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LOT 2079
Painted Wooden Icon of Virgin and Child
CIRCA 19TH CENTURY A.D.
12 3/8 in. (395 grams, 31.5 cm).
The infant Christ seated on her knee within a stepped recess, Greek letters in the field with inscription 'ΜΡ ΘΥ' for 'Mother of God' flanking the Virgin's halo, 'IC XC' for 'Jesus Christ' to the left of the Child's head and inside his nimbus 'O Ѿ N' for 'The Only One who always exists'; some restoration; handwritten script and hand-drawn cross to reverse.
ProvenanceEx French gallery, Paris.
LiteratureCf. Geelmuyden Bulgurlu, V., Ulf, A., Lindgren N., Bodin, H., Balicka-Witakowska, E., Five essays on icons, Stockholm & Istanbul, 2005, fig.5, p.29, for one of the earliest images of the type.
FootnotesThe icon shows the Virgin in the attitude of Mother of Consolation, or in that of Hodegetria. This is the iconographical type of Virgin Mary one encounters most frequently in an Eastern Orthodox Church or home, Hodegetria meaning 'Mother of God Pointing the Way'. The Virgin Mary is shown with the Christ on her lap, her eyes looking at the viewer and her right hand indicating Christ, seeming to say 'Follow Him'.
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LOT 2079
Painted Wooden Icon of Virgin and Child
Estimate £400 - 600€460 - 700 (for guidance only)$540 - 810 (for guidance only)
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Post Medieval Bronze 'Fauno Rosso' Satyr
19th century A.D.Sold for (Inc. bp): £1,690
Standing on a hexagonal base wearing a goatskin mantle tied by the forelegs around his shoulders, with poppy seed-heads and bunches of grapes by the left arm; in his raised right hand, a bunch of grapes and in his left hand a cudgel; stump of a tree by his right leg and barrel beside his left, with a lamb to the rear placing its foreleg on top; modelled after the so-called Fauno Rosso from Hadrian's Villa, now in the Capitoline Museum. 18.5 kg, 67 cm high
From an important Paris gallery, France.
Half-man, half-beast, satyrs were believed to be the children of goats and mountain nymphs. Followers of the god Dionysus, they had a reputation for drunkenness and spent their days participating in orgiastic rituals. They represented the crude and boisterous facets of the stereotypical male persona, particularly of rural man. -
Post Medieval 'Thames' Lead Token Collection
17th-18th century A.D.Sold for (Inc. bp): £26
Composed of mainly discoid-shaped tokens displaying letters, symbols and geometric motifs. 88 grams total, 14-26 mm
Found Thames foreshore spoil, 1980s. -
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Egyptian Temple of Abu Simbel by J. W. Cox
Dated 1932 A.D.Sold for (Inc. bp): £52
Signed in the bottom right corner of the watercolour; framed and glazed with loops for suspension to the reverse. 1.65 kgs, 40.4 cm
Ex Albert Ward collection, Essex, UK.
J.W.S. Cox (1911-1982) was an American watercolourist renowned for developing the wet-on-wet painting technique. He grew up in New York, where he avidly sketched landscapes from an early age. The artist graduated from Pratt Institute NYC in 1933 and worked various jobs through the Great Depression. In 1936, he studied at the Acadamie Colarossie in Paris, and with Fauvist Othon Friesz for a short time, although later dismissed the Fauvist style as 'sloppy'. He went on to teach watercolour painting to students at Boston University, founding a studio on Bearskin Neck, Rockport, where he developed his 'sponge painting' and palette-knife techniques. He painted with an individualistic style, becoming a member of the Boston Watercolour Society. Cox shunned publicity as he believed it robbed him of painting time and turned down membership to the National Academy because he 'wouldn't play the game'. A Renaissance man, Cox spoke 12 languages with a goal to present himself 'and the soul of nature as truthfully and with as much inspiration, vitality and freshness as is possible, through the medium of watercolour'. He died of a heart attack in Florida in 1982.
