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SHEPARD FAIREY,ENHANCED DISINTEGRATION (RED),Screenprint in colours on speckled cream paper, signed in pencil, dated and and marked AP,45cm x 60cm,Artist Proof. 2019Shepard Fairey is an American graphic artist and social activist who is part of the Street Art movement. Born on February 15, 1970 in Charleston, South Carolina, Fairey graduated from the Rhode Island School of Design in 1992 where he earned his Bachelor of Arts in illustration. In 1989 Fairey created the André the Giant Has a Posse sticker campaign, featuring a stylized image of the wrestler André the Giant. This project was the foundation for his seminal Obey series, which helped to push Fairey into the public spotlight. Fairey blurs the boundary between traditional and commercial art through type and image, communicating his brand of social critique via prints, murals, stickers, and posters in public spaces. His works are included in the collections of the Smithsonian in Washington, D.C., the Los Angeles County Museum of Art, and the Victoria and Albert Museum in London.

SHEPARD FAIREY,OBEY DECO FLOWER (BLACK),Screen print on speckle tone paper, signed in pencil, dated and and marked AP,45cm x 60cm,Artist Proof. 2019Shepard Fairey is an American graphic artist and social activist who is part of the Street Art movement. Born on February 15, 1970 in Charleston, South Carolina, Fairey graduated from the Rhode Island School of Design in 1992 where he earned his Bachelor of Arts in illustration. In 1989 Fairey created the André the Giant Has a Posse sticker campaign, featuring a stylized image of the wrestler André the Giant. This project was the foundation for his seminal Obey series, which helped to push Fairey into the public spotlight. Fairey blurs the boundary between traditional and commercial art through type and image, communicating his brand of social critique via prints, murals, stickers, and posters in public spaces. His works are included in the collections of the Smithsonian in Washington, D.C., the Los Angeles County Museum of Art, and the Victoria and Albert Museum in London.

SHEPARD FAIREY,OBEY PEACE DOVE HOLIDAY,Screenprint in colors on wove paper, signed in pencil, dated and and marked AP,45cm x 60cm,Artist Proof 2020,This print was not publically available, they were given as gifts to friends and familyShepard Fairey is an American graphic artist and social activist who is part of the Street Art movement. Born on February 15, 1970 in Charleston, South Carolina, Fairey graduated from the Rhode Island School of Design in 1992 where he earned his Bachelor of Arts in illustration. In 1989 Fairey created the André the Giant Has a Posse sticker campaign, featuring a stylized image of the wrestler André the Giant. This project was the foundation for his seminal Obey series, which helped to push Fairey into the public spotlight. Fairey blurs the boundary between traditional and commercial art through type and image, communicating his brand of social critique via prints, murals, stickers, and posters in public spaces. His works are included in the collections of the Smithsonian in Washington, D.C., the Los Angeles County Museum of Art, and the Victoria and Albert Museum in London.

SHEPARD FAIREY,OBEY HOLIDAY PRINT RED/GOLD,Screenprint in colours on wove paper, signed in pencil, dated and and marked AP,45cm x 60cm,Artist Proof 2021,This print was not publically available, they were given as gifts to friends and familyShepard Fairey is an American graphic artist and social activist who is part of the Street Art movement. Born on February 15, 1970 in Charleston, South Carolina, Fairey graduated from the Rhode Island School of Design in 1992 where he earned his Bachelor of Arts in illustration. In 1989 Fairey created the André the Giant Has a Posse sticker campaign, featuring a stylized image of the wrestler André the Giant. This project was the foundation for his seminal Obey series, which helped to push Fairey into the public spotlight. Fairey blurs the boundary between traditional and commercial art through type and image, communicating his brand of social critique via prints, murals, stickers, and posters in public spaces. His works are included in the collections of the Smithsonian in Washington, D.C., the Los Angeles County Museum of Art, and the Victoria and Albert Museum in London.

ALESSIO-B,MY WORLD,Giclee print on Fedrigoni 300 gsm paper,45cm x 32cm,Artists proofBorn in Italy, Alessio-B is a stencil artist who creates unique works often with a message of peace and love. It all started during his college years, while studying architecture in Venice, when the artist was exposed to the works of Blek Le Rat and Banksy. It didn’t take him long before he started experimenting in graffiti writing and becoming an artist in his own right.

ALESSIO-B,GROW LOVE (GREY),Giclee print on Fedrigoni 300 gsm paper,45cm x 32cm,Artists proofBorn in Italy, Alessio-B is a stencil artist who creates unique works often with a message of peace and love. It all started during his college years, while studying architecture in Venice, when the artist was exposed to the works of Blek Le Rat and Banksy. It didn’t take him long before he started experimenting in graffiti writing and becoming an artist in his own right.

JONAS WOOD SIGNED BOOKJonas Wood is an American artist who is known for his bold, graphic artworks that challenge ideas of perspective. Wood’s instantly recognisable aesthetic is heavily inspired by both art history and the artist’s daily environment. Wood’s process of creation involves a series of steps, but most of his works originate from a single photo.

MATT SMALL,ALEXANDRIA,Hybrid lithograph giclee, signed and numbered,43cm x 59cmEdition of 4Primarily a painter, London based Matt Small has a strong, compelling style, often choosing discarded objects like car bonnets or old signs instead of canvas for his work. “The theme of his work is young, dispossessed people: individuals who feel undervalued, who don’t have a voice, who get looked over.” Small explains how the urban debris he paints on becomes symbolic of the feeling of being without value: “I thought it’d be interesting to connect the two – that oven door, that shelving unit, that piece of trash to someone – I don’t see it like that, I see that it can be something beautiful and worthwhile. That’s how I see our young people too. Let’s look at their potential, at the hope that’s in all of them"Condition is good overall

MATT SMALL,KARINA,Lithograph print, signed,38cm x 56cm,Printers proofPrimarily a painter, London based Matt Small has a strong, compelling style, often choosing discarded objects like car bonnets or old signs instead of canvas for his work. “The theme of his work is young, dispossessed people: individuals who feel undervalued, who don’t have a voice, who get looked over.” Small explains how the urban debris he paints on becomes symbolic of the feeling of being without value: “I thought it’d be interesting to connect the two – that oven door, that shelving unit, that piece of trash to someone – I don’t see it like that, I see that it can be something beautiful and worthwhile. That’s how I see our young people too. Let’s look at their potential, at the hope that’s in all of them

GETTING UP TO STUFF ,BEAR WITH ME,Digital print on 380 gsm Hahnemuhle Photo Rag. Cut edges,50cm x 40cm,Timed edition, No 41Getting Up To Stuff is the moniker of a Bristol artist who prefers to stay anonymous but whose work is becoming increasingly more appreciated when it appears in sometimes extremely unlikely locations.

K-GUY,COKE MOSS - WHITE EDITION,3 Colour hand pulled screen print on 300gsm Snow White Peregrina Majestic, signed/blind stamped/numbered by artist,69cm x 69cm,Edition of 25K-Guy is a visual artist who lives and works in the epicentre of the street art scene, London. The artist is best known for his sharp analyses and off-the-mark responses to what goes on around him, politicians, religious leaders, fast food outlets and entire economic systems have all been examined in K-Guy’s work. For his controversial and quirky works in the streets of London, K-Guy received worldwide media attention several times. Renowned works from the artist include his collaboration with the Prodigy on a limited edition print which sold out instantly and his iconic best sellers ‘Coke Moss’, ‘Naomi Campbell’s, ‘Pepsi Cara and LINDA EVANGELISTa’.

THE LONDON POLICE,BOND AT SEA,2 colour screenprint on Hahnemuhle 300 gsm paper, signed and marked AP,60cm x 60cm,Signed and marked Artists proofThe London Police is an art collective started in 1998 when two English geezers headed to Amsterdam to rejuvenate the visually disappointing streets of Hollands capital. They were part of a small group of artists at the end of the last century that helped pioneer the street art movement. After a few years of mixing traveling and making art in the street TLP began to receive worldwide recognition for their contribution to the graffiti/street art movement. The London Police are Chaz Barrisson who draws the iconic ‘LADS’ character and Bob Gibson whose tight portrait and architectural illustrations help marry the two styles to create an endearing, exciting fantasy world...

