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Frederick J. England (British 1939-) "Salzburg Festival - Rehearsal Cello", signed and dated '92, titled on verso, acrylic on canvas board.39cm x 29cm (15.5in x 11.5in)Condition report:The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.

Kaskeline, Friedrich (1863 - nach 1931). Scherenschnitt-Montierung auf cremefarbigem Papier, "Harfenklänge", 1920er Jahre; in ovaler, mit filigraner Vorhangdraperie verzierter Rahmung neobiedermeierliches Genremotiv eines musizierenden Paares mit Harfe und Cello; unten integrierter Titel "Harfenklänge"; unsigniert; Montierung partiell vom Untergrund gelöst, kleine Fehlstellen; Maße des Bildovals 18,2 x 24,5 cm; gerahmt unter Glas mit breitem ebonisierten Profilrahmen und silber-goldfarbiger Innenkante; Rahmenmaße 27,5 x 35,5 cm. Nicht geöffnet. Gewicht 740 g. Weitere Fotos auf Anfrage.

Attributed to Ernest Spence (1862-1944), The cello player, indistinctly signed, oil on canvas, 13" x 9".

FABRIZIO CLERICI (1913-1993)Le grand théâtre signed 'Fabrizio Clerici' (lower left and lower right)gouache on paper, diptych41 x 33.5cm (16 1/8 x 13 3/16in). eachExecuted in 1947Footnotes:The authenticity of this work has been confirmed by the Archivio Fabrizio Clerici.ProvenanceM. Lesage Collection, Paris; their sale, Finarte, Rome, 24 April 2008, lots 144 & 145.Private collection, Paris.Private collection, Rome (acquired from the above).ExhibitedSan Francisco, California Palace of the Legion of Honour Museum, Fabrizio Clerici, February 1956.Santa Barbara, The Santa Barbara Museum of Art, Paintings and Watercolors by Fabrizio Clerici, 17 April – 6 May 1956.LiteratureArchivio Fabrizio Clerici (eds.), Fabrizio Clerici, nel centenario della nascita 1913-1993, Milan, 2013 (illustrated p. 169).'Isn't Fabrizio Clerici perhaps one of the champions of the surreal realism that is a distinctive sign of the twentieth century? Akin to nature itself, Clerici achieves simplicity by means of countless details. Not a single pin is missing from this legion of angels and archangels that guard over his home. No object is admitted therein that isn't sublime, and whose presence does not burst with secrets.' - Jean Cocteau Bonhams is delighted to present four exceptional works by the Italian artist Fabrizio Clerici encompassing his most iconic surrealist motifs and tropes recurring throughout his œuvre and providing an overview to his work. A tall and strikingly handsome man, with a collection of the finest Borsalino hats, Clerici was born in Milan in 1913 but lived in Rome for most of his life, graduating with a degree in architecture in 1937. His trained architectural eye for spatiality and perspective influenced his work as an artist, further finessed by witnessing the Eternal City's layered history and ancient ruins reminiscent of a grand romanticised past. The vestiges of Roman Renaissance and Baroque splendour somewhat imbued his works with an aura of timelessness. His unique visual language developed in art not only through his book illustrations, first begun in 1941, but also through the creation of set and costume designs, collaborating amongst others on George Bernard Shaw's 1947 adaptation of Mrs. Warren's Profession and Stravinsky's Orpheus in 1948 to huge acclaim, and forming a strong friendship with influential Hungarian choreographer Aurel Milloss. London's Daily Telegraph noted Clerici's eccentric sets as 'in fact, spaceless and timeless in their fantastic and exotic splendour' when referring to his work on Benjamin Britten's A Midsummer Night's Dream in 1961 at Milan's La Scala theatre (quoted in Fabrizio Clerici, Nel centenario della nascita 1913-1993, 2013, p. 92).Clerici's art nods to both Surrealist and Metaphysical theories, marked by his close friendships with Salvador Dalí, Leonor Fini and Alberto Savinio amongst others. Befriending Jean Cocteau and Tristan Zara in Rome and Milan, he was an assiduous reader of the Surrealist publication Le Minotaure, Andrè Breton's brainchild. 