold bull-head pendants in tombs had an aesthetic and social value, but at the same time it also had a deeper symbolic and religious meaning.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 antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Levant, circa 1900-1600 B.C. Plano-convex in section with moulded offering scene depicting a man advancing to his left whilst holding out an animal, probably a goat, with four protruding legs; mounted on a custom-made stand. 116 grams total, 10.7 cm high (13.5 cm high including stand) (4 1/4 in. (5 1/4 in.)). [No Reserve] Acquired 1970s-1980s. Ex Paul S. Forbes collection, Maryland, USA. 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.Terracotta plaques of this sort were mass- produced from moulds and represented a form of art available to a wide audience. They have been excavated in temples as well as in household shrines and private homes, and give us a mysterious glimpse into religious practices and the ideas that people valued. Their subject matter varies widely, including religious images, mythological and erotic scenes, and representations of rulers and gods.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 antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Circa 1200-900 B.C. Cylinder with cord and bead handles; accompanied by a copy of an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: 'Description of Cylinder Seal of Red Jasper, 28.5 x 11.5 mm. Row of five figures, four standing, one apparently sitting, all with raised hand or hands; dots fill vacant spaces. This is a very rare type of cylinder, from the Levant c. 1200-900 B.C. the cutting is crude, but the impression of an enthusiastic throng is made clear. Though one can only guess, probably this is a religious celebration. The design is enclosed within upper and lower rules. the condition is good.'; supplied with a museum-quality impression. 6.74 grams, 23 mm (7/8 in.). [No Reserve] UK private collection, acquired 1980-1983. Accompanied by a copy of a scholarly note, typed and signed by Professor Wilfrid George Lambert in October 1987. 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.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 antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Late-Ptolemaic Period, circa 480-30 B.C. A narrow strip of woven linen textile featuring two lines of neatly written hieratic text in black. Cf. A. De Caluwe, A., Un Livre des Morts sur bandelette de momie, Brussels, 1991, for a discussion of the longest known mummy bandage. 3.74 grams, 40 cm (15 3/4 in.). From the collection of a gentleman, acquired on the London art market in the 1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.From the fifth century B.C., mummy wrappings often feature hieratic script—a cursive form of Egyptian hieroglyphs used for daily and religious texts. These include excerpts from funerary works like the Book of the Dead, alongside prayers meant to protect the deceased in the afterlife. Often with vignettes, these texts were inscribed directly on linen strips during the mummification. Some bandages were notably long; one from Brussels, 6.2 cm wide, measures an incredible 26 metres.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 antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

2350-2200 B.C. Representing a god with horned helmet, half animal and half man, standing on the left and holding a staff, near him the hero Gilgamesh killing Humbaba, and the hero Enkindu killing the celestial bull, followed by a mythological divinity depicted as half animal and half human; supplied with a museum-quality impression. Cf. similar seal in Weber, O., Der Alte Orient, II volumes, Leipzig, 1920, no.15, 206. 27 grams, 33 mm (1 1/4 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) [A video of this lot is available to view on Timeline Auctions Website]Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12577-232112. 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.King Sargon of Akkad created political unity when he seized control of Mesopotamia, and carvings on seals from the time demonstrate his success by portraying the power the Akkadian gods had to legitimize both their domain and their rulers. Religious scenes on cylinder seals detail the spiritual beliefs and practices of the time. The deeply intertwined relationship between religion and state power in Akkad is also present in the decorations of some cylinder seals. Here the hero Gilgamesh, embodying the strength of royal power, kills the monster Humbaba, as the king of Akkad kills his enemies.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 antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

6th millennium B.C. Modelled in the round crouching female figure with hands supporting the breasts, knees drawn up, pinched facial features and applied-band headdress; pigment detailing to shoulders and thighs; restored. 71 grams, 86 mm (3 3/8 in.). [No Reserve] Acquired in York, Yorkshire, UK. Ex P. Watson collection, UK, 1990s. 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.In the 7th millennium BC, cultures in the Near East began creating organised settlements with developed religious and funerary practices. The Halaf culture of Anatolia and northern Syria produced a variety of figures representing females and associated with fertility. It is not known whether figures such as this were intended to represent real, ideal, or divine women. However, scholars believe that their primary purpose was to encourage female fertility.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 antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

4th-3rd millennium B.C. With a squat body and two looped eyes, slightly convex base. See parallel idols in the Louvre Museum, accession number SB 9141, for similar; Metropolitan Museum of Art, accession no.1988.323.8; British Museum, excavated by Professor Sir Max Edgar Lucien Mallowan, inv. Nos.126473, 126477 and 126479; see also Collon, D., Ancient Near Eastern Art, London, 1995, p.47, for type; for the discussion on Tell Brak, their iconography and the religious meaning of eye idols see Green, J.B. & T.R., Gods, Demons and Symbols of Ancient Mesopotamia, An illustrated dictionary, London, 1992, pp.78-79. 34 grams, 38 mm wide (1 1/2 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) Acquired in the 1980s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s. 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.This type of figurine belongs to the type known as an ‘eye idol’ or ‘spectacle idol’, made of stone, marble or alabaster. Usually models having incised eyes (but also examples of open eyes are found) have been excavated mainly at Tell Brak, where thousands were found in a building now called the Eye Temple. There, in the precincts of the temple, excavators have found thousands of little 'eye-idols', schematised humanoid figures fashioned from alabaster, limestone, soapstone and black burnished clay.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 antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Circa 2334-2279 B.C. Finely engraved with a religious scene, sun god Shamash seated on a throne with his feet resting on a padded stand, holding a scimitar in his raised left hand and wearing a horned headdress; four bearded deities and a smaller, clean-shaven young male worshipper before him, each of the deities wearing a horned headdress and a pleated garment; supplied with a museum-quality impression. 49.1 grams, 40 mm (1 1/2 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.12539-231427. 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 seal's excellent glyptic techniques, naturalistic depictions of the facial features, and the presented religious scene suggest that this seal might have belonged to a high official.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 antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.

Original hand-carved mahogany wall panel depicting The Last Supper, produced by Heritage. This finely detailed wooden relief captures Leonardo da Vinci's iconic composition with expressive figures carved in high relief, featuring Christ and the Twelve Apostles at a banquet table. The natural grain of the polished mahogany wood enhances the sense of warmth and craftsmanship. The panel is bordered by a wide bevelled frame and is ready for wall mounting. The reverse side is finished with a patterned backing. An inspiring decorative piece for sacred spaces, home altars, or collectors of religious art.Issued: c. 1980Dimensions: 39.50"L x 1.50"W x 13.50"HCountry of Origin: USACondition: Age related wear.

Hans Feibusch (German, 1898-1998) A collection of four landscape paintings, watercolour on paper, each 38 x 54 cm, accompanied by several newspaper extracts and photographs of Hans Feibusch, together with a botanical print of Hemerocallis flava by Martine Simon Collings. (5) Note: Hans Feibusch was a German-born British painter, muralist, and sculptor, best known for his vivid and expressive murals in churches across the UK. Trained in Germany and influenced by the Neue Sachlichkeit movement, Feibusch fled Nazi persecution in 1933 and settled in Britain, where he became a prominent figure in public and religious art. His work combines classical techniques with modern emotional intensity, often exploring spiritual and moral themes. Over several decades, he created more than 40 murals for Anglican churches, helping to revive church art in the 20th century. Feibusch remained active as an artist into his later years, leaving a lasting legacy in British art and architecture.