SWOON,PIGEON FEEDING FAMILY, BROOKLYN 2005,Inkjet print on heavyweight rag, signed and numbered,48cm x 33cm,Edition of 175Caledonia Curry, who works under the moniker Swoon, unites art and activism throughout her expansive multimedia practice. Swoon is perhaps best known for her monumental structures that explore how communities can heal through crisis, and for her large-scale, cut-out portraits of everyday city dwellers, which she often wheatpastes on the sides of buildings. She also works across printmaking, installation, animation, and other media. Swoon studied at Pratt Institute and has exhibited in New York, London, Paris, Tokyo, and Los Angeles. Her work belongs in the collections of the Museum of Modern Art, the Tate, the São Paulo Museum of Art, and the Institute of Contemporary Art, Boston.

HIJACK,YOU'RE NEVER TO YOUNG TO DREAM BIG,Hand finished screenprint on paper, signed to front and stamped verso,46cm x 46cm,1 of 1Born and raised in Los Angeles, Hijack is a contemporary artist who combines fine art and street art to create visual commentaries inspired by social and political issues. His work ranges from one color stencils to large-scale murals executed with painstaking realism. The son of ‘Exit Through the Gift Shop’ star Mr. Brainwash, Hijack, grew up in a world surrounded and inspired by renowned street artists such as Invader, Banksy, and Shepard Fairey. He was able to observe first hand the creative processes of some of the world’s most prolific and successful street artists. He learned how to set up his own studio, how to approach a large-scale mural, and even how to stealthily--albeit illegally--put up stencil art.Condition is good overall

BEN TURNBULL,GUNG HO,Digital inkjet print with a screen printed varnish overlay on somerset satin 330 gsm, enhanced paper,75cm x 75cm,From an edition of 50Ben Turnbull is a British contemporary pop artist who, fascinated by the dominance of American culture, crafts his realizations about the country’s relationship with violence by adopting toys and objects from the Americana youth. Born in 1974 in London, Turnbull is a self-taught artist and craftsman. As a child, Ben found escape through comic books which heavily influenced his future art.

ROB CARTER,TS20 XPU-HA BEACH (WITH RED BOAT), MEXICO, 2007,Cibachrome print, signed verso,60cm x 60cm,Edition 2 from an edition of 12,framedRob and Nick Carter are a husband and wife artistic duo who have been collaborating for over 20 years. Their work is housed in the collections of The Mauritshuis, The Hague; The Frans Hals Museum, Haarlem; The Frick, Pittsburgh; The Victoria & Albert Museum, London; The David Roberts Foundation, London; The Städel Museum, Frankfurt; and The Fondation Custodia, Paris, as well as being the only living artists to show a work at the Frick Museum, New York.

CAMERON BUCHANAN,THISTLE,Acrylics on a lightly textured canvas with white wood frame, signed verso,image size 39cm x 59cmOriginalCameron Buchanan is a Scottish Artist and who works in oils, Acrylics and textured mediums to produce a varied collection of artwork. His background has always involved art in one form or another, as well as working in the fields of mental health, graphic design and teaching.

OPIE,HELLO SWATTY,Spray paint on canvas, signed,40cm x 40cm,OriginalOpie is a Cambridgeshire based street artist, who operates under his tag name producing spray paint works on the street and on canvas. Each piece originates as a labour intensive hand cut stencil before using spray paints in several layers. Opie’s style is part of the legacy of stencil based street artists such as Banksy and Blek Le Rat, but with his own unique take. Opie’s street work can be viewed around the streets of central Cambridge and further afield.

OPIE,SOPHISTICATLE AND WISDOMISH,Spray paint on canvas, signed,42cm x 60cm,OriginalOpie is a Cambridgeshire based street artist, who operates under his tag name producing spray paint works on the street and on canvas. Each piece originates as a labour intensive hand cut stencil before using spray paints in several layers. Opie’s style is part of the legacy of stencil based street artists such as Banksy and Blek Le Rat, but with his own unique take. Opie’s street work can be viewed around the streets of central Cambridge and further afield.

Jack Goldstein (Canadian 1945-2003) Untitled acrylic on canvasDimensions:213cm x 274cm (83 7/8in x 107 7/8in)Provenance:Provenance:Private Collection, London, since 1992.Note: Described by David Pagel in The Times as ‘a master at capturing some of the mystery that lurks just beneath reality’s surface’, Jack Goldstein remains one of the most prominent figures in conceptual art and was heralded for his role in the re-birth of painting in the late twentieth century. Born in Montreal in 1945, he relocated to California with his family as a child. Goldstein received his training at the Chouinard Art Institute and as a member of the inaugural class of the California Institute of Arts, worked under the celebrated conceptual artist John Baldessari. After initial conceptual performance works in the early 1970s, he became involved in the Pictures Group. Taking their name from their 1977 exhibition Pictures at New York’s Artists Space gallery, the group including well-known figures such as Cindy Sherman and Robert Longo, strove to re-establish the genre of painting, with shared themes such as an interest in representational imagery and references to mass media. During the exhibition critic Douglas Crimp described Goldstein as the most prominent and most paradigmatic appropriation artist. In direct reaction to this classification Goldstein decided to start painting, continuing this for the rest of his life to the extent that many remember Goldstein primarily as a painter, rather than for his other achievements as film-maker, performance artist, musician and photographer. With their psychedelic imagery and supernova like epicentres, the current works reflect Goldstein’s interest in documentary and archival painting developed as he sought to capture ‘the spectacular instant’ that had predominately been the domain of photography. Each painting is quiet yet explosive, instantly impactful yet pensive, distinctly contemporary yet unequivocally intertwined with history. Often struggling with the notions of experience and presence, he was one of the first artists who sought others to carry out the physical production of his work. This desire to remove himself from his practice perhaps echoes his nihilistic explorations of the emptiness and purpose of postmodern society via authorship and documentation. Critic Ronald Jones notably described Goldstein’s painting practice in 1987 explaining ‘Time and again he portrays the spectacular instant, its gorgeous effects: intimidating thunderstorms, majestic views of interstellar space, the staggering effects of computer imaging, the utter silence of night flying. Before his pictures it is natural to remember the vivid and poignant scenes of J.W.M. Turner and Frederic E. Church, or James McNeill Whistler’s Nocturne in Black and Gold: The Falling Rocket. It is natural, but rarely useful. Goldstein portrays the drama of split-second timing, the precipitous vision of the photograph and the video screen. It is his way to leave us without recourse to the narratives so necessary to the meaning of earlier art. Goldstein’s art suspends time and our gaze precisely at the point where origins and endings blur beyond recognition’ (R. Jones, Jack Goldstein: Recent Work, 1986-1987, New York, 1987, n.p.).

Jack Goldstein (Canadian 1945-2003) Untitled, 1988 signed, dated and inscribed 'A/C' (to reverse), acrylic on canvasDimensions:213.5cm x 243.5cm (84in x 95 7/8in)Provenance:Provenance:Private Collection, London, since 1992.Note: Described by David Pagel in The Times as ‘a master at capturing some of the mystery that lurks just beneath reality’s surface’, Jack Goldstein remains one of the most prominent figures in conceptual art and was heralded for his role in the re-birth of painting in the late twentieth century. Born in Montreal in 1945, he relocated to California with his family as a child. Goldstein received his training at the Chouinard Art Institute and as a member of the inaugural class of the California Institute of Arts, worked under the celebrated conceptual artist John Baldessari. After initial conceptual performance works in the early 1970s, he became involved in the Pictures Group. Taking their name from their 1977 exhibition Pictures at New York’s Artists Space gallery, the group including well-known figures such as Cindy Sherman and Robert Longo, strove to re-establish the genre of painting, with shared themes such as an interest in representational imagery and references to mass media. During the exhibition critic Douglas Crimp described Goldstein as the most prominent and most paradigmatic appropriation artist. In direct reaction to this classification Goldstein decided to start painting, continuing this for the rest of his life to the extent that many remember Goldstein primarily as a painter, rather than for his other achievements as film-maker, performance artist, musician and photographer. With their psychedelic imagery and supernova like epicentres, the current works reflect Goldstein’s interest in documentary and archival painting developed as he sought to capture ‘the spectacular instant’ that had predominately been the domain of photography. Each painting is quiet yet explosive, instantly impactful yet pensive, distinctly contemporary yet unequivocally intertwined with history. Often struggling with the notions of experience and presence, he was one of the first artists who sought others to carry out the physical production of his work. This desire to remove himself from his practice perhaps echoes his nihilistic explorations of the emptiness and purpose of postmodern society via authorship and documentation. Critic Ronald Jones notably described Goldstein’s painting practice in 1987 explaining ‘Time and again he portrays the spectacular instant, its gorgeous effects: intimidating thunderstorms, majestic views of interstellar space, the staggering effects of computer imaging, the utter silence of night flying. Before his pictures it is natural to remember the vivid and poignant scenes of J.W.M. Turner and Frederic E. Church, or James McNeill Whistler’s Nocturne in Black and Gold: The Falling Rocket. It is natural, but rarely useful. Goldstein portrays the drama of split-second timing, the precipitous vision of the photograph and the video screen. It is his way to leave us without recourse to the narratives so necessary to the meaning of earlier art. Goldstein’s art suspends time and our gaze precisely at the point where origins and endings blur beyond recognition’ (R. Jones, Jack Goldstein: Recent Work, 1986-1987, New York, 1987, n.p.).