'Surrealism', for Clerici 'must be seen as a continuation of metaphysical painting, which, by the way, is one of the most extraordinary expressions of painting in the XX century, an expression which is mostly Italian, that of De Chirico, Savinio, Carrà, and a certain Morandi. I adhered to that school' (ibid., p. 73). Desolate landscapes and solitary figures coexist in Clerici's universe. Desolated and almost dystopian, elongate, landscapes on the brink of destruction are evoked in Le grand théâtre dated 1947 and L'isola from 1974 (lots 44 and 47). Figures from the 1944 series Too seen, too much felt and La grande fame, (lots 45 and 46) appear in a state of despair, reflecting the horrors of war. The present works are emblematic of Clerici's skill as a fine draughtsman and painter marking him as one of the most iconic artists carrying the legacy of Surrealism in Italy.The two exquisite drawings dated 1944 were included in Julien Levy's exhibition held at his gallery in New York the following year. The drawings were brought to New York by Peter Lindamood, a Peace Corps volunteer enlisted in the US Army and recruited in the 'Psychological Warfare Branch', a branch reserved for journalists, photographers and literary men, who sought out the Italian artists tied to Surrealism, both Giorgio de Chirico and Leonor Fini, and it was the latter with whom Clerici had a decade-long friendship and considered the leader in the Italian Surrealist movement who introduced him to Lindamood. These drawings, recalls Lindamood, are the 'few that I was able to nurse through the crushing intimacy of my barracks bag' which would be 'shown for the first time anywhere' at Levy's Gallery (op. cit., p. 44).The roman art critic Mario Praz discusses the drawing Too seen, too much felt in his book dedicated to Clerici and his chapter on these Capricci series, to be 'the most potent expression of a mass state of mind that I have found in recent years. The assuredness of the line, akin to those of the greatest masters, makes this work a memorable document of the post-war phase of life and art in Italy' (quoted in Bellezza e Bizzarria, Milan, 1960, p. 167). Both drawings can be interpreted as touching reminders of the frailty of human life.With characters appearing to reflect on the state of mankind, the drawings act today as a strong reminder that on 4 June 1944 the American troops entered Rome, finally liberating the city. Empty sardine cans and a ripped intense portrait by Sicilian Renaissance master Antonello da Messina, Condottiero, (Louvre, Paris) permeate the scenes. The series represents Clerici's skills as a draughtsman, so much so that a work in the series, Duet for Harp and 'Cello, was acquired by the Museum of Modern Art in New York. The Le grand théâtre diptych, executed in 1947 in tempera, showcases another of Clerici's recurring motifs, the empty theatre, dominated by uneasy hovering scaffoldings eerily threatening to topple at any moment. Painted in Milan, it is part of a series of works called Processi, which had been admired by Dalí at Clerici's Roman studio. L'isola from 1974 acts as an homage to Swiss Symbolist artist Arnold Bocklin's series of masterpieces The Isle of the Dead, painted between 1880 and 1901. Of Bocklin, Clerici would expand 'resuming Bocklin, after De Chirico, was a way for me to prolong the cult of metaphysical art, beyond the recognised names. I always thought that metaphysics is a characteristic of Italian painting [...] my formation as an architect fatally brings my painting to the metaphysics of space' (op. cit., 2013, p. 56). This ensemble of works provides a fascinating overview of some of the most iconic periods of Clerici's work, one of the most interesting intellectuals and artists of the 20th Century in Italy.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