MADONNA AND CHILD | CENTRAL EUROPE (CENTRAL EUROPE / CENTRAL EUROPEAN 19TH CENTURY) | 19th century | height 39 cm | provenance: JUDr. Matouš Mandl (1865-1948), Czech lawyer and politician, mayor of Pilsen, art collector | Lot description | The wooden polychrome statue of Madonna and Child dates from the 19th century and bears the characteristic features of folk carving. The figure of the Virgin Mary is depicted in traditional iconography with a crown on her head, wearing a long cloak with a prominent gilded border. In her left hand she holds a baby Jesus, also with a crown, whose proportions and stylization refer to the period's aesthetic conventions of folk art.Polychromy combines dark blue and red tones with gilding, which emphasizes important details of clothing and crowns. In some places, wear of the color layer is visible, corresponding to the age of the artifact. The sculpture probably served as a domestic religious object or part of a rural altar.The overall composition, proportions of the figures and decorative elements indicate the influence of the Baroque tradition transformed into a rustic style, typical of 19th century sacred sculpture in Central Europe. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded. |

Gilded bronze Easter egg is an outstanding example of Russian decorative and applied art of the late 19th – early 20th century. The item is made in the Russian academic style with neo-baroque elements, which gives it special expressiveness and splendor. Both styles are harmoniously combined, emphasizing the idealized depiction of religious subjects and the sophistication of decorative elements. Both sides of the egg are decorated with complex relief scenes on religious themes: the Descent from the Cross and the Resurrection of Christ. Masterful elaboration of the smallest details, including the facial expressions of the characters and the drapery of the garments, testifies to the high level of skill of the creator. Dimensions: Height: 13 cm. Diameter: 10 cm. Condition: Excellent condition, with minimal signs of time. The gilding is bright and uniform, the relief images are clear and expressive. Width: 1cm, Height: 1cm, Depth: 1cm, Weight: 1kg, Condition: Good, Material: Gilded bronze

Collection of History Books, including a selection of books on stained glass, such as Knowles (John A.), Essays in the History of the York School of Glass-Painting, SPCK, 1936, dust jacket; Fritzsche (Gabriella, and others), Die Mittelalterlichen Glasmalereien Im Regensburger Dom, five volumes, dust jackets; other history, including Lillie (William), The History of Middlesborough, 1968, dust jacket; Records of the Borough of Nottingham, 10 volumes; and others, including religious history, history of art, cultural history, etc. (8 boxes)

A TIBETAN THANGKA OF TSONGKHAPA AND THE REFUGE FIELD, TSHOGS ZHING18TH CENTURYWith Tsongkhapa seated in the centre wearing a pandita hat, his right hand in vitarkamudra and holding an alms bowl in his left hand, surrounded by a hierarchical arrangement of Buddhas, bodhisattvas, protective deities and other figures, with the Panchen Lama Incarnation Lineage above, Buddha Vajradhara at the top and depictions of Mount Sumeru and the Four Continents and the Seven Jewels of Royal Power to the bottom left and right, with lines of Tibetan inscription below and further to the reverse, 77cm x 47cm.Provenance: from an English private collection, with a copy of an invoice for Fine Antiquities Ethnographica, The Old Drury, 187 Drury Lane, London, dated 20th December 1986.Cf. The Rubin Art Museum, accession no. F1997.41.7 (Himalayan Art Resources no. 571) for a related 18th century example. See also the Tibet House Museum, New Delhi, for an 18th century block print image with the same inscription to the bottom (Himalayan Art Resources no. 74089).The Field of Accumulation or Refuge Field, tshogs zhing is a format of Buddhist painting that arranges all of the teachers and deities of a particular tradition in one single painted composition as formulated by individual religious liturgical texts and traditions. The theme of Tsongkhapa (1357-1419), founder of the Gelug order, surrounded by a hierarchy of the Buddhist pantheon is commonly found in Tibetan painting from the 18th century onwards. The circular design for this style of Refuge Field composition would have likely originated in the Tashi Lhunpo Monastery of Shigatse and would have been based on the artistic and iconographic tradition of Konchog Gyaltsen, student of Panchen Lama Lobsang Chokyi Gyaltsen.十八世紀 宗喀巴大師皈依境唐卡來源: 英國私人收藏, 附倫敦Fine Antiquities Ethnographica 1986年12月20日發票複印件。

A GROUP OF PICTURES, CERAMICS AND GLASS WARES, to include two modern religious icons, a wooden panel carved with praying hands, a small framed print of a cottage, frame size 19.5cm x 23cm, a collection of cat figures including a Border Fine Arts Siamese cat, art glass dolphin figures and an art glass bird, etc (14) (Condition Report: most pieces appear ok, sd)

SIX BOXES OF MOSTLY ART AND HERITAGE BOOKS comprising approximately two hundred books to cover religious, medieval, renaissance topics, gallery exhibition books, style-specific reference books, British social history, etc (6 boxes) (s.d)

Clemente del Neri (Gorizia, 7 July 1865-2 January 1943) "Preparatory sketch Refettorio di Castagnavizza" Drawing cm 40,5 x 57,5 dated 1896 within frame and passepartout He was born in Gorizia on July 7, 1865 and from his father Giuseppe (1830-1880) he learned the first rudiments of the job of painter decorator, which he integrated attending courses in Venice and Rome. D. N. was above all a prolific decorator and, in front of a single preserved profane decoration (the Hunting Hall and the staircase of the castle of Dobrovo, built in 1894 on commission from Count Silvio de Baguer), its production was limited mainly to the field of religious studies. His frescoes and altarpieces are found in a hundred churches of the archdiocese of Gorizia (from which also depend the parishes of Ruda and Aiello del Friuli), but also in Lombardy and Piedmont, where they arrived through the order of the Fatebenefratelli. This production, conceived as a chromatic decoration of spaces, is part of the nineteenth century Nazarene painting and palesa, in the accurate technical execution on the one hand, and in the recurring misunderstandings of human anatomy on the other, all the advantages and limitations of a craft work. After the First World War, D. N. joined as a painter and restorer to teach at the School for Decorative Painters and in 1926 became a member of the diocesan commission for sacred art. Died in Gorizia on 2 January 1943. Wonderful sketch by Clemente del Neri, redefining the refectory of Castagnavizza. The work is in practically perfect condition. Clemente del Neri (Gorizia, 7 luglio 1865-2 gennaio 1943) "Bozzetto preparatorio Refettorio di Castagnavizza" Disegno cm 40,5 x 57,5 datato 1896 entro cornice e passepartout Nacque a Gorizia il 7 luglio 1865 e dal padre Giuseppe (1830-1880) apprese i primi rudimenti del mestiere di pittore decoratore, che integrò frequentando corsi a Venezia e a Roma. D. N. fu soprattutto un prolifico decoratore e, a fronte di un’unica decorazione profana conservata (la Sala della caccia e lo scalone del castello di Dobrovo, realizzati nel 1894 su commissione del conte Silvio de Baguer), la sua produzione era circoscritta principalmente all’ambito chiesastico. Suoi affreschi e pale d’altare si trovano in un centinaio di chiese dell’arcidiocesi di Gorizia (dalla quale dipendono anche le parrocchiali di Ruda e di Aiello del Friuli), ma anche in Lombardia e in Piemonte, dove sono giunte per tramite dell’ordine dei Fatebenefratelli. Questa produzione, concepita come un decoro cromatico degli spazi, rientra nel solco della pittura nazarena ottocentesca e palesa, nell’accurata esecuzione tecnica da un lato, e nelle ricorrenti incomprensioni dell’anatomia umana dall’altro, tutti i pregi e i limiti di un lavoro artigianale. Dopo la prima guerra mondiale D. N. affiancò all’attività di pittore e restauratore quella di insegnante presso la Scuola di perfezionamento per pittori decoratori e nel 1926 diventò membro della Commissione diocesana per l’arte sacra. Morì a Gorizia il 2 gennaio 1943. Stupendo bozzetto di Clemente del Neri, rafigurante il refettorio di Castagnavizza. L'opera si presenta in condizioni praticamente perfette.

