A few examples of appraisal values for
THE CHAPEL

• LOUIS ORR (AMERICAN, 1879-1961), PARISH
  LOUIS ORR (AMERICAN, 1879-1961), PARISH HOUSE AND THE CHAPEL OF THE ANNUNCIATION, CHRIST EPISCOPAL CHURCH, RALEIGH, NORTH CAROLINA Etching, pencil signed and titled, from Orr's series of North Carolina landmarks completed between 1939-1952, with full margins, unframed.
• (12) Wedgwood Wellesley College plates,
  (12) Wedgwood Wellesley College plates, 1935, 10-5/8" dia, c/o The Hazard Quadrangle, Alumnae Hall, Claflin Hall, Tupelo Point, The Chapel, Severance Hall, Tower Court, Hetty HR Green Hall, Stone and Olive Harris Halls, Founders Hall, College Hall, The President's House, tower court plate has a chip
• Charles Fraser Comfort, OSA, PRCA (1900-1994),
  Charles Fraser Comfort, OSA, PRCA (1900-1994), Canadian THE CHAPEL OF THE URSULINES, MAY 1928 signed; titled and dated on label on reverse 11.75 x 10 in — 29.8 x 25.4 cm
• J. WELLS CHAMPNEY 1878 INDIAN SCHOOL
  J. WELLS CHAMPNEY 1878 INDIAN SCHOOL DRAWINGSIssue of two half page drawings from the Harpers Weekly paper. Wooden framed May 11, 1878 feature of illustrations of Indian School at Fort Marion, St. Augustine, Florida, done by J. Wells Champney. Drawings depict an "Archery Practice" scene and "The School In The Chapel" scene. Harpers Weekly was an American political magazine based in New York. 6.5"L x 9"H, pictured. Artist: J. Wells Champney Issued: 1878 Dimensions: 21.5"H x 17.5"L, framed Country of Origin: United States Condition: Minor wear to frame
• GOEBEL HUMMEL CLOCKTOWER FIGURINE, CALL
  GOEBEL HUMMEL CLOCKTOWER FIGURINE, CALL TO WORSHIPBeautiful piece featuring two angels with trumpets in the windows of the chapel with a small clock on the front. Part of M.I. Hummel's Century Collection. Marked on the back with a pressed in "M.I. Hummel" facsimile signature. Goebel backstamp. Dimensions: 5.75"L x 6"W x 13.5"H Manufacturer: Goebel Hummel Country of Origin: Germany Condition: Age related wear. Functionality not guranteed.
• VINTAGE GOEBEL HUMMEL CLOCKTOWER FIGURINE,
  VINTAGE GOEBEL HUMMEL CLOCKTOWER FIGURINE, CALL TO WORS...Beautiful piece featuring two angels with trumpets in the windows of the chapel with a small clock on the front. Part of M.I. Hummel's Century Collection. Marked on the back with a pressed in "M.I. Hummel" facsimile signature. Goebel backstamp. This item has its original box. Box measures: 8.25"L x 15.75"W x 7.25"H. Dimensions: 5.75"L x 6"W x 13.5"H Manufacturer: Goebel Hummel Country of Origin: Germany Condition: Age related wear. Functionality not guranteed.
• ANTIQUE SPANISH RELIGIOUS RELIQUARY
  ANTIQUE SPANISH RELIGIOUS RELIQUARY ALTAR SHRINEDESCRIPTION: An antique Spanish Religious Reliquary Altar Shrine made of painted wood and antique mirror. With engraved inscription on the back that reads "Obsequio de los Hermanos Suarez a la Capilla del Ecce Homo. 9. 20.1929", which translate "Gift of the Suarez Brothers to the Chapel of Ecce Homo. 9. 20.1929 ". CIRCA: Early 20th Century. ORIGIN: Spain. DIMENSIONS: H: 51" W: 23" Depth: 14.5" Have a similar item to sell? Contact: Info@Akibaantiques.com. CONDITION: Good vintage condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS(305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission."