FABRIZIO CLERICI (1913-1993)L'isola signed 'F Clerici' (lower centre)oil on canvas79.7 x 79.7cm (31 3/8 x 31 3/8in).Painted in 1974Footnotes:The authenticity of this work has been confirmed by the Archivio Fabrizio Clerici.ProvenanceGalleria Il Gabbiano, Rome.Anon. sale, Finarte, Milan, 15 April 2021, lot 62.Acquired at the above sale by the present owner.ExhibitedReggio Emilia, Ridotto del Teatro Comunale, Fabrizio Clerici, October – November 1974.Ivrea, Centro Congressi La Serra, Fabrizio Clerici, April 1984.Isn't Fabrizio Clerici perhaps one of the champions of the surreal realism that is a distinctive sign of the twentieth century? Akin to nature itself, Clerici achieves simplicity by means of countless details. Not a single pin is missing from this legion of angels and archangels that guard over his home. No object is admitted therein that isn't sublime, and whose presence does not burst with secrets. - Jean Cocteau Bonhams is delighted to present four exceptional works by Italian artist Fabrizio Clerici encompassing his most iconic surrealist motifs and tropes recurring throughout his oeuvre and providing an overview to his work. A tall and strikingly handsome man, with a collection of the finest Borsalino hats, Clerici was born in Milan in 1913 but lived in Rome for most of his life, graduating with a degree in architecture in 1937. His trained architectural eye for spatiality and perspective influenced his work as an artist, further finessed by witnessing the Eternal City's layered history and ancient ruins reminiscent of a grand romanticised past. The vestiges of Roman Renaissance and Baroque splendour somewhat imbued his works with an aura of timelessness. His unique visual language developed in art not only through his book illustrations, first begun in 1941, but also through the creation of set and costume designs, collaborating amongst others on G. B. Shaw's 1947 adaptation of Mrs. Warren's Profession and Stravinskij's Orpheus in 1948 to huge acclaim, and forming a strong friendship with influential Hungarian choreographer Aurel Milloss. London's Daily Telegraph noted Clerici's eccentric sets as 'in fact, spaceless and timeless in their fantastic and exotic splendour' when referring to his work on Benjamin Britten's A Midsummer Night's Dream in 1961 at Milan's La Scala theatre (quoted in Fabrizio Clerici, Nel centenario della nascita 1913-1993, 2013, translated from Italian, pg. 92).Clerici's art nods to both Surrealist and Metaphysical theories, marked by his close friendships with Salvador Dalí, Leonor Fini and Alberto Savinio, amongst others. Further befriending Jean Cocteau and Tristan Zara in Rome and Milan he was an assiduous reader of the Surrealist publication 'Le Minotaure', Andrè Breton's brainchild. 'Surrealism', for Clerici 'must be seen as a continuation of metaphysical painting, which, by the way, is one of the most extraordinary expressions of painting in the XX century, an expression which is mostly Italian, that of De Chirico, Savinio, Carrà, and a certain Morandi. I adhered to that school' (quoted in Fabrizio Clerici, Nel centenario della nascita 1913-1993, 2013, translated from Italian, pg. 73). Desolate landscapes and solitary figures coexist in Clerici's universe. Desolated and almost dystopian, elongated, landscapes on the brink of destruction are evoked in Le Grand Theatre dated c. 1947 and L'Isola from 1974 (lots XX). Figures from the 1944 series Too seen, too much felt and The Great Hunger, (lots XX) appear in a state of despair reflecting the horrors of war. The present works are emblematic of Clerici's skill as a fine draughtsman and painter marking him as one of the most iconic artists carrying the legacy of Surrealism in Italy.The two exquisite drawings dated 1944 were included in Julien Levy's exhibition held at his gallery in New York the following year. The drawings were brough to New York by Peter Lindamood, a Peace Corps volunteer enlisted in the US Army and recruited in the 'Psychological Warfare Branch', a branch reserved to journalists, photographers and literary men, who sought out the Italian artists tied to Surrealism, both Giorgio de Chirico and Leonor Fini, and it was the latter with whom Clerici had a decade-long friendship and, considered the leader in the Italian Surrealist movement who introduced him to Lindamood. These drawings, recalls Lindamood, are the 'few that I was able to nurse through the crushing intimacy of my barracks bag' which would be 'shown for the first time anywhere' at Levy's Gallery (Fabrizio Clerici, Nel centenario della nascita 1913-1993, 2013, translated from Italian, pg. 44).The roman art critic Mario Praz discusses the drawing Too seen too much felt in his book dedicated to Clerici and his chapter on these Capricci series, to be 'the most potent expression of a mass state of mind that I have found in recent years. The assuredness of the line, akin to those of the greatest masters, makes this work a memorable document of the post-war phase of life and art in Italy' (quoted in Bellezza e Bizzarria, Il Saggiatore, Milano 1960, p. 167, translated from Italian). Both drawings can be interpreted as touching reminders of the frailty of human life.With characters appearing to reflect on the state of mankind the drawings act today as a strong reminder that on 4th June 1944 the American troops would enter Rome finally liberating the city. Empty sardine cans and a ripped intense portrait by Sicilian Renaissance master Antonello da Messina, Condottiero, permeate the scenes. The series represents Clerici's skills as a draughtsman, so much so that a work in the series, Duet for Harp and 'Cello, was acquired by the Museum of Modern Art in New York (Caption 1).Le Grand Theatre diptych (lot XX), executed c. 1947 in tempera, showcases another of Clerici's recurring motifs, the empty theatre, dominated by uneasy scaffoldings eerily seeming to hover and topple at any moment. Painted in Milan, it is part of a series of works called 'Processi' which had been admired by Dalí at Clerici's Roman studio. L'Isola from 1974 acts as an homage to Swiss Symbolist artist Arnold Bocklin's series of masterpieces The Isle of the Dead, painted between 1880 and 1901. Of Bocklin, Clerici would expand 'resuming Bocklin, after de Chirico, was a way for me to prolong the cult of metaphysical art, beyond the recognised names. I always thought that metaphysics is a characteristic of Italian painting [...] my formation as an architect fatally brings my painting to the metaphysics of space' (quoted in Fabrizio Clerici, Nel centenario della nascita 1913-1993, 2013, translated from Italian, pg. 56).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A group of 19th/early 20th century porcelain figuresComprising an early 20th century Plaue figural group of a ram with frolicking putti with floral and foliate garlands, 26cm long, a late 19th century Meissen figure of Ceres, 21cm high, a late 19th century Meissen figure of a seated musician playing the cello, 12.5cm high, a 19th century Derby Stevenson and Hancock figure of a fruit seller, 13cm high, some faults and minor restoration. (4)Provenance:The Estate of the Late Cherry Barker 