Clemente del Neri (Gorizia, 7 July 1865-2 January 1943) "Allegory" Mixed technique drawing on paper cm 15,5 x 24,5 in frame and passepartout . He was born in Gorizia on 7 July 1865. From his father Giuseppe (1830-1880) he learned the first rudiments of the job of painter decorator, which he integrated attending courses in Venice and Rome. D. N. was above all a prolific decorator and, in front of a single preserved profane decoration (the Hunting Hall and the staircase of the castle of Dobrovo, built in 1894 on commission from Count Silvio de Baguer), its production was limited mainly to the field of religious studies. His frescoes and altarpieces are found in a hundred churches of the archdiocese of Gorizia (from which also depend the parishes of Ruda and Aiello del Friuli), but also in Lombardy and Piedmont, where they arrived through the order of the Fatebenefratelli. This production, conceived as a chromatic decoration of spaces, is part of the nineteenth century Nazarene painting and palesa, in the accurate technical execution on the one hand, and in the recurring misunderstandings of human anatomy on the other, all the advantages and limitations of a craft work. After the First World War, D. N. joined as a painter and restorer to teach at the School for Decorative Painters and in 1926 became a member of the diocesan commission for sacred art. Died in Gorizia on 2 January 1943. The work represents the allegory of the collection of wine . On the sides we can see the winemakers in the various stages of wine production. At the top we can see the castle symbol of the city of Gorizia, whose province is known for its production of fine wines. . Clemente del Neri (Gorizia, 7 luglio 1865-2 gennaio 1943) "Allegoria" Disegno tecnica mista su carta cm 15,5 x 24,5 entro cornice e passepartout . Nacque a Gorizia il 7 luglio 1865 . Dal padre Giuseppe (1830-1880) apprese i primi rudimenti del mestiere di pittore decoratore, che integrò frequentando corsi a Venezia e a Roma. D. N. fu soprattutto un prolifico decoratore e, a fronte di un’unica decorazione profana conservata (la Sala della caccia e lo scalone del castello di Dobrovo, realizzati nel 1894 su commissione del conte Silvio de Baguer), la sua produzione era circoscritta principalmente all’ambito chiesastico. Suoi affreschi e pale d’altare si trovano in un centinaio di chiese dell’arcidiocesi di Gorizia (dalla quale dipendono anche le parrocchiali di Ruda e di Aiello del Friuli), ma anche in Lombardia e in Piemonte, dove sono giunte per tramite dell’ordine dei Fatebenefratelli. Questa produzione, concepita come un decoro cromatico degli spazi, rientra nel solco della pittura nazarena ottocentesca e palesa, nell’accurata esecuzione tecnica da un lato, e nelle ricorrenti incomprensioni dell’anatomia umana dall’altro, tutti i pregi e i limiti di un lavoro artigianale. Dopo la prima guerra mondiale D. N. affiancò all’attività di pittore e restauratore quella di insegnante presso la Scuola di perfezionamento per pittori decoratori e nel 1926 diventò membro della Commissione diocesana per l’arte sacra. Morì a Gorizia il 2 gennaio 1943. L'opera rappresenta l'allegoria della raccolta del vino . Ai lati possiamo notare i viticoltori nelle varie fasi di produzione del vino. In alto possiamo infine scorgere il castello simbolo della città di Gorizia, la cui provincia è nota per la sua produzione di vini pregiati.

Whessell (J. and Bartlett T. publishers). Oxford Delineated; or a Sketch of the History and Antiquities, and a General Topographical Description, of that Celebrated University and City, Oxford: 1831, calligraphic title with engraved vignette, folding map of Oxford with hand-colouring, folding plan of Old Oxford, thirteen full-page engraved plates. (including the frontispiece), twenty-two half-page engraved views on eleven leaves, slight foxing, some gatherings with bruising, creasing, closed tears and slight loss to the foredge, contemporary cloth with printed label to the upper cover, re-backed, 4to, together with Skelton (J.). Skelton's Engraved Illustrations of the Principal Antiquities of Oxfordshire..., Magdalen Bridge Oxford: 1st June 1823, engraved frontispiece, calligraphic title with engraved vignette, dedication and list of subscribers, engraved map and 50 engraved plates all with tissue-guards, very slight spotting, bookplate of William Nash Skillicorne to front pastedown, hinges repaired, joints partially cracked, all edges gilt, contemporary calf with gilt decorated spine, some wear to extremities, folio, with Fulleylove (John, illustrator). Oxford..., with Notes by T. Humphrey Ward, The Fine Art Society Ltd, 1889, additional half title, 30 uncoloured plates, slight marginal water staining, contemporary cloth with title to the upper cover, boards stained and worn, folio, and Nelson (Thomas and Sons, publishers). Tourist's Guide to Oxford and its University, London, Edinburgh & New York: circa 1890, title page and descriptive text, 12 chromolithographic plates, endpapers toned, publisher's decorative cloth, slight wear to extremities, oblong 12mo, plus Rock Brothers & Payne (publishers). Views of Oxford, circa 1850, twenty uncoloured engraved vignettes, slight spotting and dust soiling, stitch bound with publisher's blind stamped paper wrappers with title to the upper siding, wrappers a little frayed, oblong 12mo, and Arnold (Rev. Frederick). Oxford and Cambridge: Their Colleges, Memories and Associations, published by The Religious Tract Society. circa 1900, numerous black and white illustrations throughout, hinges cracked, all edges gilt, publisher's gilt decorative cloth, boards worn and a little faded, 8voQTY: (6)

This "Pieta" sculpture commemorates its display at the Vatican Pavilion during the 1964-65 New York World's Fair. It portrays the Virgin Mary holding the lifeless body of Jesus, a poignant representation of Michelangelos renowned work. Inscribed on its base are "Vatican Pavilion," "Pieta," and "N.Y. World's Fair 1964-65," marking its historical and cultural significance. An ideal piece for collectors of religious art and Worlds Fair memorabilia.Issued: c. 1964Dimensions: 6"HCondition: Age related wear.