• AFTER JEAN LOUIS LEMOYNE (FRENCH 1665-1755)
  AFTER JEAN LOUIS LEMOYNE (FRENCH 1665-1755) A MARBLE PO...after JEAN LOUIS LEMOYNE (French 1665-1755) A MARBLE PORTRAIT BUST, "Jules Hardouin-Mansart," 19TH CENTURY, nicely carved with head turned sinister and wearing a long periwig of curls cascading over his classically draped shoulders, revealing the cravat wrapped neck ending in lace trim and flanked by folds of lace revealing his badge of the Order de St. Michel, on a later circular socle. Height: 14" (with socle 17 1/2") Width: 12" Depth: 6" Note: Jules Hardouin-Mansart (French 1646-1708) was the Architecte et Surintendant des Batiments du Roi under Louis XIV. Some notable examples of his work are the Palais de Versailles, the chapel of Les Invalides, the Château de Marly (demolished 1806), the Place Vendôme as well as numerous other buildings and places.Jean Louis Lemoyne, a pupil of the Baroque sculptor Antoine Coysevox, was acclaimed in his day for his talented works which led to commissions during the reigns of Louis XIV and Louis XV. This present sculpture is after the original he presented to the Académie in 1703 as his "morceau de reception" and is considered one of the most accomplished of his portrait busts. He was not known to have sculpted many busts of notable persons during his lifetime. Jules H. Mansart was a powerful protector of the Académie hence his bust being the subject and its' quality affirm Lemoyne's place before this highly esteemed institution. Today the original can be found in the Louvre and represents a fine example of French Baroque portrait sculpture capturing the confident personality through a serene glowing expression framed by a riot of curls and lace amidst dramatic folds of his cloak so reflective of this style in this era. Condition: Good condition with normal surface discoloration from handling and environment as well as dust buildup in areas throughout. Socle is of a later date. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS.” NO REFUNDS will be issued based on condition.
• TWO COMMEMORATIVE STERLING ARTICLES
  TWO COMMEMORATIVE STERLING ARTICLES OF IOWA WESLEYANTWO COMMEMORATIVE STERLING ARTICLES OF IOWA WESLEYAN American, 20th century, sterling silver. A "President's Medallion" with cabochon amethyst, designed to be worn by the President at official College Functions, together with a rare teaspoon engraved "IWU Chapel, Mt. Peasant, IA" with an image of the chapel, both cased and with literature pertaining to the articles' history. Medallion: 4 1/2 in. (11.4 cm.), spoon: 5 1/4 in. (13.3 cm.) Ex Iowa Wesleyan University collection Condition: Any condition statement is given as a courtesy to a client, is an opinion, and should not be treated as a statement of fact. Reference to condition written, oral or within a condition report shall not be regarded as a full account of condition and may not include all defects, alterations, or restorations. Absence of a condition report does not imply a lot is flawless or lacking imperfections or damage. Selkirk Auctioneers & Appraisers shall have no responsibility for any error or omission. Returns shall not be accepted on the basis of condition.
• SIR EDWARD BURNE-JONES (1833-1898) FOR
  SIR EDWARD BURNE-JONES (1833-1898) FOR MORRIS & CO. 'ST. ANDREW' STAINED GLASS PANEL, 1909 stained, leaded and painted glass176cm high, 44cm wide (frame 185cm x 50cm)Provenance: The Chapel of Cheadle Royal Hospital, CheshireNote: The contribution to the medium of stained glass by William Morris and his principal collaborator Edward Burne-Jones marked an epoch in its post-medieval development. By the 1890s, the reputation gained by Morris & Co. for their stained glass was such that a number of their patrons exclusively commissioned windows from the firm, to ensure the visual unity of their buildings. One such commission was from Cheadle Royal Hospital near Manchester, who in 1904 instructed Morris & Co. to glaze all of the windows of their new chapel. The glass was installed over four periods (1906, 1909, 1911, and finally in 1915), and this present example, depicting St Andrew, originally formed the left part of a three-light window, with St Matthew in the centre and St Peter on the right-hand side.This fine example of stained glass can be traced back to a drawing by Burne-Jones (BJ 514) that was first made for a window in St Mark’s Church, New Ferry, in 1876. It was then re-used at Holy Trinity, Sloane Street in London in 1894-95 and Albion Congregational Church in Ashton-under-Lyne in 1896 before it illuminated the chapel at Cheadle. The guiding principles that governed the manufacture of the Cheadle windows can be found in an article by Morris in 1890 in which he stressed the importance of clarity of design and colour, ‘The qualities needed in the design […] are beauty and character of outline […] Whatever key of colour may be chosen, [it] should always be clear, bright and emphatic.’