A group of assorted violin and cello bows, a/f. (9)

A cello complete with gig bag, body measures approx 31"/77cm, missing spike, with two bows, rubber mute and practice mute

A vintage Cello, back measures 76cm, in hard case.

Cello, labelled Canton, China, with two piece back.

Cased child's cello

Cased child's cello

GERHARD, Adolf(1910 Mainz - 1975 ebd.) "Blaues Cello"Öl/Leinwand. Links unten signiert, verso bezeichnet/betitelt. 1. H. 20. Jh. 51 x 40 cm. Gerahmt65 x 55 cm. Expressiv gemalte Musikerin am Instrument Deutscher Maler, Bildhauer und Grafiker, studierte in Mainz und am Städel. Literatur : http://gesichter-des-dka.gnm.de/content/mdc_person7412.

A ROYAL DOULTON FIGURINE, CELLO HN2331, MODELLED BY PEGGY DAVIES AS PART OF THE LADY MUSICIANS SERIES, IN BOX WITH CERTIFICATE. A/F

Silver plated vesta case in the shape of a cello. inscribed to reverse. (B.P. 21% + VAT) Come wear but appears complete.

A German cello, possibly Saxony, with ebonised finish board, two bows, each in mother of pearl inlay to the front, a music stand and four cello music scores.

Entwurf aus dem Jahre 1993, Ausführung in Bronze, patiniert, Sitzfläche in For eines Cello-Korpus, 4 geschweifte Beine in Form von Cello-Hälsen mit Schnecken, geschwärzt, verso bezeichnet ¨Boquel Fd.¨, am linken Vorderbein signiert ¨Arman¨, H 85cm, Sitzhöhe 46cm

Nao Lladro figurines, Girl with Rabbits 17.5cm h, Girl with small bird 15.5cm h and an unmarked figurine of musicians 18cm h.Condition ReportUnmarked figure with break to bow on bass cello, Nao figures in good condition.

Whitefriars - Geoffrey Baxter: A Textured Range Cello Glass Vase, in willow, pattern 9675, 1967-1970 catalogues, 19cm highCondition report: Labelled WHITEFRIARS MADE IN ENGLAND. In good order.

Vinyl - Classical - Six LPs to include Beethoven Piano Concerto no 1 SAX2403 ED1, Bartok concerto for Orchestra on Decca SXL6212 ED1, Elgar Cello Concerto ASD655, Brahms Double Concerto in A Mino SABL185, Divertiment Mozart SXL2290 and Brahms Sym no 4 in E Minor SAX2350 ED1, ex

including Cello bow stamped 'Ch. Enel-Paris' and others

25 1/2" back labelled 'The Stentor Student half size; 23" back labelled 'Made in Czechoslovakia'; 20" back labelled 'Froenza F-2450G 1/8 Cello Kit' and 20 1/4" back labelled 'Hans Wagner, West Germany 1977 Model No.414' (all in soft cases with three bows in total) (4)