Gerald Summers (British 1899-1967) for Makers of Simple Furniture NESTING TABLES, CIRCA 1935 birch plywoodDimensions:The largest: 44.5cm high, 61.4cm wide, 35.5cm deep (17 3/8in high, 24 1/4in wide, 14in deep)Provenance:Provenance: Purchased new by C. Handisyde Architect & author and thence by descent;Private Collection, U.K. where acquired by the current vendor.Cecil Handisyde (b.1908) was one of a team of architects who designed the Lansbury Estate in Tower Hamlets, London; a redevelopment project following the damage suffered during WWII. The first phase of building was undertaken as the 'live architecture' element of the 1951 Festival of Britain exhibition. Handisyde together with D. Rogers Stark were responsible for the design of the Trinity Congregational Church (now Methodist) on East India Dock Road. The church was a strikingly modern light and airy space designed to be versatile and also to continue its role as a community and social centre.

Emily Rebecca Prinsep (1798-1860), William Prinsep and his teachers, 1815, pen, ink and pencil, signed and dated "W.P. unusually studious Argyle St. 1815", mounted, glazed and framed, 11.5cm x 19cm.Provenance: Private Collection of J.P. Losty (1945-2021), formerly curator of Indian Visual Materials at the British Library; acquired Abbott & HolderBorn in London in 1798 and died in Reading in 1860, Emily drew images of her father and brother, and painted watercolours of family life in their London landscape. She lived with her ageing parents in London until her mother’s death in 1850 and corresponded regularly with her brothers in India, particularly James Prinsep. Emily was well-known to the Prinseps of Henry’s generation, who often used to spend holidays at the house she shared with her parents in Great Cumberland Street, London.Please refer to department for condition report

Women collecting water encounter Lord Krishna, attributed to Bhagvan, Kulu, circa 1790-1800, gouache on paper heightened with gold, Krishna, light blue, is standing holding a bow to the right of the scene, while one woman bows before him to fill her lota with water and four other stand behind, the background is an orange red and there are large lily pads and lilies floating on the river before them, in mount, painting 16.7 x 13.2cm. Provenance: Acquired from Professor Simon Digby ( 1932-2010) the English oriental scholar, translator, writer and collector who was awarded the Burton Medal of the Royal Asiatic Society and was a former Fellow of Wolfson College, Oxford, the Honorary Librarian of the Royal Asiatic Society and Assistant Keeper in the Department of Eastern Art of the Asmolean Museum in Oxford. He was also the foremost British scholar of pre-Mughal India.This is one of a small series of very similar paintings six more of which, purchased by the Victoria and Albert Museum in 1952, are reproduced by W.G. Archer (Indian Paintings from the Punjab Hills, London, 1973, nos.40(i) and 40(ii)). He discusses the reasons for attributing them to Bhagvan, principally on the basis of their similarity to three other series which are signed by or have contemporaneous ascriptions to this artist.. Some losses to pigment, creases and losses to surface, the bottom left corner is missing is a rectangular section

The opening folio of a Rasamanjari of Daruja Khan, Deccan, Aurangabad, dated 1650, opaque watercolour and gold on paper, two ladies sit on an orange floral carpet in a small chamber which is decorated with a colourful painted frieze, the girl on the right is offering a lotus flower to her companion, the scene is within a thin gilt border with black and red rules, 2 line inscription to the top, the reverse with 12 lines of text, a second attached folio with 15 lines of text on front and back, some words highlighted in red, folio 17 x 21cm., image 11.6 x 15.5cm.Provenance: Simon Digby CollectionThe colophon to the Rasamanjari series to which this page belongs states that it was completed at Aurangabad for a price of a fief of Mewar. The manuscript was published by S. Doshi, 'An Illustrated manuscript from Aurangabad dated 1650 A.D.', Lalit Kala, no.15, pp. 19-28, who posited that the patron was serving in the Mughal armies campaigning in the Deccan. This would account for the synthesis of Mughal, Rajasthani and Deccani styles. This Rasamanjari series is very closely related to a Ragamala set of which pages are published in M. Chandra, Mewar Painting, Delhi 1957, pl.7; S.C. Welch, M.C. Beach, Gods, Thrones and Peacocks, New York 1965, n. 18, and S. Canby, Princes, Poets and Paladins, British Museum 1998, no. 127. Both manuscripts are distinguished by their deep and vibrantly contrasting colours. Two other paintings from this Rasamanjari were sold at Sotheby's. 7 July 1975, lots 86-87. Please refer to department for condition report

Two illustrated leaves from a Jain Kalpasutra manuscript. Western India, probably Gujarat, 18th century, opaque pigments heightened with gold on paper, each folio depicting a seated Jain deity to one half of the folio and text to the other, the reverse with plain text, each approx. 28.5 x 12cm. (2)Provenance: Private European CollectionThe Kalakacaryakatha tells the story of the Jain monk, Kalaka, who invited an army of Saka warriors (also known as Scythian) in order to rescue his sister, who had been captured by King Gardhabilla. Texts were normally appended to the end of manuscripts of the Kalpasutra: however, the numeral 5 which appears on one of the leaves indicates that these leaves derive from an independent Kalakacaryakatha manuscript. The illustrations depict Indra in two forms, as himself and as an ascetic, paying homage to Kalaka. Another depicts an army besieging the city of Ujjain in Malwa, which had been captured by King Gardhabilla, and in the process rescuing Kalaka's sister.Please refer to department for condition report

Krishna plucking a thorn from Radha's foot, Bahsoli, Central India, mid-18th century, opaque pigments on paper, Krishna shown kneeling and inspecting the raised foot of Radha who leans towards her lover, set within a stylized landscape of mountains, trees and blossoms, with single line of devanagari text to upper left, 22.2 x 14.4cm. Provenance: Private collection Peter Cochrane (1913-2004); acquired Kasmin Gallery 17 April 1969Peter Cochrane was an art dealer who brought American Expressionism to Britain in the 1950s and was director of Arthur Tooth & Sons in Mayfair. He championed a new generation of British artists in the 1960s including Howard Hodgkin and Allen Jones.Please refer to department for condition report

A deeply carved sandstone element from a balcony or a Jharokha window, Rajasthan, Jaisalmer, late 18th-early 19th century, the central panel decorated with two deeply carved pearl roundels enclosing perforated stars around a central lotus bud, separated by ridged columns, below are a row of strutting peacocks and above a band of dynamic and intricate vegetal arabesque typical of the fusion of Hindu and Muslim styles and craftsmanship, 46cm. high x 66.5 cm. diam. x 6.5cm.This fragment is likely from a grand Hindu haveli mansion, very similar in style to the Salim Singh haveli in Jaisalmer. Jaisalmer is renowned for its particular pale sandstone and for its distinctive style of architectural decoration. It is particularly noted for its havelis. Salim Singh was a member of an important Mohata family who had been serving as diwans to the Maharawal before him and became Diwan in succession to his father, Sarup Singh, who was murdered in 1783. By the end of the 18th century, Salim Singh became the most powerful person in Jaisalmer, controlling access to the Maharawal. He also became immensely wealthy. In 1823 two noblemen attempted to murder him but failed. He died a few days later when one of his wives successfully poisoned him and he was then succeeded in office by one of his three sons.Please refer to department for condition report