Dimensions: Height 7,8 cm Wide 5 cm Depth 3,5 cmWeight: 260 grams Bronze sculpture represents Hayagriva, an incarnation of Vishnu revered for his association with knowledge and learning. The figure is distinguished by a striking horse-head melding seamlessly with a human body.Multiple arms are gracefully posed, each likely holding ritual objects or symbols that denote wisdom and divine authority, such as a Vedic scripture or traditional implements.The intricate details of the crown and ornamentation reflect the high level of craftsmanship typical of 17th-century Indian bronze work. A warm, time-worn patina covers the surface, attesting to its age and the enduring devotional practices in which it was once employed.The overall aesthetic, combining refined iconography with dynamic form, illustrates the cultural synthesis of artistic tradition and spiritual symbolism in early modern Indian religious art. here some dayight photos

Dimensions: Height 38 cm Wide 13 cm Depth 13 cm wihout baseWeight: 8229 grams with base This striking sandstone sculpture represents a Mukhalinga, a sacred emblem of Shiva in which the formless linga is imbued with anthropomorphic form through the presence of carved faces. This example is of the Trimukha (three-faced) type, with three distinct heads of Shiva carved in high relief on the upper portion of the cylindrical shaft. The central face is rendered with classical serenity, eyes half-closed in meditation, framed by a jata-mukuta (matted hair crown), and adorned with heavy earrings and a sacred thread. Two additional faces emerge from the sides, representing the triadic aspects of Shiva—creator, preserver, and destroyer—known as Aghora, Tatpurusha, and Vamadeva respectively. This sculpture is attributable to the Hindu Shahi dynasty (circa 8th–10th century), which ruled parts of Gandhara and Kabul Valley before the advent of Islamic rule. The Hindu Shahis continued and transformed earlier Gupta- and Kushan-influenced artistic traditions, incorporating bold, expressive forms with regional innovations. Hindu Shahi art is marked by:Robust body modelingElaborate jewelry and coiffuresEmphasis on divine authority and presenceUse of red or pink sandstone native to the region The Mukhalinga was a powerful emblem of royal and religious devotion in Hindu Shahi sanctuaries, combining abstract and personal dimensions of the divine, consistent with Shaiva metaphysics. Labeled at the backside with: Dalton Somare , Milano sticker Dalton Somaré is a distinguished art gallery located in Milan, Italy, specializing in Classical African Art and Ancient Hindu-Buddhist Art from the Himalayas, India, and Southeast Asia. Established in 1993, the gallery has been operated by Tomaso and Gerolamo Vigorelli.Dalton Somaré is committed to the conservation and scholarly documentation of each piece in their collection. They provide comprehensive research on the cultural significance and stylistic attributes of their artworks, ensuring that collectors and enthusiasts gain a profound understanding of each item's context and value.

Dimensions: Height 13,8 cm Wide 10,6 cm Depth 3 cmWeight: 464 grams This tsa tsa clay tablet depicts a seated Buddha in a meditative posture (dhyana mudra), adorned with remnants of gilt. The Buddha is framed by an arched niche with flanking stupas, a common architectural motif in Pagan period Buddhist art. The seated figure is positioned on a tiered pedestal, emphasizing stability and spiritual grounding. The tablet's teardrop shape, smooth yet slightly weathered surface, and evident cracks suggest both age and historical wear.The Buddha's serene expression and minimalist detailing align with Pagan period stylistic norms. The use of gilding highlights the significance of this piece, likely used for personal devotion or as a votive offering. During the Pagan period (11th–13th century), Burma (now Myanmar) witnessed an extraordinary flourish of Buddhist art and architecture. The Pagan Empire's devotion to Theravāda Buddhism led to the mass production of tsa tsa tablets, often inscribed with sacred texts or prayers. These clay tablets were typically enshrined in stupas or distributed as religious offerings to accumulate merit.The presence of gilding on this piece is notable, indicating it may have been part of a higher-status ritual object. While many tsa tsa are simpler in design, gilded examples are rarer and reflect more elaborate devotional practices. This tsa tsa exemplifies the devotional art of Pagan-era Burma, blending artistic refinement with spiritual intention. The preservation of gilding, despite its age, enhances its value as a rare and significant artifact. It may have been produced for pilgrims visiting the grand temples of Pagan, reflecting the empire’s deep commitment to Buddhist practice.

Dimensions: Height 60 cm Wide 25 cm Depth 18 cm without baseWeight: 18,6 Kilograms with base This expressive sandstone sculpture represents Ganesha, the elephant-headed Hindu deity venerated as the remover of obstacles and god of beginnings, intellect, and prosperity. Created during the 10th to 11th century under the Khmer Empire, the work exhibits the stylistic characteristics of early Khmer religious stone sculpture: rounded organic modeling, simplified volumes, and a harmonious sense of proportion. Ganesha is depicted in a frontal standing pose, his robust form marked by a distended belly and thick limbs. His elephant head, with a long curved trunk extending to the left, is rendered with clarity and stylized simplicity. The figure holds a conical sweet (modaka) in his left hand—a common emblem of Ganesha’s association with abundance—while the right hand grasps a tusk or.The deity is shown wearing a short sampot with a knotted belt at the front, detailed with incised pleats and subtle textural treatment around the waist and buttocks. The back is finished but less detailed. The minimal adornment and the compact, powerful physique are hallmarks of Khmer representations of Ganesha from this period. Well-preserved with minor surface weathering and abrasion consistent with age. Some loss of detail to the facial features and extremities. The trunk and modaka are intact, retaining expressive energy. Mounted on a modern base for display. In Khmer art, Ganesha was commonly incorporated into the Shaivite pantheon, especially under royal patronage during the Angkor period. While Indian depictions often include multiple arms and ornate jewelry, Khmer versions favor more restrained iconography—typically two or four arms, a corpulent torso, and a joyful, accessible demeanor. The integration of Hindu deities like Ganesha into Khmer temples underscores the syncretic religious landscape of the empire.

Dimensions: Height 13 cm Wide 7 cm Depth 3 cm without baseWeight: 528 grams with base This bronze fragment depicts the Body of a standing figure, likely representing a Buddha, originating from the Ayutthya period in Thailand. The figure is shown in a calm, upright posture with both feet parallel and close together, dressed in a robe that drapes naturally over the body with defined vertical pleats—characteristic of the Ayutthya sculptural aesthetic, which emphasized idealized proportion and elegance. The upper body and head are lost to breakage, but the preserved drapery and stance reflect the serene composure central to Thai Buddhist art. It is now mounted in a modern acrylic support for display and preservation. Fragmentary; upper body and head missing. Surface heavily weathered with mineral accretions and oxidation. Structural stability maintained through modern mount. Figures from the Ayutthya period frequently combine influences from Sukhothai and earlier Dvaravati traditions, resulting in gracefully stylized forms with symbolic serenity. Even in fragmentary condition, this piece retains important stylistic features that contribute to the study of Thai religious art from this golden age of temple patronage and bronze casting.

Dimensions: Height 14,1 cm Wide 9 cm Depth 5,5 cmWeight: 707 grams Bronze sculpture of Mahakala, a fierce protector deity in Tibetan Buddhism, epitomizes the spiritual intensity and artistic craftsmanship of 17th–18th century Tibet.The figure stands in a dynamic, upright pose, its multiple arms poised to hold ritual objects such as a curved sword, skull cup, or drum—each symbolizing Mahakala's role in subduing negative forces and defending the dharma.The deity’s face is rendered with expressive detail: a powerful gaze, bared teeth, and prominent, furrowed brows convey both his wrathful aspect and deep compassion. An elaborate headdress crowns the figure, and intricately styled hair forms swirling patterns that further emphasize the energy and transformative power associated with Mahakala.The bronze exhibits a rich, time-worn patina that accentuates the fine details of the casting. Mahakala is revered as a wrathful emanation of Avalokiteshvara, embodying fierce compassion and the power to overcome obstacles.The sculpture is in good condition with minor surface wear consistent with its age. No significant restorations have been noted.A very interesting detail is the fact that a ganesha below Mahakalas feet squeezes a mongose A powerful example of Tibetan religious art, this Standing Bronze Mahakala offers insight into the ritual and artistic heritage of its period, making it an exceptional addition for collectors and institutions dedicated to Himalayan art traditions. Provenance:Collection Liechti , Geneve here the daylight photos

Dimensions: Height 7,5 cm Wide 2,5 cm Depth 2 cm without base Weight: 86,5 grams with base Tibetan saddle ornament dating. Tibetan saddles were often highly ornate, reflecting both the practical needs of riding in mountainous regions and the cultural importance of the horse as a status symbol and spiritual animal. The figure may represent a protective deity, spirit, or guardian, as Tibetan art frequently incorporates religious and symbolic motifs. Such pieces were often used to adorn saddles, either for aesthetic purposes or as talismans to offer protection to the rider and horse.Tibetan saddles were not only functional but also ceremonial, often used in festivals or for high-ranking individuals.