• EUGÈNE EMMANUEL VIOLLET-LE-DUC (1814-79)
  EUGÈNE EMMANUEL VIOLLET-LE-DUC (1814-79) AND FATHER ARTHUR MARTIN (1802-1856) FOR POUSSIELGUE-RUSAND (1824–89) PAIR OF FIVE-LIGHT CANDELABRA, CIRCA 1860 cast and gilt bronze(2)39.5cm wide, 64.5cm high, 18cm deepProvenance: Private collection, Belgium, until November 2022Paul ShutlerLiterature: Barker M. 'An appraisal of Viollet-le-Duc (1814-1879) and his influence' Decorative Art Society Journal No. 16, 1992Note: Viollet-le-Duc, his business partner Jean-Baptiste Lassus (1807-1857) and Father Arthur Martin all supplied designs to Notre Dame during its 25-year post-revolution restoration from 1845. The design of the lower portion of these candelabra was initially found in a set of six ormolu pricket candlesticks made by Poussielgue-Rusand for Notre-Dame in 1862. Viollet-le-Duc's drawing for these is in the Heritage and Media Photographic Library at Cherenton-le-Pont, Paris. A set of six of the original pricket candlesticks designs was also used in the chapel of Saint Michael, Saint Raphael & Saint Gabriel at the Cathedral of Saint Julian of Le Mans, France. The pricket design was also exhibited by Poussielgue-Rusand at the 1867 Paris Exposition Universelle.The upper section of candle arms was designed by Father Arthur Martin, and it featured in Poussielgue-Rusand’s catalogues from 1853, initially as a wall-mounted candle arm. Father Arthur Martin was a talented draughtsman and collector of medieval art and materials. In the 1840s he and his fellow Jesuit Brother Charles Cahier (1807-1882) began interpreting and classifying the collection. Their work was then published by Placide Poussielgue-Rusand from 1847 onwards in the highly influential multi-volume publication on medieval art entitled 'Mélanges d’archéologie, d’histoire, et de littérature'.The upper portion of the candelabra can also be compared to the grilles designed by Viollet-le-Duc in 1865 for the Basilica of Saint-Denis, among other places. An engraving of these was published in the Gazette des Architectes et du Batiment, Vol. 3 1865 No. 9, p. 133.A pair of Viollet-le-Duc’s pricket-design candlesticks in lacquered bronze is in the collection of The Art Institute of Chicago and an elaborate casket designed by Father Martin is in the collection of Notre Dame.Viollet-le-Duc's writings on decoration and on the relationship between form and function in architecture had a fundamental influence on a whole new generation of architects, including all the major Art Nouveau artists. His writings also influenced John Ruskin, William Morris and the Arts and Crafts movement, and William Burges admitted in his late life "We all cribbed on Viollet-le-Duc even though no one could read French."
• AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852)
  AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852) OR EDWARD WELBY PUGIN (1834-1875) NEEDLEWORK RUG, CIRCA 1860 wool, with later linen backing, with later cotton binding to each end, the panel a section of a larger carpet223cm x 147.5cmProvenance:St. Leonards - Mayfield Chapel, Mayfield, Sussex, England.Note:The remains of a medieval palace belonging to the Archbishops of Canterbury was converted into a school, Mayfield School of the Holy Child, by Edward Welby Pugin in 1863-6. This section of a needlework rug originally ran the entire length of the Chapel. Due to the sheer scale of the work, the rug was constructed in small, panelled sections and later stitched together to form the carpet. Hand-stitched by the sisters of Mayfield Chapel, the carpet was produced for Mother Cornelia Connelly, founder of the Society of the Holy Child Jesus. As in other projects, E.W. Pugin continued to use the decorative designs of his father of which this may be one.
• MICHAEL ANGELO ROOKER, ENGLISH ARCHITECTURAL
  MICHAEL ANGELO ROOKER, ENGLISH ARCHITECTURAL SCENE Michael Angelo Rooker (British, 1743-1801). "The Chapel of St. Petronilla, Bury St. Edmunds, Suffolk" -circa 1796, en grisaille ink wash and watercolor. Inscribed lower right "St. Petronilla, Chapel Bury St. Edmonds". Approx. 18" x 20.75" (frame), 9" x 12" (sheet).