A very rare early illustration to a mid-13th century obscene poem, Bukhara, Iran, late 16th century, ink and opaque pigments heightened with gold, depicting lovers including a figure in a distinctive black hat, in various coupling positions in a brightly coloured and patterned tile interior, with 2 lines of Persian nasta'liq above and below within cloudbands on a gold ground, and diagonal line of the same above and below, outer border decorated in gold with animals on a floral ground, signature top left, mounted, glazed and framed, painting 26.5 x 17cm. Provenance: Estate of costume designer Anthony Powell (1935-2021)Ostensibly, this single folio was part of a manuscript of the collected works (Kulliyāt) of the renowned Persian poet and mystic, Saʿdī of Shiraz (d. 1292 CE). The painting is partially framed by five couplets that belong to a short narrative poem (masnavī) that is found in the little-studied and unpublished collection of Saʿdī’s obscene works (khabīsāt), which are featured prominently in the earliest manuscripts of the Kulliyāt (see D. Ingenito, Beholding Beauty: Saʿdi of Shiraz and the Aesthetics of Desire in Medieval Persian Poetry). The poem, which comprises seventy couplets, recounts the story of a handsome young man who marries an uncomely and ill-mannered woman. Upon experiencing an erotic fiasco during their first night together, the young man begs his father-in-law to allow him to divorce his wife. The father rejects this request by telling the young man that he would have to spend time in jail in order to pay back his daughter’s dowry. After thinking at length about his miserable condition, the young husband resorts to the uncanny expedient of seducing and sexually subjugating his wife’s entire family and entourage, without discriminating between women and men of any age. Being the only family member who has not been assaulted by the young man, the father consents to the divorce of the couple with no further hesitation. The five couplets quoted in this folio pertain to the central part of the poem, which offers a detailed description of the orgiastic spree undertaken by the young man. As is often the case with Saʿdī’s obscene works, in these lines, explicit descriptions of sexual acts are juxtaposed with delicate similes and metaphors that are drawn from the poet’s inimitable lyric styleThe combination of high and low poetic registers in Saʿdī’s ludic narration in verse is reflected in the stylistic elegance with which the painting portrays scenes of sexual disinhibition. In fact, in this folio (if one takes into account the contents of the entire poem), the visual and literary texts simultaneously stage the lewd and the alluring dimensions of eroticism: intimate body parts are covered and uncovered by fine garments, while mechanical forms of sexual penetration reveal seductive tensions between bodies enraptured by desire. The decorative aspect of pieces of clothing, rugs, curtains, along with the delicate rotation of different limbs, seems to mimic the rhetorical embellishments with which Saʿdī’s lines describe multiple forms of vaginal and anal intercourse. Whereas the poem, line by line, offers a list of the young man’s sexual encounters with the members of his wife’s family in chronological order, the painting portrays all of them simultaneously. The orgiastic aesthetics of the visual representation does not allow onlookers to recognize specific details found in the poem (apart from a candle held by a young man on the bottom right). The young husband, as a serial penetrator, occupies a different timeframe in each section of the painting. While his physical features appear to be always the same, different erotic settings are distinguished by different garments. At the center of the painting, as a bizarre variation of the erotic scenes, the young husband appears to have a darker skin color. Moreover, instead of having sex with a beardless male or female youth, the darker boy seems to be penetrating a bearded man. A man with similar facial features and hair appears on the top right of the painting. One could assume that this adult male is the visual depiction of the young man’s father-in-law who, in the versified plot, fears the sexual intentions of his daughter’s husband after having been made aware of the erotic tumult he has brought to his family.Stylistic features of this painting suggest that it was produced in Shiraz between the 1560s and the 1570s CE (see, for instance, a Gulistān copied in Shiraz in 1575). Visual representations of Saʿdī’s bawdy verses (and, in general, of obscene poetry) are extremely rare before the 17th century. Nonetheless, a manuscript of Saʿdī’s Kulliyāt copied in Shiraz in 1566 (British Library, Add. 24944) presents a painting that is strikingly similar to this one [reproduced by Boone, see attachment] and illustrates exactly the same erotic masnavī. Even though both Lâle Uluç and Joseph Allen Boone misread Saʿdī’s poem as a text on “lovemaking techniques” and its visual representation found in Add. 24944 (f. 333) as a “brothel scene,” these documents attest to the existence of a Saʿdī-centric tradition of erotic iconography that developed in Shiraz during the second half of the 16th centuryWith special thanks for this cataloguing to Domenico Ingenito, Associate Professor of Persian Literature, University of California, Los AngelesFolio stuck down

A rare Ottoman 'Miletus' ware pottery bowl, Turkey, 14th-15th century, slip-decorated earthenware body with dark and lighter blue, mauve, the foliate stylised designs against a cream ground, fragments reconstructed into bowl with infill, underside of foot handwritten 'Miletos ware, see page 142, The Iznik Tile, Kiln Excavation, 1981-88', 19.1cm, diam.Provenance: Private Collection of Theo Sarmas (1938-2018). Theo Sarmas was a London businessman who was a passionate collector of Byzantine ceramics and Greek coinage. Princeton University, New Jersey holds the Theo Sarmas collection of medieval Greek coinage.This type of pottery, a pre-curser to Iznik ceramics, came to be known as 'Miletus' because examples were first excavated in the ancient town of Miletus in South-West Turkey, but have subsequently also been found in Iznik (Carswell 1998, p.29). Further examples of this type of rare pottery are in the Victoria and Albert Museum, London, inv. nos. C.17-1982 and inv. no. 792-1905. Please refer to department for condition report

Juz 10 of a a large Qu’ran, Persia, circa 1300, in its original binding, Arabic manuscript on paper, 31ff., with 5 ll. of black muhaqqaq script, titles in silver, with gold and polychrome verse markers, marginal medallions in gold on a red ground every 5th verse, marginal medallions in gold with silver surround and decorated with leaves every 10th verse, containing varying number of medallions and lozenges, in original extensively blind-tooled brown morocco binding, each with eight-lobed central medallion, flap with central field of interlocking strapwork, sewn on 3 cords, folio 44 x 31 cmProvenance: Private Collection Norway since the 1990’s with paper label "The Shoyen Collection".The Schøyen Collection was started around 1920 by Engineer M.O. Schøyen (1896-1962), father of Martin Schøyen, who collected some 1000 volumes of early and later editions of Norwegian and international literature, history, travel, science, as well as antiquities.Please refer to department for condition report

A page from an Arabic-Hebrew lexicon or reference book, India, Mughal, circa 1645, Arabic manuscript on paper, with 22ll. written in naskh with a lavishly illuminated chapter heading decorated with arabesques in gold and colours, verso with an illuminated shamsa, or sunburst medallion, containing the ink impression of the original owner's seal, inscribed: amir 'abd al-razzaq khan khanazad-i shah jahan 1055 (Amir 'Abd al-Razzaq Khan, born at the court of Shah Jahan, AH 1055/[1645-6 AD]'), with later scribal notations and another owner's stamp, mounted glazed and framed, 35cm. x 18 cm.Provenance: Spink & Sons, 1998Published: Paper, Parchment Steel & Stone, Calligraphy and the Arts of Islam from the 8th-19th century, exhibition catalogue 27 April - 15 May 1998, Spink, no. 11.According to Dr Ebba Koch, the text of this manuscript describes and analyses Hebrew words. It is a kind of dictionary. 'Abd al-Razzaq, the patron of this manuscript, was the son of Amir Khan, a high-ranking nobleman in the court of Shah Jahan, who served as governor of Thatta in Sindh. 'Abd al-Razzaq, his son, was styled ''khanazad'' because he was born of one already in service to the emperor. He was however less successful than his father. While Amir Khan attained the rank of 3000 zat/2000 sawar, 'Abd al-Razzaq attained the modest rank of 900 zat/3400 sawar. He died in the year AH 1063/1652-3 AD. Please refer to department for condition report