Attributed to José Campeche (San Juan, Puerto Rico, 1751 - 1809)“Infant Jesus”Oil on copper. 23,5 x 18,5 cm.  Campeche was one of the most recognised Puerto-Rican artists. The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island after being exiled by King Charles III, between 1775 and 1778.The Puerto Rico Art Museum has some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to be one of the most exalted and outstanding Hispanic-American painters of the late 18th century." Bibliographic reference:- Museo de Arte de Puerto Rico. (n.d.). "José Campeche". https://www.mapr.org/es/museo/cede/artista/campeche-jose

Viceregal School. Cuzco. Peru. 17th Century."Isaiah's vision"Oil on canvas. Relined.203,5 x 180 cm. Symbolic and apocalyptic painting about Isaiah's vision of the true God and the seraphim, whose desire is to elevate spirits that are lower in the hierarchy to Him and carry out divine justice.An unusual and curious painting that serves as a biblical and scenographic summary of various texts from the Book of Revelation by John, and others from the prophets Ezekiel or Isaiah. The prophet Isaiah mentions in 6:2: "Above him stood the seraphim. Each had six wings: with two he covered his face, and with two he covered his feet, and with two he flew."In the upper left corner of the painting, we find one of these seraphim, which can only be seen by those who have been elevated to a higher dimension, that is, to a state where heaven opens up to them. Like Isaiah, one of the four Prophets of the Old Testament. The seraphim belong to the highest rank of the angelic hierarchy and are the praisers of God, constantly proclaiming His Holiness.A similar example can be found in Catalonia in the murals of the church of Santa Eulalia at the National Art Museum of Catalonia, where these seraphim, angelic beings that surround God on His throne, are depicted. They can also be found in the art on several Catalan Romanesque apses.Seraphim have the mission of purifying everything around them, so they are destined to protect the holiest places.In the Bible, they are mentioned as a vision of God that Isaiah had in the Temple, where they were singing praise: "Holy, holy, holy is the Lord Almighty; the whole earth is full of his glory."They protect themselves from the light of God by covering their heads with two wings, as they are constantly accompanying the Lord on the throne. For this purpose, and to be able to see the presence of God, they have eyes on their wings and all over their bodies.In the upper right corner, we see Isaiah, who had the vision in which he was taken to the throne of God, where they were (Chapter 6). There, he saw the true King and the seraphim full of ardour and purity, with which they love the divine, desiring to elevate the spirits of lower hierarchy toward God.This seraph with a bull's face (to John, they appear as a lion, a bull, a man, and a flying eagle) "holds a harp" (Revelation 5:8), a symbol of worship and praise in the Old Testament, with which they sing and declare the holiness of God, participating in God's justice, for when He opens the first four seals and unleashes the four horsemen who come to destroy (we see one of these horsemen below in the centre), their voices, powerful as thunder, tell them 'Come' (VENI..., at the beginning of the Latin phylactery lying at the base of the painting) (Revelation 6:1-8). Each rider responds to the call of his seraph, a powerful creature indicating the power he possesses.In summary, this is a painting that symbolically speaks of these beings and Isaiah's vision, an exalted order of angels whose main purpose is worship and who are, in some way, involved in carrying out divine justice.The painting was perhaps created for the refectory or choir of a cloistered religious convent, a place filled with "higher" beings seeking to prostrate and worship the Lamb (Revelation 5:13), beings who cloister their lives to experience the vision of Isaiah up close, to sit on the throne and become the praise, honour, glory, and power of God, forever and ever (Revelation 5:11-12).The painting makes it clear to the beholder that "the Lord is God, and there is no other besides Him.""

Melchor Pérez Holguín (Cochabamba, Bolivia, 1660 - Potosí, 1732)"The First Journey of Saint James the Greater to Hispania"Oil on canvas.99 x 124 cm. Beautiful painting of great historical and religious relevance, as it shows the first of James' journeys to Hispania, which left a lasting legacy in the region. This trip took place in the first century A.D. According to tradition, James was sent to Spain as one of Jesus' apostles to spread Christianity in the region. After the death of Christ, a passionate and impetuous James was part of the initial group of the early church in Jerusalem. In his evangelizing work he was awarded, according to medieval traditions, the Spanish peninsular territory, specifically the northwestern region, then known as Gallaecia. Some theories suggest that the current patron saint of Spain arrived in the northern lands via the uninhabited coast of Portugal. Others, however, trace his way through the Ebro valley and the Cantabrian Roman road. There are even those who claim that Santiago reached the peninsula by the current Cartagena, from where he started his journey to the western corner of the map.During his stay, it is believed that he performed numerous miracles and converted many people to Christianity.This journey of Santiago was of great importance for the history of Christianity in the Iberian Peninsula. His presence contributed to the expansion of Christianity in the region and laid the foundations for the subsequent evangelization of the peninsula.We say that this was James' first trip to Spain, since the second occurred centuries after his death. According to tradition, after his death in Jerusalem, his remains were taken to Hispania by his disciples. It is believed that they were buried in a place that would later become the city of Santiago de Compostela. That transfer of remains had a great impact on the region. His tomb became an important place of pilgrimage and attracted thousands of the faithful from all over Europe. The Camino de Santiago, a pilgrimage route that runs throughout the Iberian Peninsula, developed around his tomb and became one of the most important pilgrimage routes in the world.In an idyllic landscape, with rich and abundant vegetation, we can contemplate a pilgrimage path that circles the river -perhaps the Ebro River-, with a bridge crossing it. The pilgrims have serene faces, full of devotion, kindness and smiles, marked by the joy of the moment.  They travel on horseback and on foot, and there is a group resting above, contemplating the temple they are approaching, surrounded by cypress trees. One stands out, James, also known in Spain as Santiago, mounted on an imposing black and white horse, the only one who, with his deep and penetrating gaze, looks directly at the viewer. The Saint stops or is stopped by another pilgrim, who rides his donkey, and both experience a spiritual and deep encounter, reflected in their faces and gestures.  Their expressions are serene, with their hands intertwined. The one on the donkey kisses the hand of the saint with reverence and devotion, aware of the spiritual power of this miraculous encounter. Both the Apostle and he have their hats removed, as a sign of respect, humility and spiritual reverence.James' journey to Galicia symbolizes the spiritual connection between East and West, becoming a cultural and religious bridge that would mark the history of Spain. As for the artist, we believe this canvas was painted by Melchor Pérez Holguín, one of the most important painters of the colonial mestizo baroque, of what was called the Potosí School, which developed in the years 1700 - 1790. Tenebrism and the influence of Zurbarán were characteristic. Holguin’s work is dominated by the many commissions carried out for the Franciscans and the Dominicans.As Suzanne L. Stratton-Pruitt indicates, despite the fact that Holguín of course knew the Cuzcan art that was widespread and stylistically of great influence in Upper Peru, his work was very personal, and is somewhat removed from that style, although it adopts some common elements as the painting of Cuzco. Likewise, the serenity reflected in the faces of his characters is characteristic of Holguín, as we can see in the work we offer.

Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"The Holy Trinity"Oil on canvas. Relined.96 x 70 cm. Without hesitation we can affirm that this painting is by Miguel Cabrera, being very similar, with slight variations in position of persons and color of clothing, to the oval painting of the Trinity in the Soumaya Museum, Carlos Slim Foundation, Mexico City; it also resembles the painting in the parish of Tlaxcala in San Luis de Potosí, Mexico, (today Museo del Virreinato), which is of rectangular format and by the same artist.  These are two similar examples among others. The Holy Trinity is difficult to explain theologically. But Cabrera knew how to express the complexity of the dogma very well in his art, as he demonstrates deep theological knowledge in his religious painting.In 1715, Pope Benedict XIV prohibited images of the Holy Trinity, because such portrayals denied the immaterial essence of the Holy Spirit. Miguel Cabrera got around this by using the same facial anatomy but making a distinction between the colors and the symbolic references on their chests.On the right is God the Father, in a white tunic, a symbol of revelation, with the sun on his chest, the manifest light of God, and a golden scepter as a symbol of power. Jesus Christ, on the left, is dressed in blue, a color that reveals his divine identity: his sacrifice as savior is recalled by the stigmata on his hands and feet, as well as the Mystical Lamb.  The red and pink of the vestments in the center, for the Holy Spirit, represent the Pentecost and the flame of living love.The three figures are on plinths decorated with cherubs and their radiance indicates their divine nature at the same time.The painter captured the Father, the Son, and the Holy Spirit with skill and mastery in this composition.  The luminosity of the colors, the movement within the painting and the sweetness of their faces are remarkable. Cabrera is considered to be the greatest exponent of 18th-century Viceroyalty painting in New Spain, with an output that the Dallas Museum of Art defines as ‘legendary: more than 309 works from his large studio have been documented’.Miguel Mateo Maldonado y Cabrera was born on 27 February 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will from 1768.He was the son of unknown parents and the godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training in the studio of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but was also involved in the attempt to found an academy of arts in 1753, and in 1756 he established himself as an intellectual, not only as an artist, as he published an account of the image of the Virgin of Guadalupe in 1756 entitled ‘Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura’, an account of the image of the Virgin Guadalupe published by the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his output includes altarpiece designs, large-format paintings, as well as small ones on copper and nun's shields. Cabrera produced figures of remarkable beauty in his religious painting, a beauty understood through the ideological assumptions of the worship of the period. It is refined art with well-arranged chromatic richness, sustained by great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that period, Cabrera was the one with the greatest personality; the conventional treatment of his figures undoubtedly formed the basis of his style of painting, as he placed in his paintings models that were not ideal, but who were people he knew and dealt with, such as when he incorporated portraits of donors or the so-called ‘prelates’ in some paintings.  He had the need to observe directly and copy from nature. He was appointed chamber painter to Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, an image made from "ayate" - a material made from local plants. Cabrera's version was sent to Pope Benedict XIV, from whom he received the highest recognition as a painter of Guadalupe. Outstanding portraits he painted include the one of Sor JuanaInés de la Cruz, kept in the National Museum of History, and the portrait of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.He was also a painter for the Society of Jesus, producing numerous artworks for their churches.In 1753 he was appointed president for life of the Academy of San Carlos.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756 for the church of San Francisco Javier, is in the Museo Nacional del Virreinato.The Museum of Art in Dallas has a Saint Gertrude the Great by Miguel Cabrera and another painting of Saint Gertrude, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Also of note is an important series of Caste paintings from 1763 in the collection of the Museo de América in Madrid. These depict families, father, mother and child of the various castes and social strata, in everyday situations.

José Campeche (San Juan, Puerto Rico, 1751 - 1809)“St. Anthony of Padua and the Virgin Mary.”Oil on canvas, protected by water glass. Signed: “Josef Campeche fc.”. Framed in an imposing carved, gilded and polychrome wooden cornucopia.28 x 22 cm.Cornucopia measurements: 71 x 55 cm.Exquisite canvas signed by the Puerto Rican painter José Campeche, an intellectual painter who studied Latin and philosophy at the Royal Convent of the Dominican Fathers. Between 1776 and 1778 he was in contact with the Spanish court painter Luis Paret y Alcazar (1746-1799), who came to the island exiled by King Carlos III and from whom he learned techniques, colors and styles.Campeche was one of the most recognised Puerto-Rican artists. The Puerto Rico Art Museum has some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to be one of the most exalted and outstanding Hispanic-American painters of the late 18th century."Returning to this painting, it has a dove-necked frame, profusely carved in garlands and scrolls, polychromed in reddish tones and gilded on the corners and curled edges, with a shield plume that tops it with the Virgin Mary's monogram.  The delicate oil painting depicts the Portuguese saint being regarded and blessed by the Virgin Mary from heaven, to whom he dedicated several sermons to praise her and sing her glories, all surrounded by putti and angels.As one of his many religious themes, Campeche depicts a specific saint, here the Franciscan saint of Lisbon, next to the Virgin Mary, like so many other parallel paintings currently in the Museo de Arte de Puerto Rico that we have mentioned. Two stand out there, one of “The Vision of St. Simon Stock” and another of “Sacred Conversation with St. Joseph and St. John Nepomuk”, among others.Among the trades he learned and practiced in the family workshops, one was the design of coats of arms. It is therefore quite probable that he also designed the period frame with the coat of arms in which this devotional work is presented, possibly as a commission from a prominent family.Be that as it may, this work is of rococo character for all its interest in detail and ornamentation of the sky and clothing, colors and movement of fabrics and figures, dominating the palette of bluish grays and reds and pinks that, as reported by the Puerto Rican museum, relates it directly to de Paret and Alcazar.This painting comes from the Miguel Iglesias collection (Celendín, 1830 - Lima, 1909). He was a Peruvian military officer and politician who held the presidency of Peru between 1882 and 1885, in what is known as the Government of Miguel Iglesias or Regenerating Government of the Peruvian Republic. This government was established in the middle-low phase of the War of the Pacific, an armed conflict between Chile and allies Bolivia and Peru (1879-1884). That is: from his rise to power by designation of the constituent assembly in 1882, a year after the Chilean occupation of Lima, until his exile to Spain in the Peruvian civil war of 1884-1885.Highlights of his political-military legacy is the "Grito de Montán" (Montán´s call), a manifesto in which he proclaimed the necessity of agreeing peace with Chile, even if this implied the cession of the southern provinces; the Treaty in Ancón or Treaty of Peace and Friendship between the republics of Chile and Peru, that put an end to the War of the Pacific and stabilized the post-war relations between them, where Peru ceded territory to Chile; and the Peruvian Civil War, between Montán´s faction and that of the military leader Andrés Avelino Cáceres. The end of that war led to the exile of Iglesias to the south of Spain, where he moved with his descendants and his significant art collection. He returned to his native country when he was elected senator for Cajamarca and died in Lima in 1909. His remains, which had been buried in a mausoleum in the Presbítero Maestro Cemetery in Lima, were transferred in 2011 to the Crypt of the Heroes, within the same cemetery.Despite his return to Peru, his descendants continued to reside in Andalusia. There, his art collection has been preserved and has remained in the family, generation after generation, until the present day. Several lots from this collection are featured in the auction, from 92 to 111.Provenance:- Collection of Miguel Iglesias, military man and president of Peru (1882 - 1885). Ayacucho Estate. Peru.- From the end of the 19th century the descendants and the collection moved and settled in the south of Spain until the present day.Bibliographic reference:- Museo de Arte de Puerto Rico. (n.d.). "José Campeche". https://www.mapr.org/es/museo/cede/artista/campeche-jose

