Tibetan Iron Ceremonial Buddhist Artefact Group

Executed in oil and tempera on a slightly curved wooden panel base depicting the Theotokos (Mother of God), the infant Jesus and Saint Rock on a natural background; Mary with head bowed left wearing a red maphorion mantle over a dark blue robe, with elaborate golden saltires on the shoulders and head of the mantle, fine gold brocade to the hem of the blue robe, nursing the child; the infant Jesus facing away to left, supported on Mary's right arm and dressed in gold tunic, wrapped in a red shawl with gold highlights to folds, both hands holding the mother’s breast; the long-haired Saint Rock covered in a black tabarrino marked with his attributes, the red cross, the pilgrim's staff, the scallop shell and the keys, holds his walking stick in his hand; trees and mountain profiles in the background; gilded wooden frame surrounded by a blue indigo border with gold arabesques; from the Veneto-Cretan guild. 857 grams, 32.5 x 27.5 cm



Acquired on the European art market. Private collection, London, UK. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no. 13065-249292.

The icon presents the type known in Greek as the Galaktotrophousa and in Russia as Mlekopitatelnitsa. Originating from the pagan iconography of Isis nursing Horus, the icon presents the Mother of God nursing the child. As is typical in traditional Orthodox iconography, conscious effort is made to remove the image from reality. That is why Mary’s breast is so oddly depicted and placed near her shoulder — an attempt to avoid any trace of sensuality.

Ellipsoid in plan with a reserved bust wearing a crested helmet and cuirass. 7.47 grams, 35 mm



Private collection, England.

Modelled in the round with a frowning expression, a triangular face with angular features and thick banded hair; recessed to the top of the head. 35.1 kg, 41 cm high including stand



Private collection, England. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13082-249677.

From the late 17th century until around the 1760s, classical nostalgia and the viewing and recording of classical remains became major occupations for aristocratic young men who went on the ‘Grand Tour’. In Rome, for example, some British visitors counted and measured the huge number of ancient columns and obelisks still visible in the city. The wealthiest brought back antiquities, including stones with Latin inscriptions, and redesigned their gardens to display them. More significantly, such travels also encouraged those who went to redefine their own origins and native identities within a wider European context. The taste for the reproductions of ancient monuments involved also the sculptures of Middle Age.