Orbeli, Iosif Abgarovich and Trever, Kamilla Vasilevna, Orfevrerie Sasanide: Objets en or, argent et bronze (Sasanidskij Metall: Chudozestvennye Predmety iz Zolota, Serebra i Bronzy), Moscow, Russia & St. Petersburg, Russia: Academia, 1935, 85 leaves of plates, text in Russian and French, published in conjunction with the III Congres International d’Art et d’Archeologie Iraniens, Memoires, Leningrad, in September 1935, original cloth as issuedIosef Abaraovitch Orbeli (1887-1961) was a Russian orientalist and academician who specialized in Iranian studies, Armenian and Kurdish philology, and archaeology. In 1920, he joined the Oriental Department of the State Hermitage Museum in Leningrad as a curator, and in 1926 he became the head of this department.  He played an invaluable role in the development of this department, which is still one of the richest departments of the State Hermitage Museum. In 1931, he participated in the second International Congress on Iranian Art and Archaeology in London and organized a rich exposition of art pieces from the State Hermitage and other Soviet museums. The great impression that this exhibition produced influenced the decision to organize the Third International Congress on Iranian Art and Archaeology in the USSR.  In the same year, a permanent exhibition of the Oriental Department was opened in the Hermitage Museum as a result of his extensive scholarly work.  In 1934, he was appointed the director of the State Hermitage Museum. He also took an active part in organizing the Third International Congress in Moscow and Leningrad in 1935. The art of Sasanian Iran, which had inspired craftsmen and artists of the Caucasus and Central Asia for many centuries, even after the fall of the Sasanian dynasty, was one of the major subjects of Orbeli’s research work.  He continued the scholarly traditions established by J. I. Smirnov.  The latter published his album Oriental Silver in 1909, which reproduced most of the pieces of Sasanian metalwork known by that time.  Smirnov, however, failed to publish his comments to the album, which still remain in manuscript form.  The results of his investigations were most probably well known to Orbeli, who was interested, not just in the different aspects of Sasanian art, but mainly in its influence on the art and culture of neighbouring peoples.  In his introduction to “Orfevrerie Sasanide” (published in 1935), he surveys the finds of Sasanian metal in Russia and suggests the possible ways they reached there.  Many of his suggestions on the trade routes that functioned in antiquity were confirmed by later investigations.  Ethnographic parallels allowed Orbeli to identify the function of some of the popular forms of vessels, such as “lobed bowls,” which were used for fruits and sweets. Orbeli did not write much about the technical aspects of Sasanian metal, since he was interested more in iconography and its development within the context of changing Iranian society. In 1955, Orbeli took the position of the head of the Oriental Faculty at Leningrad State University, and the following year he was appointed the head of Leningrad branch of the Institute for Oriental Studies, the USSR Academy of Sciences.  Under him the Institute quickly grew into the largest center of Oriental studies in the USSR. Kamilla Vasilevna Trever (1892-1974), was a Russian historian, numismatist and orientalist, specialized in the history and culture of Transcaucasia, Central Asia and Iran. Her major scientific contributions began after she was elected as a research fellow at the Imperial Archaeological Commission in 1918, and began her work at the State Hermitage Museum. Her work at the Hermitage began in the Greek-Scythian department and brought her into the orbit of Orbeli, with whom she would have a lifelong collaboration, working on Sasanian toreutics and numismatics, and pre-Islamic Iranian material culture and history more broadly. She was the force behind the 3rd International Conference in Iranian Art and Archaeology in 1935, which is remembered as a watershed moment for Soviet studies on Iran and the Near East.Please refer to department for condition report

A GEORGE III SILVER SOUP TUREEN AND COVER by Thomas Ellerton & Richard Sibley, London 1803, plain oval on four scroll feet with scroll bracket handles and rococo terminals, the domed cover with corresponding handle, engraved on the body with coat-of-arms and on the cover a crest. 38cm wideSir Stephen Richard Glynne 8th Bt. (1780-1815), of Harwarden Castle, Co. Flint, then by descent to his son, ‌Sir Stephen Richard Glynne 9th Bt. (1807-1874), of Harwarden Castle, Co. Flint, then by descent to his nephew, ‌William Henry Gladstone (1840-1891) of Harwarden Castle, Co. Flint, then by descent to his son, ‌William Glynne Charles Gladstone (1885-1915) of Harwarden Castle, Co. Flint, then by acquisition to his uncle, Henry Neville Gladstone, 1st Baron Gladstone of Hawarden (1852-1935), then by descent to his nephew, ‌Sir Albert Charles Gladstone 6th Bt. (1886-1967), of Harwarden Castle, Co. Flint, then by deed of gift in 1946 to his brother, ‌Sir Charles Andrew Gladstone 6th Bt. (1888-1968) of Harwarden Castle, Co. Flint, then by descent to his son, ‌Sir (Erskine) William Gladstone 7th Bt. K.G. (1925-2018), of Harwarden Castle, Co. Flint, then by descent.The arms are those of Glynne, for Sir Stephen Richard Glynne 8th Bt. (1780-1815), of Harwarden Castle, Co. Flint. He was born posthumously and came of age in 1801, when he commissioned his dinner service from Robert Sharp. He married Mary, daughter of Richard Aldworth Neville, 2nd Lord Braybrooke, in 1806. They had three children: a son named Stephen Richard, who succeeded his father as 9th baronet in 1815, a second son Henry who entered the church and a daughter named Catherine (d.1900), who married the Rt. Hon William Ewart Gladstone (1809-1898) M.P. for the University of Oxford in 1839 and Liberal Prime Minister of the United Kingdom on four occasions.

A collection of 7" vinyl records including The Beatles, The Rolling Stones, John Lennon, Elton John, The Who, Jerry Lee Lewis etc.

Carl Zeiss Jena Binocular Microscope no.342880, with four lens turret, condenser, plano/concave mirror, rotating circular stage, in wooden case with accessories; together with Reichert photographic attachment and other itemsFormerly the property of Hans Helmut Wundsch who was director of the Prussian State Institute for Fisheries in Berlin from 1925 until 1937. In 1937, for political reasons, the Nazi regime removed him from office and forced him to retire. After the war, it was also thanks to his commitment that fisheries research was rebuilt in Berlin. From 1947 he took over the management of the completely destroyed institute at the Müggelsee, which he headed from 1952 as "Institute for Fisheries of the German Academy of Agricultural Sciences" until his retirement in 1958.

Robert Morden map of Oxfordshire, a further Robert Morden map of Warwickshire, an 18th century coloured engraving of a view of the Royal hunters and of the gentleman independence of the city of York, who of their own choice and expense, took up arms for his Majesty, against the rebels in the year MDCCXLV and others (6)

Dorothy Braddell (1889–1981) Imperial Airways, The British Air-Line lithographic poster, 1926, condition A-; not backedDimensions:40 x 25 in. (102 x 64 cm.)Note: This rare poster was designed in 1926 by Dorothy Braddell, a British writer and designer who had "a significant impact on the design of kitchens and domestic appliances" and on ideas about more efficient home management.

§ After HENRI MATISSE (FRENCH 1869-1954) Nice lithographic poster, 1947, condition A; not backedDimensions:39 x 25 in. (99 x 64 cm.)Note: Note: In the 1960’s, President Charles de Gaulle, in the act of promoting France and French culture, appointed Andre Malraux as the Minister of Cultural Affairs. Malraux, who was a novelist and an art historian as well as a fervent supporter of de Gaulle, commissioned a series of lithographic posters by well known artists to promote French culture around the world.Many of the artists, if not French themselves, were active in France. Most of the artists (or the artist’s estates) agreed to have the best lithographers (mostly Charles Sorlier and Henri Deschamps) make faithful lithographic copies of their paintings.These lithographic posters were produced by the world-renowned lithographic printers – Mourlot of Paris.The current owner's father collected them at the time of the printing and has kept them flat and away from the light for 60 years.

§ MARC CHAGALL (RUSSIAN/FRENCH 1887-1985) Nice Soleil Fleurs lithographic poster, 1947, condition A; not backedDimensions:39. 5 x 24.5 in. (100 x 62 cm.)Note: Note: In the 1960’s, President Charles de Gaulle, in the act of promoting France and French culture, appointed Andre Malraux as the Minister of Cultural Affairs. Malraux, who was a novelist and an art historian as well as a fervent supporter of de Gaulle, commissioned a series of lithographic posters by well known artists to promote French culture around the world.Many of the artists, if not French themselves, were active in France. Most of the artists (or the artist’s estates) agreed to have the best lithographers (mostly Charles Sorlier and Henri Deschamps) make faithful lithographic copies of their paintings.These lithographic posters were produced by the world-renowned lithographic printers – Mourlot of Paris.The current owner's father collected them at the time of the printing and has kept them flat and away from the light for 60 years.

§ After PABLO PICASSO (SPANISH 1881-1973) Cote d'Azur lithographic poster, 1957, condition A; not backedDimensions:39 x 26 in. (99 x 65 cm.)Note: Note: In the 1960’s, President Charles de Gaulle, in the act of promoting France and French culture, appointed Andre Malraux as the Minister of Cultural Affairs. Malraux, who was a novelist and an art historian as well as a fervent supporter of de Gaulle, commissioned a series of lithographic posters by well known artists to promote French culture around the world.Many of the artists, if not French themselves, were active in France. Most of the artists (or the artist’s estates) agreed to have the best lithographers (mostly Charles Sorlier and Henri Deschamps) make faithful lithographic copies of their paintings.These lithographic posters were produced by the world-renowned lithographic printers – Mourlot of Paris.The current owner's father collected them at the time of the printing and has kept them flat and away from the light for 60 years.