Veronese figure of Jesus with some children, Art Nouveau style clock and another religious figure

ABU SUBHI AL TINAWI (SYRIAN 1888-1973) ABLA & SHEIBOUB signed in Arabic lower centre mixed media on canvas mounted to board 60 x 69cm; 24 x 27 1/4in 64.5 x 72.5cm; 25 3/4 x 28 1/2in (framed) Executed circa 1950. Property from a Private Collection, London Provenance Collection of a Diplomat, Dubai Acquired from the above by the present owner Born in Damascus, Abu Subhi Al Tinawi is one of the most well-known Syrian folk artists of his time. Originally named Muhammad Harb, it was when he opened his shop in Damascus that he began signing all of his artworks Abu Subhi Al Tinawi. Hailing from a family of reverse glass-painters and tapestry artisans, Al Tinawi made his own paint by combining natural pigments with Arabic gum. He became known for reverse glass painting, a technique which originated in Europe and was popularised in Central and Eastern Asia in the 17th century. Continuing his work on glass and other media, such as metallic paper or cloth, he used bright colours and simple representations of characters with straightforward expressions. Fascinated by traditional verses and stories, Al Tinawi’s oeuvre explores folk epics, historical events and religious themes. Working across various materials, including glass, metallic paper, and cloth, Al Tinawi was known for his vivid color palette and direct, expressive figures. Deeply inspired by traditional poetry and storytelling, his work depicted folk epics, historical events, and religious narratives, making him a masterful visual storyteller who captured the spirit and sentiments of his community. The present work, executed between the 1950s and 60s, refers to one of the stories by the pre-Islamic Arabian poet ‘Antarah ibn Shaddād al-‘Absī (525-608 AD) and his collection of seven "hanging odes", which together form the Mu’allaqāt, suspended in the Kabaa in Mecca. The tale tells of the fabulous childhood of ‘Antar, son of an Arab king by an Ethiopian slave girl named Zabībah, and the adventures he undertakes to attain the hand of his cousin ‘Ablah in marriage. The couple’s love story was full of obstacles: ‘Ablah’s father, resisting the marriage, asked for three thousand red camels, a dowry for his daughter, a rare breed owned exclusively by the king Noaman of Iraq. Antar crossed the desert, met the king, fought in his army for two years in exhange for the camels and returned to ‘Ablah with the herd and endless riches, finally winning the hand of ‘Ablah. By the end of his life, Al Tinawi had achieved widespread recognition. Though he never left his shop, his works travelled internationally, reaching Europe and beyond. Thought to be one of the first Arab artists to participate in an exhibition showing Picasso in Paris, his work has been acquired internationally by individuals and art institutions, including the Louvre and the Dubai Collection, and has appeared in numerous publications and films. Al Tinawi’s distinctive style and storytelling approach have left a lasting impact on contemporary Arab artists and continue to appear in publications and films, solidifying his legacy in the region’s artistic heritage.

A vibrant lithograph poster advertising the Rathauskeller of the city of Bozen (Bolzano), South Tyrol, illustrated by Austrian-Italian artist Albert Stolz. The design features a child garlanded in grape leaves and a robed elder pressing grapes into a large glass, symbolizing the region's rich winemaking heritage. Rendered in a bold, Art Nouveau-influenced style with strong outlines and flat planes of color, the scene unfolds before a stylized cityscape and mountain backdrop. Published by Lorenz Franzl, Graphische Verlags-Anstalt Bozen. Framed in a warm wood-toned frame. A captivating piece of Tyrolean graphic art. Albert Stolz was a prominent Tyrolean artist known for his murals, religious frescoes, and vivid illustrations celebrating Alpine culture and Catholic tradition. This work exemplifies his playful yet dignified style and his focus on local folklore and identity.Artist: Albert Stolz (Austrian 1875-1947)Issued: c. 1920Dimensions: 34.25"L x 44"H Country of Origin: AustriaCondition: Age related wear.

LTP Manjusri (Sri Lankan 1902-1982 - Columbo '43 Group): 'At The Palace' pencil rubbing etching signed with initials in pencil 20cm x 40cmNotes: LTP Manjusri was a pioneering figure in modern Sri Lankan art, known for his unique blend of traditional Buddhist themes and contemporary techniques. Born in 1902, he initially trained as a scholar in Sinhala, Pali, and Buddhist philosophy before discovering his passion for painting in Shantiniketan, where he met Nandalal Bose. A founding member of the Colombo '43 Group, Manjusri’s work—spanning temple murals, original paintings, and etchings—reflects his deep cultural and religious roots. His contributions were internationally recognized, with exhibitions in London, Vienna, and New York, and works held in major collections including the New York Public Library and the Horniman Museum. In 1979, he was honored with the Ramon Magsaysay Award and an honorary doctorate from the University of Peradeniya.

A calligraphic folio in naskh script,  Signed Muhammad Shafi’ al-Tabrizi, dated AH1237/1821AD, Black ink on paper, 8ll. of black script within clouds on gold field, laid within floral borders ruled in gold, blue and red, wide blue margins with gold floral decoration, buffed pink, ight blue and green scalloped medallions and cartouches above, below, to side and corners, the reverse with a loose inscription in black ink, framed and glazedpanel 14.5 x 7.2cm., 27.2 x 18.2cm. visible, 32.6 x 23.8cm. framedFootnotes: The scribe Muhammad Shafi' al-Tabrizi, son of Muhammad 'Ali is described by Mahdi Bayani as a first-class Tabrizi calligrapher of naskh whose masterly in writing had no equal among his contemporaries. His recorded works, which are mainly religious books, are dated between 1802 and 1846 and provide information on his life: he was from Surkhab, a district of Tabriz, and he wrote in the style of Ahmad Nayrizi. See, Bayani et al, The Decorated Word, The Nasser D. Khalili Collection of Islamic Art, vol.IV, Part Two, 2009 cat.15.Condition Report: The gold decoration of the margins and borders have dulled appropriate to age. Some light staining. 

Exquisite hand-painted porcelain plaque depicting Madonna and Child with Saint John, encased in a decorative shadow box frame. The finely detailed painting captures the serene expressions and rich hues reminiscent of Renaissance religious artwork, highlighted by delicate brushstrokes and subtle shading. The circular porcelain plaque is adorned with an elaborate gilt metal filigree mount featuring scrolling floral motifs, adding a regal presence to the composition. Housed in a deep black shadow box with a burgundy velvet-lined interior and glass front, preserving its beauty while enhancing its display. The reverse features a wooden backing with hanging wire for wall mounting. A remarkable piece of devotional art, ideal for collectors of religious iconography or 19th-century European decorative arts.Issued: c. 19th centuryDimensions: 14.5"L x 14.5"HCondition: Age related wear. A few cracks to the gilt frame.