Cello, wohl deutsch um 1900, ungelabelt, geteilter Boden, Decke mit Restaurierungen, neuer Steg sowie Saitenhalter mit Feinstimmern, Stachel vorhanden, 2020 restauriert bei Geigenbau Sielaff, Gesamtlänge ca. 130cm, Korpuslänge 76cm, Zargenhöhe ca. 12cm, Mensur ca. 70cm, Alters- und Gebrauchsspuren, dazu eine Ledertasche und Cello-Bogen unbekannten Herstellers

Celloauf Klebezettel bezeichnet und datiert E. R. Pfretzschner Mittenwald OBB 1963, Handmade, copy of Antonius Stradivarius, reparaturbedürftig, L ges. 120 cm.

Mixed Lot: white metal open work cross pendant and chain, stamped 800; lapis lazuli bead necklace; a Scottish gem set brooch and a mother of pearl cello brooch

A Morden case cello is fitted case .

A mixed collection of musical instruments to include a Zither and a Tamborine together with a Cello stand.

A cello, with bow and soft case

A Reghin Romanian Musikinstrumentfabrik full-size Cello, with light amber varnish, rosewood pegs, length of back 77cms, with bow and canvas bag.

Friedel Mann mit Cello, H 14

THREE QUARTER SIZED ROMANIAN CELLO,113cm long overall, with bow and in carry bag

Antique cello bow measuring 72cm long, with silver wire wrapping, unsigned and an antique cello bow measuring 73cm long, stamped Knoll, possibly Alfred Knoll.  (2)

Collection of four antique cello bows, two stamped Glasser.  (4)

CONSTANCE C HENRY (SCOTTISH)  LILY'S CELLO Oil on paper, 46 x 38cm, together with three other signed works by the same hand Condition report: Available upon request

A Modern Forenza Half Size Cello with Bow and Carrying Bag

HMV - CLASSICAL LP COLLECTION. A wonderful collection of around 78 classical LPs, the majority are on the His Master's Voice label. Composers/ performers include Jacqueline Du Pre - Cello Concertos (ASD 2764, black & white stamp label), Berlioz - Harold In Italy, Barbirolli - English Tone Pictures, Milstein - Violin Concerto Etc (SXLP 30193), Menuhin/ Walton - Violin & Viola Concertos, Mutter/ Accardo - Violin Concertos, Schoenberg - Piano Quartet No 1, Liszt inc Hungarian Rhapsodies 1-15, Years Of Pilgrimage. Bach - Double Concerto Etc, Tchaikovsky inc Piano Concerto No2, Symphony No7. Condition is generally Ex to Ex+.

MONO RARITIES - CLASSICAL LPs. An excellent selection of 13 classical LPs, all mono pressings. Composers/ performers include Oistrakh - Violin Sonatas (AL.3417), Bach - Sonatas For Solo Violin Vols: I (ALP 1512), II (ALP 1531) & III (ALP 1532). Dorati - Tableaux D'une Exposition (A00.607R, 10"), Stern - Tchaikovsky Concerto For Violin (33 FCX 167), Janacek Quartet - String Quartet (DGM 18386, tulips border), Straawinsky - Le Sacre du Printemps (DGM 18189, tulips border), Mozart - Symphonies No 41 & 39 (MMA 11041), Liszt - Concerto For Piano (ACSQ 60058), Wolff - The Seasons (LXT 5240), Furtwangler - Beethoven: Symphony 3 (ALP 1060), Tortelier - Dvorak: Cello Concerto (ALP 1306). Condition is generally VG+ to Ex+

CLASSICAL LP - BOX SETS/ STEREO. Here we have a splendid mixture of 17 classical LPs/ LP box-sets. Box sets naturally contain more than one LP. Composers/ performers include I Musici - Vivaldi (835 110 AY), Tribute To Stradivarius (MRF 86129), Jochum - Haydn (SLPM 138 823, red stereo), Kyung-Wha Chung - Walton: Violin Concerto (SXL 6601), Vasary - Chopin: Nocturnes (SLPEM 136 486), Faure - Requiem (SAN 107), Puccini/ Tosca/ Callas (SAN 149/50), Tortelier - The Bach Cello Suites (SLS 798/3), Heifetz - Ten Great Violin Concertos (RL00720 6), Bach: The Sonatas & Partitas For Unaccompanied Violin (BWV 1001-1006), Beethoven - Symphonies 8 & 9 (SLS 841), Verdi - Requiem (SET 374-5), Berlioz - Romeo And Juliet (LDS 6098). Condition is generally superb VG+ to Ex+.