After Raoul Dufy (French 1877-1953) Paris lithographic poster, 1957, condition A; not backedDimensions:24.5 x 39in. (62 x 100 cm.)Note: Note: In the 1960’s, President Charles de Gaulle, in the act of promoting France and French culture, appointed Andre Malraux as the Minister of Cultural Affairs. Malraux, who was a novelist and an art historian as well as a fervent supporter of de Gaulle, commissioned a series of lithographic posters by well known artists to promote French culture around the world.Many of the artists, if not French themselves, were active in France. Most of the artists (or the artist’s estates) agreed to have the best lithographers (mostly Charles Sorlier and Henri Deschamps) make faithful lithographic copies of their paintings.These lithographic posters were produced by the world-renowned lithographic printers – Mourlot of Paris.The current owner's father collected them at the time of the printing and has kept them flat and away from the light for 60 years.

After Graham Sutherland (1903 - 1980) Menton lithographic poster, 1964, condition A; not backedDimensions:31.5 x 23 in. (80 x 58 cm.)Note: Note: In the 1960’s, President Charles de Gaulle, in the act of promoting France and French culture, appointed Andre Malraux as the Minister of Cultural Affairs. Malraux, who was a novelist and an art historian as well as a fervent supporter of de Gaulle, commissioned a series of lithographic posters by well known artists to promote French culture around the world.Many of the artists, if not French themselves, were active in France. Most of the artists (or the artist’s estates) agreed to have the best lithographers (mostly Charles Sorlier and Henri Deschamps) make faithful lithographic copies of their paintings.These lithographic posters were produced by the world-renowned lithographic printers – Mourlot of Paris.The current owner's father collected them at the time of the printing and has kept them flat and away from the light for 60 years.

§ After HENRI MATISSE (FRENCH 1869-1954) Nice Cote d'Azur lithographic poster, 1957, condition A; not backedDimensions:39 x 24.5 in. (99 x 63cm.)Note: Note: In the 1960’s, President Charles de Gaulle, in the act of promoting France and French culture, appointed Andre Malraux as the Minister of Cultural Affairs. Malraux, who was a novelist and an art historian as well as a fervent supporter of de Gaulle, commissioned a series of lithographic posters by well known artists to promote French culture around the world.Many of the artists, if not French themselves, were active in France. Most of the artists (or the artist’s estates) agreed to have the best lithographers (mostly Charles Sorlier and Henri Deschamps) make faithful lithographic copies of their paintings.These lithographic posters were produced by the world-renowned lithographic printers – Mourlot of Paris.The current owner's father collected them at the time of the printing and has kept them flat and away from the light for 60 years.

Marcel Gromaire (1892-1971) Paris lithographic poster ,1956, condition A; not backed, together with La Lorraine/ Metz: Vitraux de la Cathedrale by Jacques Villon (1875 – 1963)Dimensions:each approx. 39 x 25 in. (99 x 64 cm.)Note: Note: In the 1960’s, President Charles de Gaulle, in the act of promoting France and French culture, appointed Andre Malraux as the Minister of Cultural Affairs. Malraux, who was a novelist and an art historian as well as a fervent supporter of de Gaulle, commissioned a series of lithographic posters by well known artists to promote French culture around the world.Many of the artists, if not French themselves, were active in France. Most of the artists (or the artist’s estates) agreed to have the best lithographers (mostly Charles Sorlier and Henri Deschamps) make faithful lithographic copies of their paintings.These lithographic posters were produced by the world-renowned lithographic printers – Mourlot of Paris.The current owner's father collected them at the time of the printing and has kept them flat and away from the light for 60 years.

Colonial School. Peru. Circa 1800."Portrait of Lieutenant colonel Manuel Ramires, Comandant-General of the province of Cuzco"Oil on canvas. 100 x 70 cm.In the lower cartouche the subject is described in a handwritten text which states: "Ret.to del Teniente Coronel Com.te de la Coluna de cazadores D. Manuel Ramires, el que despues de haber concluido la campaña en España conta el Ymperio Franses Pidió a S.M.Sor. Dn. Fernando VII pasar á los paises de America a sosegar estosde la Ynsurrecsionabiendola efectuado en el Exto. Del Teniente General Dn. Pabo Morillo donde despues de la toma de.. .. Margarita ocupada por los ynsurgentes en la costa firme, bino con su Regimiento de cazadores de Estremadura que fue destinado á la ciudad de Lima asiendo su ruta por Panamá y haviendo llegado a su destino fue nombrado su Coronel de Comandante Genral de la probincia del Cuzco y marchó en su Compaña mandando la 6ª compania de su Rto. Y desde su llegada á la ciudad de Cuzco se ejersito en formar una coluna de cazadores de seiscientos hombres por orden de dho. Sr. Ricafort Com.te General la que despues de formada en el mes de Junio de este año le confirió el Exco. Sr. Virrey del Peru Dn. Ernando de Abascal el marcho de esta coluna la que halla a sus pies ydentica en un todo y cuantos progresos haga se le debe á dho. Sr. Ricafort pr. Su selo y arbitrios tomados para su formacion. Se retrató a la edad de 22 años"(Portrait of Lieutenant Colonel Commander of the Column of Light Infantry Manuel Ramires, who after having concluded the campaign in Spain against the French Empire was asked by H.M. Ferdinand VII to go to the countries of America to calm them of the Insurrection, which he did in the Army of Lieutenant General Pablo Morillo where after the capture of… Margarita, occupied by the insurgents on the mainland, he joined his Light Infantry Regiment from Extremadura, which was assigned to the city of Lima, and took his route through Panama. Having reached his destination, he was named Colonel Commander General of the province of Cuzco and marched in their Company, commanding the 6th company of his regiment. And from his arrival in the city of Cuzco he dedicated himself to forming a column of Light Infantry of six hundred men by order of Mr. Ricafort Comandant General, which after being formed in the month of June of this year, the Viceroy of Peru Ernando de Abascal conferred this column to him, the one he found at his feet and wholly identical. Whatever progress made is due to Mr. Ricafort’s zeal and judgement in his training. His portrait was taken at the age of 22).

Florence Knoll Bassett (Saginaw, Michigan, 1917 - 2019, Coral Gables, Florida)"Oval 96 table". Created for Knoll in 1961.Chromed steel and marble table. It comes with three leather and chromed steel chairs. Circa 1960.Measurements: 73,5 x 189 x 106 cm.American architect and furniture designer, who studied with Mies van der Rohe and Eliel Saarinen.She trained at the Cranbrook Academy of Art, where she became a protégée of Eero Saarinen and she graduated in architecture from the Armour Institute (now the Illinois Institute of Technology) in 1941.She worked for a short period of time alongside leaders of the Bauhaus movement, such as Walter Gropius, Marcel Breuer and Wallace K. Harrison.In 1946 she married Hans Knoll, and they formed Knoll Associates.As a pioneer of Knoll’s Planning Unit, she revolutionised the structure of interior space with her idea of "total design".In 2002, Florence Knoll was awarded the prestigious National Medal of Arts for her extraordinary contributions to architecture and design.

Baby doll. Armand Marseille AM 341/6K. Germany. Circa 1924.Size 4 baby doll, with bisque head without an opening, sleep eyes, and open mouth. Period cotton clothing with lace edging, bonnet and underwear. With marks on the nape of the neck. Height: 55 cm.Armand Marseille’s dolls are from Thuringia, Germany, and were made from 1885 until around 1950.  The founder, of the same name, arrived in Germany from Russia in the mid-19th century and quickly acquired the toy factory from Mathias Lambert in Sonneberg.  In 1885 he expanded by acquiring the Liebermann & Wegescher porcelain factory in Koppelsdorf.  The company later merged with another manufacturer of porcelain dolls, Ernst Heubach, in 1919, to form the United Porcelain Factory of Koppelsdorf.  However, the two companies separated in 1932 and both continued operating alone for several decades more.  Although much of their production took place during the late 19th century, the great majority of Armand Marseille dolls which we find on the antiques market were made between 1900 and 1930.  It is very rare to find Armand Marseille dolls which are unmarked and one should be very skeptical of these dolls.  Almost all his dolls were duly marked, but it is possible that some of the marks could have been rubbed off or are difficult to see.  Practically all of the marks were engraved or printed, normally by hand, and they usually include the model or mould number and / or the size.  Sometimes the mark of the manufacturer who made the attached body is also included.  

