Bactrian Style Lapis Lazuli Bead Necklace

A magnificent and superb quality Victorian Gothic revival painted altar or reredos panel, as exemplified by the works and designs of Augustus Pugin, on Welsh slate depicting a large golden cross with latticed arms and squared quatrefoil terminals showing the emblems and names of the four Evangelists, Matthew, Mark, Luke and John; the cross set over a circle enclosing a quatrefoil background with the main discus showing a white cross trefoil on a red expanding cross against a green background with the Christogram letters 'IHS' entwined for Jesus Christ; the design set against a dark blue field ornamented with 48 golden radiant six-pointed stars; complete with the original carved oak frame together with the carved oak projecting base plinth shelf with quatrefoil perforations and another Christogram 'IHS' within a blue oval to the central projection. 73 kg total, 134.5 cm base and 159 cm high

Fine condition.

Collection formed in the 2000s. Property of an East Anglia gentleman.

From the 4th century A.D., the vision of Ezekiel and John's Apocalypse, assigned the lion, the angel, the eagle and the ox a stable place in the iconography of the tetramorph to represent the evangelist Mark (lion) next to the calf (Luke), the angel (Matthew) and the eagle (John). They are, in Christian iconography and theology, the four winged cherubs singing the triumphal hymn, exclaiming, proclaiming, and saying: 'Holy, holy, holy, Lord Sabaoth'. The oldest representations date back to the 5th century A.D., and are found in the mosaics of the baptistry of Naples and in the apse of S. Prudenziana in Rome. The tetramorph was a favourite subject in 12th century ecclesiastic art and its use has continued to the present day.

A pair of carved porphyry vases modelled on the famous 2nd century A.D. Roman Warwick Vase with Bacchic ornament, beading and egg-and-dart ornament around the rim, foliate vines below with both handles formed from two entwined vines, the body displaying a frieze of male and female masks modelled naturalistically in high relief, leaves radiating upwards from the centre base; each created in two parts and accompanied by a marble plinth; probably re-used ancient stone. 10.7 kg total, 29.5 cm wide each



English private collection. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11684-199805.

The original vase was reputedly discovered at Hadrian's Villa, in Tivoli, Italy in 1771 A.D.; now in the Burrell Collection, Glasgow, Scotland. The vase is not entirely reconstructed from original elements but incorporates the restorer's interpretation of how missing elements of the vase likely appeared. The original vase was named after the 2nd Earl of Warwick who acquired it from his uncle, Sir William Hamilton, in c.1775.

A marble copy of the kneeling Venus (original in the Vatican Museums), crouching on an octagonal base; the arms raised in expressive pose, head tilted, hair drawn up in a chignon; lettering to base 'KNEELING VENUS' and 'ROME'. 135 kg, 88.5 cm high



French collection, 1960s-early 2000s. From an important Paris gallery, France. with Auktionshaus Kaupp GmbH, Salzburg, Germany, 25 September 2016. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11688-199351.

The statue is modelled on an ancient original, commonly thought to represent Aphrodite. The original statue of the Crouching Venus was excavated in Salona (modern Solin near Split, Croatia). It was purchased for the Vatican Museums from where it was confiscated by the French under Napoleon, and subsequently returned to the Vatican in 1816.