PIERRE FOURNIER - CELLO ENCORES LP (ORIGINAL UK COLUMBIA - 33CX 1644). Here we have a lovely example of the scarce original UK LP by Pierre Fournier: Cello Encores (33CX 1644, original UK mono pressing on the blue/ gold Columbia label. XAX 1324-2N/ 25-1N matrix. The record is in VG condition showing some surface marks, nothing feelable but visually there are a several on each side which will likely cause some surface noise to playback. The sleeve is lovely bright and glossy VG+ condition showing some light edge shelf wear, including a tiny split appearing on the bottom edge and some light peeling on the top flipback tab.

A selection of coloured glassware, including: a pair of Cello glass candlesticks, a Caithness glass paperweight, and other items.

A 3/4 size Stentor II cello, together with bow and soft case.

A vintage wooden cello case by W.E Hill & Sons, 38 New Bond Street, 130cmH

27" back, no label but stamped 'Shrop. CC 94' (requires repair, cased) together with 27 1/4" back labelled 'Golden Strad, Imported By Boosey & Hawkes Made in Hungary' (no case) together with three small size cello cases (2)

Three Swarovski crystal figures, a grand piano with stool, cello and harp

CASED MINIATURE CELLO & BOW, 19in violin and three music sheet books, the cello case bears label dated 1818, 20cms L the cello

Violin or cello bow, stamped to the shaft and to the nickel mounted ebony frog ' Dodd ', 24.5ins long overall

A Cello By Schroetter with bow and soft case

Novelty Silver Model of Cello. 61 g. Egyptian, 20th CenturyLength 10.5 cms

A collection of Swarovski figures to include four Teddy Bears (3 boxed); Little Red Riding Hood; Rocking Horse; Piano; Harp; Cello, etc.

An Edwardian novelty brass vesta case fashioned as a cello the well detailed vesta case with hinged striking plate to bottom, 2½in. (6cm.) long.

A collection of 19th century and later glassware mainly coloured, including cobalt blue eye glasses, cranberry jug with moulded detail, cello shaped bottle, various stem wines, cranberry, green glass, etc, an outsized rummer with etched trailing fruiting vine detail, Wedgwood Silver Jubilee (1977) tankard in amethyst limited to 2,500 examples, cobalt blue vase, etc (collection, two shelves)

Three Lladro/Nao figurines. girl with kittens, boy with cello etc damage to top of cello on figurine

A 19th century German cello, labelled E M Blankert, cased

A student's Tatra by Rosetti cello, 113cm, together with another, bearing a label for Michael Poller (2)

A Victorian silver cauldron salt pot, London 1871, another 1881, other silver wares and an electroplated cello vesta case, 110gm of weighable silver

Magic Crystal Set of ( 3 ) Quality Glass Musical Instruments. Comprises 1/ Grand Piano with Glass Removable Lid. Approx 5.5 x 3 Inches. 2/ Cello, Approx 9 x 3 Inches. 3/ Saxophone / Trumpet?, Approx 9 x 2.5 Inches. All With Magic Crystal Stickers on. All In Very Good Condition, No Chips / Cracks etc. Interesting Quality Glass Musical Heavy Figures. ( 3 ) In Total.

Selection of assorted decorative glass vases including Laguna Art Glass wellington boot vase, and a 'Cello' snakeskin vase (10)

Rottonara,Gentleman with cello, signed oil on board,38x30cm. 38x30cm.

Jacqueline Du Pre LP, Haydn Cello Concerto in C with Daniel Barenboim LP - UK release on HMV (ASD 2331) - Laminated Flipback Sleeve - Red labels with Semi Circle 'Dog' logo - Sleeve and Vinyl EX+

Jacqueline Du Pre LP, Dvorak Cello Concerto In B Minor LP - UK release on HMV (ASD 2751) - Laminated Sleeve - Red 'Rectangle Logo' labels - Sleeve Excellent, Vinyl EX+