Doll. Simon Halbig. Germany. Circa 1910. ”Dolly face” doll, size 13, mould 1078, with a porcelain head, sleep eyes and an open mouth showing four porcelain teeth.  She wears an antique, white cotton dress. The strings that give firmness to the body are rather loose.  Signed on the nape of the neck and numbered "1078". SIMON HALBIG was a German porcelain company from the Thuringia area who specialised in dolls and was recognised for the quality of his pieces. Height: 66 cm. 

Oil on canvas glued to board. Measurements: 23 x 28.5 cm, framed measurements: 38.5 x 44 cm. Signed and dated 1909 in the lower left corner. Provenance: private collection of Don Jorge Mañach, Cuba, before 1950, private Spanish collection, a photograph from the time of the Cuban intellectual is provided along with the painting we present. Albert Marquet (March 27, 1875 – June 14, 1947) was a French painter associated with Fauvism. After a difficult childhood, 6 his studies at various Parisian art schools brought him closer to the post-impressionist effervescence and to those who would be his closest friends. Life was not easy for a young artist without resources. With a temperament more secret than solitary, Marquet as a child seems to have found in drawing a way out of "his intimate suffering of him" of him. At the end of 1907 he remained in Paris and devoted himself, together with Henri Matisse, to a series of urban views. The fundamental difference between the two is that while Matisse used strong colors, Marquet preferred dull yellows, muted violets, or blues. Black is normally used as a violent contrast to light colors for forms such as bare tree trunks or calligraphically drawn people in contrast to often very light yellow or orange streets and sidewalks. Another difference is that Marquet used a traditional perspective approach, although his colors and compositions constantly referred to the rectangle and intersected its plane with his calligraphy. In Moreau's studio, he and Matisse bonded with Henri Manguin and especially Charles Camoin with whom they would remain united until the end of their lives. 5 Less will the camaraderie with others last (Jules Flandrin, Louis Valtat, Henri Evenepoel, Simon Bussy or Georges Rouault), even if they have spent their afternoons fixing the world at the Café Procope. After a brief passage through the course of Fernand Cormon and then the celebrated Académie Julian, Marquet and Matisse attended the Camillo private academy, rue de Rennes, where they received advice from Eugène Carrière, one of the thinkers of social art, who sought to popularize art education; there they meet André Derain, Pierre Laprade, Jean Puy and Maurice de Vlaminck. From then on, Marquet never stopped touring the city drawing and painting in small format views of the Seine, the quays, the bridges6. He begins to take revenge on life,

CRISTINA BERGOGLIO (Córdoba, Argentina, 1967)."Madrid from the Prado workshop.Oil on canvas.Signed in the lower left corner.Size: 150 x 75 cm; 81 x 156 cm (frame).Cristina Bergoglio is an artist of Argentinean origin who developed her artistic and literary vision from a very early age, culminating in a degree in architecture from the National University of Cordoba. It is not surprising, therefore, that Cristina's work is inspired by the city and the urban fabric. Her work is mysterious and sensual drawing you into a world where beauty is found in every element that surrounds us, a universal quality that she captures in each of her paintings. Using a diverse range of media, Cristina finds a unique perspective on the urban landscape which she explains in this way: "The urban phenomenon fascinates me as a living, mutable, indecipherable organism. It is the place of attachments and addictions, where the essence of the human ego sleeps under many disguises of passion. I like to capture the chaos and cosmos of each element".Cristina's work does not focus on the details of buildings, cars or people, but on the living, pulsating atmosphere of the city. "They are constantly changing scenarios," explains the artist. "The city is always a thing of vitality, of movement and sensuality. What matters to me is the movement, the urban dance, and to achieve this I use an intense, fast and spontaneous brushstroke. Like capturing the moment in a single brushstroke".Cristina studied at the Taller del Prado academy in Madrid, later becoming a teacher at the prestigious institution until 2007. With the soul of a poet, something that translates both in her art and in her written work, she is also a published author of poetic prose. Having exhibited in Spain, Belgium and France, her South American roots and her childhood in Argentina have also helped shape her artistic personality.

"A. R. PENCK"; RALF WINKLER (Dresden, Germany; 1939- Switzerland, 2017)."Olympia".Mixed media on paper.Signed in the lower left corner.A. R. Penck originally created this work to form part of one of the 10 advertising posters painted by artists representing the Barcelona brand during the 1992 Olympics. However, it was censored by the Barcelona 92 Olympic Organising Committee, which considered it inappropriate due to its high degree of eroticism. It is therefore an unpublished work that represents a small part of the cultural legacy that the Olympics gave us.Size: 70 x 50 cm; 85 x 65 cm (frame).The controversy aroused by the work that we now present to the Barcelona 92 Olympic Organising Committee was due to its highly erotic nature. The fact that Penck depicted a young lady like Olympia, with her breasts exposed (multiplied by 5, each corresponding to an Olympic ring) or with two naked pubes, was reason enough to censure the work as inappropriate. It was not the first time that an Olympia had aroused controversy in art: when Édouard Manet presented his work of the same name at the Paris Salon in 1865, it was branded pornographic owing to its high degree of eroticism, causing a great stir among the critics of the time. It is striking how, despite the time difference of almost 130 years between the two works, history is repeating itself.Ralf Winkler, who also used the pseudonyms Mike Hammer, T.M., Mickey Spilane, Theodor Marx, "a. Y." or simply "Y" was a German painter, printmaker, sculptor and jazz drummer. Penck was born in Dresden, during his teenage years he began attending painting and drawing classes with Jürgen Böttcher, known by the pseudonym Strawalde, and joined him to form the renegade artists' group Erste Phalanx Nedserd, notable for its members' refusal to study at an academy. Members of the group were also denied acceptance into the GDR Association of Visual Artists. They therefore had to earn their living as labourers or craftsmen. Later he worked for a year as a trainee draughtsman at the state advertising agency in Dresden. From 1955 to 1956, Winkler was a draughtsman at the advertising agency DEWAG and from 1956, he tried to enter the Academy of Fine Arts in Dresden and the Berlin University of the Arts in East Berlin, but it was not until 1966, when Winkler became a candidate to join the Association of Fine Artists, now under the artistic pseudonym A. R. Penck. Which was elected after the geologist Albrecht Penck. From 1969 onwards he had more and more problems with the GDR Ministry of State Security. His paintings were confiscated and his acceptance into the GDR Association of Visual Artists (VBK) was refused.Winkler was one of the founding members, in May 1971, together with Steffen Terk, Wolfgang Opitz and Harald Gallasch, of the artists' group GAP, which existed until 1976. From 1973 he worked under the pseudonyms Mike Hammer and TM. After serving in the military in 1974, he was awarded the Will Grohmann Prize in 1975 by the West Berlin Academy of Arts. In 1976, Penck met the West German painter Jörg Immendorff, with whom he would collaborate in the following years. In their work they campaigned for the abolition of the German internal border, and for dissidents, among them Rudolf Bahro and Robert Havemann. From 1976, he also signed simply Y. In 1977, some of his paintings were confiscated. In May 1979, several of his works and records were destroyed during a burglary at his studio. On 3 August 1980, he was transferred to West Germany. After emigrating, Penck became one of the leading exponents of the new figuration, along with Jörg Immendorff, Georg Baselitz and Markus Lüpertz. Their work was shown in major museums and galleries in the West throughout the 1980s. They were included in several important shows, such as the famous Zeitgeist exhibition at the famous Martin Gropius Bau Museum and the important New Art exhibition at the Tate in 1983. He first lived in Kerpen, southwest of Cologne. In 1981, the Goethe Foundation awarded him the Rembrandt Prize in Basel, Switzerland. In 1983, Winkler moved to London and received the Aachen Art Prize in 1985. In 1988 he took part in the exhibition Made in Cologne, in the same year he was appointed professor of painting at the Düsseldorf Academy of Arts.His paintings depict worlds and spaces of experience, full of symbolic abbreviations. He used stick figures and graphic icons reminiscent of cave paintings, Asian calligraphy and graffiti art. In the 1960s and 1970s, he created a series of paintings and sculptures, which he called Standarts, a combination of "standard" and "art", echoing the German word for banner or flag, Standarte, by which he meant an art form that used simple, archaic pictorial symbols, such as road signs or trademarks. In the 1980s.