• Matthew Harris Jouett (1788-1827) A
  Matthew Harris Jouett (1788-1827) A portrait of Dr. Horace Holley (1808-1827) oil on panel 26 1/2 x 20 3/8 inches. Dr. Horace Holley was a native of Salisbury, Connecticut, who studied divinity at Yale. Although initially a staunch Calvinist, he became a Unitarian, a radical movement which cast doubt on the divinity of Jesus Christ as well as the Bible as an undisputed source of literal truth, and focused instead on the transcendental nature of faith. “Religion does not consist so much in thinking as in feeling and acting,” he once wrote. Holley’s renown as an intellectual came to the attention of certain community leaders in Lexington who were committed to making local Transylvania University the most important center of higher learning in what was then thought of as “the west”. With the encouragement of Henry Clay, he accepted the post in 1818. He proceeded to establish a highly respected medical school, and a law school guided by Kentucky’s most prominent legal minds. Not long after his arrival in Lexington, Holley was painted by Matthew Harris Jouett, recently returned from study with Gilbert Stuart in Boston. That portrait was presented by the artist to Transylvania University and eventually hung in their Morrison Chapel, until occupied by Federal Forces during the Civil War; it was then missing until 1896 when found in a Lexington junk store, purchased by a donor and returned to Transylvania. The portrait at hand is a variant of that work. Recent discoveries in primary sources and clarification of provenance details confirm the attribution to Jouett. It is recorded as number 135 in the list of Jouett works compiled by his grandson, Richard Jouett Menefee, published in 1902. (Samuel Woodson Price, The Old Masters of the Bluegrass, Louisville: Filson Club, 1902, p. 54) At that time it was listed as the property of W. E. Burr of St. Louis. He was the husband of Holley’s granddaughter Harriette Brand, whose mother was Harriette Holley, who married Moses Brand in Lexington in 1825. His parents and several members of the extended Brand family were painted by Jouett and may have commissioned this work as a wedding present. Close examination of the painting disclosed several Jouett characteristics. The left ear is highlighted in a red glaze intended to offset the warm flesh tones beneath the left eye. There is also evidence of Jouett’s noted “standing white” a medium he created by mixing lead white paint with turpentine, which after drying, left a thick impasto on the surface. This portrait is also on panel of the type often used by Jouett, the back of which has been sized with a chalky medium frequently seen in his works. Downing and Grant, a paint and paper supply store near Jouett’s studio in downtown Lexington, carried these panels. Holley’s association with Transylvania did not have a happy ending. He was hounded by the Presbyterians and some in the local press. In 1824 the Argus of Western America in Frankfort accused him of “promoting the Federalist Party’s beliefs, deism and ‘dandyism’”. In his funeral oration for Transylvania’s great benefactor Colonel James Morrison, he insinuated that the Presbyterians were a common nuisance. Soon after that funeral he was replaced in the chapel pulpit by a rotating group of ministers from the main Protestant denominations. He resigned his office and departed Lexington, only to die in late July, 1827, one week before Jouett’s death in August. LITERATURE: Eblen, Tom and Mollie Eblen. “Horace Holley and the struggle for Kentucky’s mind and soul”, in James C. Klotter and Daniel Rowland, editors, Bluegrass Renaissance. Lexington: University Press of Kentucky, 2012. Floyd, William Barrow. Jouett-Bush-Frazer: Early Kentucky Artists. Lexington, KY: Privately printed, 1968. Pennington, Estill Curtis. Lessons in Likeness: The Portrait Painter in Kentucky and the Ohio River Valley, 1802-1920. Lexington: University Press of Kentucky, 2010. Price, Samuel Woodson. The Old Masters of the Bluegrass. Louisville, Ky: Filson Club, 1902. We would like to thank Mr. Estill Curtis Pennington for providing this detailed description of the painting, for his research, and for confirming the attribution. Property from the Estate of E.H. Chapman, Palm Beach, Florida
• REX CLAWSON, NEW YORK (1929-2007), CATHEDRAL,
