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LOT 1485
Massive Painted Oak Framed Slate Altar Screen
19TH CENTURY A.D.
60 7/8 and 62 1/2 in. (73 kg total, 134.5 cm base and 159 cm high).
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. [No Reserve]
ProvenanceCollection formed in the 2000s.
Property of an East Anglia gentleman.
Cf. Stokes, M. (ed.), Didron, A.N., Christian Iconography, The history of the Christian Art in the Middle Ages, London, 1896, figs.36, 69, and p.452.
FootnotesFrom 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.
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Marble Torso of Aphrodite of Knidos
19th-20th century A.D.Sold for (Inc. bp): £6,240
A marble torso from a once larger statue of the goddess Venus, modelled naturalistically, inspired by Praxiteles's nude Aphrodite from the Greek city-state of Knidos. 51.1 kg total, 64 cm high including stand
French collection, 1960s-early 2000s. From an important Paris gallery, France.
The original statue of nude Aphrodite (Venus) was created for the Temple of Aphrodite at Knidos as a devotion monument. It represented the nude Goddess as she proceeded for the ceremonial bath that regenerated her pureness, discreetly concealing herself with her hand and holding a cloth with her other hand. The monument is famous for its beauty, and it is intended to be seen from every aspect. -
Stuart Period Silver Cross Pendant
Circa 17th century A.D.Sold for (Inc. bp): £182
A silver pendant formed as a cross bottony with integral suspension loop, low-relief facing Corpus Christi within a hatched border. 6.4 grams, 44 mm
Acquired in the late 1990s-2000. Property of an East London gentleman. -
Bronze Aquamanile with Horse and Rider
Early 19th century A.D.Estimate: £6,000 - 8,000 (+bp*)
Opening Bid: £2,200
A bronze aquamanile portraying a mounted rider, both horse and rider modelled in the round with semi-naturalistic anatomical and facial features; the horse standing facing forwards, ears pinned back and with short tail; the male figure positioned with one hand on the reins, the other raised to eye level, wearing period costume and boots; rectangular vessel mouth behind horse's forelock with remains of hinge for a lid (absent), conical pouring spout to its lower chest; some splits; modelled on c.15th century German examples. 5.6 kg, 30.5 cm high
Acquired from St Marys Convent, Peekshill, New York. From Emily Gagnon, Dallas, USA. UK private collection, 2002. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11686-197726
The practical function of the aquamanile was to pour clean water over the hands before dining, and in religious contexts to symbolically purify the body before undertaking communion. The origins of the form are often traced to the area of Iran, and it reached Western Europe through contacts with the Byzantine Empire.