JOSEP GUINOVART BERTRAN (Barcelona, 1927 - 2007).Untitled, 1967.Charcoal and sanguine on paper.Signed and dated in the lower left corner.Measurements: 66 x 49,5 cm; 79 x 63 cm (frame)Josep Guinovart trained at the School of Master Painters, at the School of Arts and Crafts and in the classes of the FAD. He had his first solo exhibition at the Syra galleries in Barcelona in 1948. He soon acquired solid prestige, collaborated with Dau al Set and took part in the October, Jazz and Eleven Salons. In the 1950s, thanks to a grant, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, were to be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Around 1957 he began an informalist and abstract tendency, with a strong material presence both through the incorporation of various elements and objects (burnt wood, boxes, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s onwards he moved away from the poetics of Informalism and began to produce works full of signs and gestures, which contain a strong expressive charge in the lines and colours. During the 1970s he systematically used materials such as sand, earth, mud, straw and fibre cement, and in the following decade he focused on experimenting with the three-dimensional projection of his works, which took the form of the creation of environments or spatial settings such as the one entitled Contorn-extorn (1978). He took part in the Biennials of Sao Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his prizes include the City of Barcelona, the National Plastic Arts Prize and the Generalitat's Plastic Arts Prize. In 1994, the Espai Guinovart, a private foundation with a permanent exhibition of the artist's work, was opened in Agramunt, Lérida. Interaction with the natural environment, incorporation of organic matter, abstraction and informalism... all this makes up one of the most original artistic personalities on the Spanish avant-garde scene. Although Guinovart was initially inclined towards a social type of figuration, his time in Paris led him to change direction, leading him to initiate a frenetic activity which he would continue after his return to Spain. In the late 1950s he was a member of Informalism and always eager to surprise, experimenting with textures, objects and colours to give realistic impressions to essentially abstract compositions. His work is forceful, even aggressive in terms of colour, light and density of matter. He is represented in the Museums of Modern Art in Barcelona, Madrid and Mexico City, the Museum of Open Air Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.

JAUME SANS (Sitges, Barcelona, 1914-1987)."Untitled".Mixed media on paper.Signed in the lower left corner.Size: 18 x 12 cm; 31 x 25 cm (frame).Jaume Sans spent most of his childhood in Cuba. Years later, already in Barcelona, he came into contact with the magazine L Amic de les Arts, one of the periodicals that contributed to revolutionising the artistic panorama of the 1920s, published in Sitges between 1926 and 1929. Artists such as Salvador Dalí, the critic Sebastià Gasch and the writers J.V. Foix and Lluís Montanyá were grouped around the magazine. During the first decades of the 20th century, avant-garde centres in Spain were almost non-existent, with the rare exception of Barcelona. The city was a centre for artists exiled from the First World War and its tradition of innovation allowed for the appearance of more daring exhibition programmes. Exhibitions such as that of the Galeries Dalmau in 1912, which was the second Cubist art exhibition held outside Paris, or the Universal Exhibition of 1929, which included Mies van der Rohe's revolutionary German pavilion, placed the city on the European art map. During 1932 and 1933 Jaume Sans attended the School of Arts and Crafts, in the face of his family's opposition, where he met Ángel Ferrant, who was to have a profound influence on his work. Sans was a member of Amics de l'Art Nou (ADLAN), a group of artists who promoted the dissemination of new arts and organised exhibitions such as Alexander Calder's Circus in Miniature and Joan Miró's Objects. In 1935 he showed his sculptural work together with Ramon Marinel-lo and Eudald Serra at the Tres Esculptors exhibition organised by ADLAN at the Galeries d'Art Catalònia in Barcelona. This surrealist-style exhibition was a key event in the evolution of contemporary Catalan sculpture.

2020 Royal Mint, UK Quarter-Ounce Gold Proof Coin, James Bond II. Queen Elizabeth II, Royal Mint, Twenty Five Pounds, UK Quarter-Ounce Gold Proof Coin, 2020, James Bond II R. 'Wet Nellie' the submarine car that appeared in 'The Spy Who Loved Me' and the inscription 'PAY ATTENTION 007', reverse design by Matt Dent and Christian Davies, struck in 999.9 gold, diameter 22mm, weight 7.80g, slabbed and graded by PCGS as PR70, with original presentation case and numbered certificate, JB16.

Fine and rare Princeps electric master clock, the 5.25" silvered dial signed Princeps, 173, New Bond St, London and inscribed Patent Applied For under six o'clock, with centre seconds sweep hand, within a mahogany panelled glazed case surmounted by a moulded flat pediment, 67.5" high (pendulum and bob) **Gardiner Houlgate sold a very similar Princeps master clock from the Arthur Mitchell collection in October 2018 for £8800 hammer This clock has been in the same family for approximately sixty years and was left to the vendor by his father who used to be a member of the Horological Institute and owned a clock & watch repair business in Birmingham. The clock was previously owned by a client of the vendor's father who was a valued customer

Fine and very rare English brass verge winged hook and spike lantern clock by or from the workshops of Edward East and signed Eduardus East Londini on the front fret, the three train posted movement striking on two bells, with verge escapement and anchor shaped bob oscillating between the plates, the 6.5" silvered chapter ring with hour and minutes chapter rings, enclosing a centre finely engraved with tulips and with central alarm dial and two iron hands, surmounted by pierced and engraved tulip frets, strapwork two bells and finial, 15.5" high (anchor shaped pendulum, three principal weights and an alarm weight); also with an associated antique carved oak bracket **This clock is sold with copious articles and letters from knowledgeable lantern clock experts who all agree that the clock was either made by or in the workshops of Edward East This clock was featured in two articles written by Brian Loomes in Clocks magazine in the October and November 2020 issues. Copies of these two magazines are included with the lot. Also included is the correspondence relating to this clock from Michael Turner at Sotheby's, David Thompson at The British Museum and Sir George White BT., F.S.A. when he was consultant keeper of the collection and library of the Worshipful Company of Clockmakers in London This clock was also sold by Sotheby's in their auction of Important Clocks, Watches, Wristwatches and Barometers on Thursday 13th October 1988 (lot 191) and a copy of this catalogue is included too There has also been a metallurgy test undertaken on the clock and a copy of this report is also included

A British World War One Death Plaque, Named To No.267161 L/Cpl Wilfred Samuel Pritchard Of The Northumberland Fusiliers Who Was Killed In Action On The 28th October 1917 Aged 23.

§ Sir Quentin Blake CBE, FCSD, FRSL, RDI (1932-) and Dr Peter Rowan Ask Doctor Pete, written by Dr Peter Rowan and illustrated by Quentin Blake, 8vo, first edition, Jonathan Cape, London, 1986the front free endpaper with two portrait illustrations drawn by Blake of himself and Doctor Pete and inscribed 'Written by Doctor Peter Rowan Who is also good at vaccinating people and Illustrated by Quentin Blake who is also good at getting vaccinated * 2022'Provenance:Gifted directly by Quentin Blake to the East Anglian Air Ambulance

Modern British School Logo for the band Smile, featuring Brian May, Roger Taylor and Tim Staffellgouache49 x 69.5cmProvenance:Used in the 1973 charity production of Tommy the Rock OperaGifted to the present owner by Lou ReiznerAcquired directly from Lou Reizner, the then head of Mercury Records’ European operations, the present lot was used as the set dressing for the 1973 charity production of Tommy the Rock Opera starring The Who, Rod Stewart, Ronnie Wood, Sandy Denny, Steve Winwood and Peter Sellers. Staged at the Rainbow Theatre, Finsbury Park, the production was held to benefit the mental health charity, the Richmond Fellowship.In addition to having been used in Reizner’s 1973 production, this striking image was previously known as the logo for the band Smile. Widely regarded as the precursor to Queen, the band members for Smile, who consisted of Brian May, Roger Taylor and Tim Staffell, were signed to Mercury Records by Reizner in 1969. In 1970, after Staffell left Smile to play with Humpy Bong, May and Taylor were encouraged to continue playing by Farrokh Bulsara, a keen fan of the group. Bulsara soon joined May and Taylor as their lead vocalist and, at around the same time, changed his name to Freddie Mercury.