  REX CLAWSON, NEW YORK (1929-2007), CATHEDRAL, 1959, OIL ON CANVAS, 23 3/4"H X 29 3/4"W, 32 1/4"H X 26"W(FRAME)Rex Clawson, New York, (1929-2007) Cathedral, 1959, oil on canvas Signed and dated verso. Significant tear in lower left quadrant as shown in photos. Biography from the Archives of askART: The following biography has been provided by Rex Clawson, The Artist Rex Martin was born in 1929 in Dallas Texas. As a child his favorite artist was Jon Witcomb, an illustrator for the womens' magazines his mother subscribed to. In his teens he read Lust for Life and discovered Van Gogh, Gauguin and the Impressionists. All of his early paintings reflect these artists. In the late 1940's, Clawson won the "Texas Fellowship to the Colorado Springs Fine Arts Center." There he became acquainted with modern art. Picasso and Braque were his greatest influences, along with Walt Kuhn, whose paintings were displayed at the art center. From there he traveled to Mexico to study and paint for a year at Morallia, and the art and culture of Mexico were a great influence on him. Rufino Tamayo was his favorite artist. He returned to Texas and in 1951 won first prize at the annual exhibition at the Dallas Museum of Fine Arts. In 1952 he was exhibited at the Knoedler Gallery NYC, in a show of Texas Artists. Thus encouraged, he moved to New York where he began to show regularly at the galleries. He had his first one man show at the Edwin Hewitt Gallery in 1955. In 1956 Vogue magazine reproduced a Clawson painting of a cat. Lincoln Kristen saw it and commissioned the artist to paint a cat for him. In 1963 the Royal Athena Gallery exhibited a Clawson painting entitled Nude in a Rocking Chair. Immediately the press announced it as a nude of President Kennedy and it got worldwide publicity. Finally, two U.S. Treasury agents entered the Gallery and acquired the painting, along with all photographs and negatives of it. The painting was never seen or heard of again. This was the start of Clawson's period of political satire. He had two one-man shows at the Royal Athena Gallery, 1963-1964 in which he satirized through art all the politics of the day. These shows received praise from the New York Times, Time Magazine, Art News, among others. Clawson had two one-man shows at New York's A.C.A. Gallery in 1968-1972. These shows took a light hearted look at social conditions and the decline of Religion in America. Since then Clawson has worked mostly on commissions from private collectors. Due to failing health he found it too difficult to produce enough paintings at one time to have another one-man show. Finally, in 2000 he entered the Cabrini Center for Nursing and Rehabilitation in the East Village where the Nuns put him to work illustrating the Gospels for the Chapel. He has completed the three-year cycle of Sunday Gospels as well as saints' feast days. He now creates secular paintings from his bed side. Cabrini has created a Cyber Art Gallery through www.touchtown.org in which he now displays his works for a network of nursing and retirement homes. In 1977 the Hirshhorn Museum informed Clawson that it had acquired three of his paintings. In 1983 the Corcoran Gallery of Art informed him that they owned a Clawson drawing. Clawson's work is represented in the Butler Museum (Youngstown, Ohio) Krannert Museum (University of Illinois), University of Georgia Museum and the Smithsonian Art Museum. One man shows- Hewitt Gallery-1955, Royal Athena Gallery 1963-1964, A.C.A. Gallery 1968-1972. A note from the artist's niece, Audra Renfer: My uncle passed away from cancer on October 18, 2007. He will be missed by many. oil on canvas Dimensions: 23 3/4"H x 29 3/4"W, 32 1/4"H x 26"W(frame)
• REX CLAWSON, NEW YORK (1929-2007), PORTRAIT