A powerful limited edition porcelain sculpture by Laszlo Ispanky, this figurine captures the biblical figure Moses in a moment of divine authority, holding the tablets of the Ten Commandments inscribed in Hebrew. Hand-painted details emphasize the texture of the flowing robe, lifelike arms, and expressive face. This intricately sculpted piece is marked Ispanky Porcelains, Made in USA, and is part of a limited edition of only 400. A striking and spiritual statement piece for collectors of religious art. Measures approximately 13.25"L x 12.75"H.Dimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.

"Untitled" - FRANCIS NEWTON SOUZA (1924-2002), Ink on Paper.This work captures a deeply personal and expressionistic portrayal of Christ. Rendered in Souza’s line work, the central figure of Christ appears etched with vein-like tree branches across his torso, merging the organic with the spiritual. Behind him rises a stark, angular cathedral—geometric and towering—contrasting with a gnarled, bare tree that adds to the somber emotional tone. The stark black ink against aged paper evokes themes of suffering, redemption, and introspection. Signed Souza in the lower right.Francis Newton Souza (1924–2002) was a pioneering Indian modernist and the founding member of the Progressive Artists’ Group (PAG), established in 1947 in Bombay. Born in Goa and raised in a strict Catholic environment, Souza’s work was deeply influenced by themes of religion, eroticism, conflict, and existential angst. He studied at the Sir J.J. School of Art but was expelled for his rebellious attitude—an act that foreshadowed the nonconformist path he would take throughout his life and career. His early move to London in the late 1940s placed him at the heart of the post-war European art scene, where he achieved critical success and became the first Indian artist to gain international recognition in the West.Souza’s accomplishments are as radical as his work. In 1955, he signed with Victor Musgrave's Gallery One in London, and in 1959, his autobiography Nirvana of a Maggot was published to acclaim. His art was exhibited at the Tate Gallery (1955) and later became part of the collections at institutions such as the Victoria and Albert Museum and the National Gallery of Modern Art in Delhi. He received the Padma Bhushan posthumously in 2015. Known for his bold lines, distorted figures, and raw emotional content, Souza’s art was confrontational and unapologetically personal. He challenged religious dogma, societal hypocrisy, and colonial legacies, leaving behind a powerful and provocative legacy in Indian and global modern art.Approximately 54.5 x 35.5cmProvenance: Private collection from a distinguished USA collector.

Ca. 400 - 300 BC. A marble stele carved in low relief with a scene of a Thracian horseman advancing right, his right hand raised as if holding a spear. The horse is shown in profile with an arched neck and bent legs, suggesting motion. The composition is framed within a raised border.For similar see: A Sakellariou, The Cult of Thracian Hero. A Religious Syncretism Study with Deities and Heroes in the Western Black Sea Region, Thessaloniki 2015, f. 61.Size: 150mm x 110mm; Weight: 1.1kgProvenance: 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. 400 - 300 BC. A marble stele carved in low relief with a scene of a Thracian horseman advancing right. The rider wears a waving cape that billows behind him. The horse is shown in profile with an arched neck and bent legs, suggesting motion. The composition is framed within a raised border.For similar see: A Sakellariou, The Cult of Thracian Hero. A Religious Syncretism Study with Deities and Heroes in the Western Black Sea Region, Thessaloniki 2015, f. 61.Size: 130mm x 110mm; Weight: 455gProvenance: 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.

Robin Symes (British, 1939-2023)Art sketchbook, circa 2004-05Colour pencil, ink, graphite pencil & more on paper To include sketches of religious icons, portraits of famous figures such as Frida Kahlo, still life scenes, studies after Picasso, erotic & nude scenes, studies of animals etc; three-quarters full.Robin Symes, (b.February 1939) was among London’s best-known and most successful antiques dealers in the seventies, eighties and nineties before being unmasked as a key player in an international criminal network that traded in looted archaeological treasures. Sometime during the 1960s, Symes met Christo Michaelides, a Greek heir to a family of shipping magnates, and separated from his wife. The encounter gave birth to a life-long relationship between the two, which ended with Christo’s sudden death in 1999. After Michaelides’ death, his family took legal action to recover his share of the Symes company's assets, and when the matter went to trial, Symes was found to have lied in his evidence about the extent and value of his property. He was subsequently charged with and convicted of contempt of court, and sentenced to two years' imprisonment, of which he served seven months. After these seven months in HMP Pentonville, Symes enrolled at the Prince’s Drawing School (now the Royal Drawing School at Kensington Palace) and started a life-drawing course. What you can explore in this exclusive auction are never-before-seen sketches, preparatory drawings, oil on canvas paintings, pastels, copper-plates, etchings and entire portfolios of projects. Each hand-painted / drawn by Symes during his time studying art.

Robin Symes (British, 1939-2023)Two art sketchbooks, undatedColour pencil, graphite pencil & more on paper To include sketches of religious icons, still lifes, historical characters, a watercolour satirical sketch of Camilla & Prince Charles' wedding, a study of popular figures such as Diana Ross & Mahatma Gandhi, mythological & classical scenes.Robin Symes, (b.February 1939) was among London’s best-known and most successful antiques dealers in the seventies, eighties and nineties before being unmasked as a key player in an international criminal network that traded in looted archaeological treasures. Sometime during the 1960s, Symes met Christo Michaelides, a Greek heir to a family of shipping magnates, and separated from his wife. The encounter gave birth to a life-long relationship between the two, which ended with Christo’s sudden death in 1999. After Michaelides’ death, his family took legal action to recover his share of the Symes company's assets, and when the matter went to trial, Symes was found to have lied in his evidence about the extent and value of his property. He was subsequently charged with and convicted of contempt of court, and sentenced to two years' imprisonment, of which he served seven months. After these seven months in HMP Pentonville, Symes enrolled at the Prince’s Drawing School (now the Royal Drawing School at Kensington Palace) and started a life-drawing course. What you can explore in this exclusive auction are never-before-seen sketches, preparatory drawings, oil on canvas paintings, pastels, copper-plates, etchings and entire portfolios of projects. Each hand-painted / drawn by Symes during his time studying art.

Robin Symes (British, 1939-2023)Folder with drawings and sketches, 2015Watercolour, ink, pencil & other mediums To include sketches of religious icons, still lifes, classical scenes, historical characters, mythological, etc.Robin Symes, (b.February 1939) was among London’s best-known and most successful antiques dealers in the seventies, eighties and nineties before being unmasked as a key player in an international criminal network that traded in looted archaeological treasures. Sometime during the 1960s, Symes met Christo Michaelides, a Greek heir to a family of shipping magnates, and separated from his wife. The encounter gave birth to a life-long relationship between the two, which ended with Christo’s sudden death in 1999. After Michaelides’ death, his family took legal action to recover his share of the Symes company's assets, and when the matter went to trial, Symes was found to have lied in his evidence about the extent and value of his property. He was subsequently charged with and convicted of contempt of court, and sentenced to two years' imprisonment, of which he served seven months. After these seven months in HMP Pentonville, Symes enrolled at the Prince’s Drawing School (now the Royal Drawing School at Kensington Palace) and started a life-drawing course. What you can explore in this exclusive auction are never-before-seen sketches, preparatory drawings, oil on canvas paintings, pastels, copper-plates, etchings and entire portfolios of projects. Each hand-painted / drawn by Symes during his time studying art.