  REX CLAWSON, NEW YORK (1929-2007), PORTRAIT OF VINCENT IRON-BEARD, BIRTHDAY, 1957, OIL ON PAPER, 27 1/2"H X 21 1/2"W, 29"H X 23"W (CUSTOM ARTIST MADE SLEEVE)Rex Clawson, New York, (1929-2007) Portrait of Vincent Iron-Beard, Birthday, 1957, oil on paper Signed lower right, titled and dated lower right. Biography from the Archives of askART: The following biography has been provided by Rex Clawson, The Artist Rex Martin was born in 1929 in Dallas Texas. As a child his favorite artist was Jon Witcomb, an illustrator for the womens' magazines his mother subscribed to. In his teens he read Lust for Life and discovered Van Gogh, Gauguin and the Impressionists. All of his early paintings reflect these artists. In the late 1940's, Clawson won the "Texas Fellowship to the Colorado Springs Fine Arts Center." There he became acquainted with modern art. Picasso and Braque were his greatest influences, along with Walt Kuhn, whose paintings were displayed at the art center. From there he traveled to Mexico to study and paint for a year at Morallia, and the art and culture of Mexico were a great influence on him. Rufino Tamayo was his favorite artist. He returned to Texas and in 1951 won first prize at the annual exhibition at the Dallas Museum of Fine Arts. In 1952 he was exhibited at the Knoedler Gallery NYC, in a show of Texas Artists. Thus encouraged, he moved to New York where he began to show regularly at the galleries. He had his first one man show at the Edwin Hewitt Gallery in 1955. In 1956 Vogue magazine reproduced a Clawson painting of a cat. Lincoln Kristen saw it and commissioned the artist to paint a cat for him. In 1963 the Royal Athena Gallery exhibited a Clawson painting entitled Nude in a Rocking Chair. Immediately the press announced it as a nude of President Kennedy and it got worldwide publicity. Finally, two U.S. Treasury agents entered the Gallery and acquired the painting, along with all photographs and negatives of it. The painting was never seen or heard of again. This was the start of Clawson's period of political satire. He had two one-man shows at the Royal Athena Gallery, 1963-1964 in which he satirized through art all the politics of the day. These shows received praise from the New York Times, Time Magazine, Art News, among others. Clawson had two one-man shows at New York's A.C.A. Gallery in 1968-1972. These shows took a light hearted look at social conditions and the decline of Religion in America. Since then Clawson has worked mostly on commissions from private collectors. Due to failing health he found it too difficult to produce enough paintings at one time to have another one-man show. Finally, in 2000 he entered the Cabrini Center for Nursing and Rehabilitation in the East Village where the Nuns put him to work illustrating the Gospels for the Chapel. He has completed the three-year cycle of Sunday Gospels as well as saints' feast days. He now creates secular paintings from his bed side. Cabrini has created a Cyber Art Gallery through www.touchtown.org in which he now displays his works for a network of nursing and retirement homes. In 1977 the Hirshhorn Museum informed Clawson that it had acquired three of his paintings. In 1983 the Corcoran Gallery of Art informed him that they owned a Clawson drawing. Clawson's work is represented in the Butler Museum (Youngstown, Ohio) Krannert Museum (University of Illinois), University of Georgia Museum and the Smithsonian Art Museum. One man shows- Hewitt Gallery-1955, Royal Athena Gallery 1963-1964, A.C.A. Gallery 1968-1972. A note from the artist's niece, Audra Renfer: My uncle passed away from cancer on October 18, 2007. He will be missed by many. oil on paper Dimensions: 27 1/2"H x 21 1/2"W, 29"H x 23"W (custom artist made sleeve)
• GERMAN SCHOOL , 20TH CENTURY, BAVARIAN
  GERMAN SCHOOL , 20TH CENTURY, BAVARIAN LANDSCAPE, WANK 1920, OIL ON BOARD, 13 1/4 X 10 1/4 IN. (33.7 X 26 CM.), FRAME: 15 3/4 X 19 IN. (40 X 48.3 CM.)GERMAN SCHOOL, 20TH CENTURY BAVARIAN LANDSCAPE, WANK 1920, Oil on board Lower right signed and dated: WANK 25 V 1920; verso inscription describing the scene and the chapel "Maria Trost" Oil on board Dimensions: 13 1/4 x 10 1/4 in. (33.7 x 26 cm.), Frame: 15 3/4 x 19 in. (40 x 48.3 cm.)
• A Derbyshire inlaid hardstone paperweight,
  A Derbyshire inlaid hardstone paperweight, J Tennant successor to S Mawe, No. 149 Strand, decorated a flowering branch, 16cm x 10cm and a small carved stone book inscribed 'From the Chapel on Old London Bridge', 7.5cm x 7.5cm/Provenance: The Estate of the late Diana & Gospatric Home, Lily Farm, Bucks
• (6) Wedgwood transferware Bowdoin college
  (6) Wedgwood transferware Bowdoin college plates, 10-1/2" dia each, to include Walker Art Building, chip to rim, The Campus in 1822, flake to edge, Hubbard Hall, The Chapel, flake to rim, Massachusetts Hall and Class of 1878 Gateway.
• John Doyle (born 1928)/View of the Chapel,
  John Doyle (born 1928)/View of the Chapel, Eton/signed/watercolour and gouache, 28cm x 44cm/Provenance: from the Estates of Lord & Lady Charteris/Note: An 80th birthday present to Lord Charteris together with a book of best wishes from the staff and pupils at Eton
• POLYCHROME STUCCO FIGURE GROUP OF THE
  POLYCHROME STUCCO FIGURE GROUP OF THE MADONNA AND CHILD FROM THE WORKSHOP OF ANTONIO ROSSELLINO CIRCA 1450 the Virgin depicted wearing a red gown and blue mantle with a white headcovering edged in ochre, her dark blond curls emerging from underneath, her head turned slightly downwards and to the left; the infant Christ seated in her left arm, his left arm raised with the hand placed at the base of her neck, his left foot held tenderly in her right hand; on a polychromed and gilt hexagonal wood base58cm highProvenance:D'Arcy Osborne, 12th Duke of LeedsBardrochat House, South AyrshireNote: A note on the back states that this Madonna and Child was identified as coming from the workshop of Jacopo della Guercia [sic] circa 1450: that the identification was made by a ‘Professor Pollack’ and that the group was a gift to a member of the vendor’s family from D’Arcy Osborne, the 12th Duke of Leeds [1884-1964] - who served as Ambassador to the Holy See from 1936-1947.The unusual spelling of the ‘surname’ of Jacopo as Guercia is now actually believed to be correct, meaning that the sculptor was son of a woman with a squint, rather than -more romantically - ‘of the oak-tree’ (Quercia). ‘Professor Pollack’ in Rome at this period must mean the connoisseur-dealer Lodovico [Ludwig] Pollak, author of the de luxeCatalogue of Italian Bronzes in the Barsanti Collection, Rome, 1922. The attribution was at the time, therefore, authoritative: by dating it c.1450, and giving it to ‘the workshop’, Pollak meant to exclude it from being autograph, for he must have known that the sculptor died twelve years earlier.The Duke of Leeds, KCMG (1884-1964), a British diplomat known between 1943 and 1963 as Sir D’Arcy Osborne [Wikipedia] seems to be just the sort of - more or less ‘ex-pat’ Catholic gentleman - of high diplomatic standing in the Vatican, who might have managed to obtain a genuine example of 15th century sculpture. When Italy declared war on the UK in 1940, Osborne, accredited to the Holy See but living in Italian territory, moved inside the Vatican according to arrangements made under the Lateran Treaty and would be immured inside the Vatican until the liberation of Rome in 1944. There he was creditably involved with helping to save around 4,000 Jewish refugees and Allied POW escapees; as well as participating in a plot with some German generals to overthrow Hitler in 1940.The fact that the sculpture is made of plaster implies the existence of an ’original’ perhaps now lost, and probably modelled in terracotta and maybe even carved in the more demanding material of marble: like the present replica these would have been painted in pleasing natural colours. But ours is not to be found among the standard repertory of such Madonna reliefs, which were mandatory for private devotions in any middle- or upper- class lady’s bedchamber, in order to intercede for aid with conception and childbirth. The series started with alternative compositions by and after Ghiberti or Donatello. But, to modern eyes, the elegant, ‘fashionably’ elongated, oval face of this young lady, with her straight, Grecian nose, rosebud lips, high-arching eyebrows and very high forehead, framed in neatly curled ringlets of hair and a light veil, suggests an artist of the generation after them or Della Quercia, one that invented the ‘Sweet style’ of the mid-century (See Charles Avery, Florentine Renaissance Sculpture, London/New York, 1970, chapter 5). These pioneers were closely followed by Desiderio da Settignano and Antonio Rossellino; and it is with the latter that the closest analogies for the general style and particular features of the Leeds Madonna are to be found.Several of his Madonnas have survived in marble and the one in the chapel of the Cardinal of Portugal in San Miniato al Monte, Antonio’s masterpiece in this field, was completed in 1466.It is difficult to compare sculptures in crystalline, white marble with those that have been naturalistically painted and so a comparison is made here with a painted excerpt from the Portugal Madonna that had been acquired by Conte Umberto Serristori of Florence from an antique dealer in Perugia in 1915 (last sold by Sotheby’s, Florence, on 6 June 2007, lot 291).The ‘aristocratic’ facial type that Rossellino employed for the Queen of Heaven in that rendering is also to be found in a marble panel probably originating from the Medici collection, but since 1626 in Innsbruck and Vienna, and in the Leeds Madonna.- Dr Charles Avery, independent art historian and former Deputy Keeper of the Department of Sculpture at the V&A Museum
• A.W.N. PUGIN (1812-1852) OR E.W. PUGIN
  A.W.N. PUGIN (1812-1852) OR E.W. PUGIN (1834-1875) NEEDLEWORK CARPET, CIRCA 1850 wool, with hessian backing384cm x 95cmProvenance: St. Leonards - Mayfield Chapel, Mayfield, Sussex, England.Note: The remains of a medieval palace belonging to the Archbishops of Canterbury was converted into a school, Mayfield School of the Holy Child, by Edward Welby Pugin in 1863-6. This needlework rug originally ran the entire length of the Chapel. Due to the sheer scale of the work, the rug was constructed in small, panelled sections and later stitched together to form the carpet. Hand-stitched by the sisters of Mayfield Chapel, the carpet was produced for Mother Cornelia Connelly, founder of the Society of the Holy Child Jesus. The border has verses from Psalm 112 verses 5 and 6 ET HUMILIA RESPICIT IN CAELO ET IN TERRA/ SUSCITANS A TERRA INOPEM ET DE STERCORE ERIGENS PAUPEREM, translating from Latin as 'Good will come to those who are generous and lend freely,who conduct their affairs with justice/ Raising up the needy from the earth, and lifting up the poor out of the dunghill'. As in other projects, E.W. Pugin continued to use the decorative designs of his father of which this may be one.
• AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852)
  AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852) OR EDWARD WELBY PUGIN (1834-1875) NEEDLEWORK RUG, CIRCA 1860 wool, with later linen backing, with later cotton binding to each end, the panel a section of a larger carpet, panels bearing the cypher M with coronet225cm x 112.5cmProvenance: St. Leonards - Mayfield Chapel, Mayfield, Sussex, England.Note: The remains of a medieval palace belonging to the Archbishops of Canterbury was converted into a school, Mayfield School of the Holy Child, by Edward Welby Pugin in 1863-6. This needlework rug originally ran the entire length of the Chapel. Due to the sheer scale of the work, the rug was constructed in small, panelled sections and later stitched together to form the carpet. Hand-stitched by the sisters of Mayfield Chapel, the carpet was produced for Mother Cornelia Connelly, founder of the Society of the Holy Child Jesus. As in other projects, E.W. Pugin continued to use the decorative designs of his father of which this may be one.
• GERMAN HUMMEL PORCELAIN FIGURINE: ''Chapel
  GERMAN HUMMEL PORCELAIN FIGURINE: ''Chapel Time'' HUM #442 TM-6 (1979-1990). Dimensions: 7''L x 6.5''W x 11.5''H. The chapel is in very good condition with light wear and a very small chip to the back.? The clock is in working condition.
• An American Gothic Wrought Iron and
  An American Gothic Wrought Iron and Tôle Lantern c. 1889 rope twist iron structure the arched window and quatrefoil panels surmounted by fleur-di-lis retains original chain height 51 in. diameter 23 in. Provenance: Christ Church Cathedral Chapel 2901 St. Charles Avenue New Orleans. Sold for the Benefit of Christ Church Cathedral. Note: When Christ Church was founded in 1803 it was the first non-Roman Catholic church in the entire Louisiana Purchase Territory. The first three church buildings designed respectively by Henry Boneval Latrobe (1816) James Gallier Sr. and James H. Dakin (1835) and Thomas K. Wharton (1845) were all on Canal Street adjacent to the French Quarter. The fourth church building was designed by Lawrence B. Valk of New York c. 1886 and built in the Garden District at 2901 St. Charles Avenue. Valk who specialized in churches published Church Architecture in 1873. The lantern offered here is an original fixture of the chapel. It was removed when the lighting was reconfigured during a renovation in the mid-20th century.
• A Russian Imperial Palace Chapel Silk
  A Russian Imperial Palace Chapel Silk and Silver Thread Brocade Textile Fragment ca. 1850 The ecclesiastical design is that of the Russian Orthodox Church in hand embroidered gold silk with silver thread. A paper label verso with the Russian Imperial double-headed eagle and text "From a collection assembled from the Chapels of the Russian Imperial Palaces consisting of hand-loomed brocades damasks hand cut velvets and altar sets. The metal brocades are woven with genuine gold and silver threads. c.1850. Russian Imperial Exhibit". Framed in a gilt wood frame inside of a wood shadow box with black finish. Fit to hang on the wall either vertically or horizontally. The textile measures apprx. 24-1/4" x 18" and overall with the frame apprx. 28-1/2" x 22-1/2".
• Lot. (Philadelphia.) Girard College
  Lot. (Philadelphia.) Girard College - Pamphlets & C: Chandler, Joseph R.; Jones, Joel. Addresses Delivered on The Occasion of Opening The Girard College for Orphans, January 1, 1848. Philadelphia: Crissy & Markley, 1848. 8vo, orig. printed green wrappers; a few cello-tape repairs, ink annotation at head. Internally generally clean. * Comegys, Benjamin B. Turn Over a New Leaf: Two Lectures Delivered in The Chapel of The Girard College, August and September, 1887. Philadelphia: [for Girard College], 1887. 12mo, orig. printed grey wrappers; some chipping to edges, upper right corner chipped away, ink stamp at head. Internally generally clean. * _ _. An Address Delivered in The Chapel of The Girard College, May 23, 1897. Philadelphia: Burke & McFeteridge [for Girard College], 1897. 8vo, orig. printed wrappers; cello-tape repair, Girard College ink & perforated stamps. Ink stamp on title page. Internally generally clean. Lot also includes 5 20th-Century (pre 1950) pamphlets & c issued by or relating to Girard College.