We found 16093 price guide item(s) matching your search

A contemporary Art Nouveau styled swinging mantel clock, the clock held aloft by two figurines of scantily clad maidens, in a gilded finish, the clock signed W.Widdop - Est £20 - £40

A Birmingham Guild of Handicrafts copper wall light or table lamp designed by Arthur Stansfield Dixon, the tapering scrollwork support on a domed plate pierced for wall mounting, hinged and supporting a hammered copper shade with brass cap, approx 55 cm high CONDITION REPORTS For further information see ALAN CRAWFORD "By Hammer and Hand" Birmingham Museum and Art Gallery, Page 99, Plate 77 and Page 101, Plate 80 for a contemporary illustration of a display of similar lamps by The Birmingham Guild of Handicrafts - also see Christie's South Kensington Classic Arts and Crafts Sale 2nd November 2000 Lot 173 for an identical piece and Woolley & Wallis Lot 533 3rd December 2014. Condition: There is some sticky residue from stickers, there are a couple of dents to the outer rim, slightly mis-shapen. The bulb holder appears to be a replacement. The ferule beneath the holder does not fit flush with the ball pivot. There is a blob of glue or solder and a small hole on the side of the stand. General wear and tear to include wear to the copper especially on its base, some surface scratches. See images for details.

Heraldry and Genealogy - Armorial Families: A Directory of Gentlemen of Coat-Armour, Showing Which Arms In Use At The Moment Are Borne By Legal Authority, Compiled and Edited by Arthur Charles Fox-Davies, fourth edition, T.C. & E.C. Jack, London 1902, original boards, armorial bookplates of John Reginald Marriott and Hubert James Cecil Rostron; Renton (Edward H.), Heraldry in England, [Wyman & Sons, London 1887], 4to, 101pp, engraved devices throughout, contemporary cloth, floral endpapers; Cadogan Rothery (Guy), ABC of Heraldry, Stanley Paul & Co, London 1915, contemporary red morocco spine and board, armorial bookplate of Aken. L. Albright; Innes of Learney (Sir Thomas), Scots Heraldry: A Practical Handbook on the Historical Principles and Modern Application of the Art and Science, second edition, Oliver and Boyd, London 1956, hb, dj; Crosley (Richard), London's Coats of Arms and The Stories They Tell, Robert Scott, London 1928, hb, dj; Bromley (John), The Armorial Bearings of the Guilds of London: A Record of The Heraldry of The Surviving Companies With Historical Notes, With Forty Plates In Full Colour [...] Line Drawings by Heather Child, Frederick Warne & Co., Ltd, London 1960, hb, dj; others

Stephen Brown RBA 'Summer Time, Dittisham' oil on canvas, signed, 46cm x 60cm (Purchased Ainscough Contemporary Art, March 2009, £1,800).

T.D.E. Lempicka a contemporary framed and glazed Art Deco style print depicting two ladies 20 1/2 x 26" and a framed and glazed Art Deco style print depicting a lady driving, monogrammed TJL, 23 x 21 1/2 ".

Smith (Philip, 1928-). The Lord of the Rings, by J.R.R. Tolkien, 3 volumes in one, 1st India Paper edition, George Allen and Unwin Ltd, [1969], three maps, two folding (separately bound in black morocco-backed purple felt covers), one page typed binding notes by Philip Smith tipped-in on rear blank, all edges gilt, near contemporary morocco, with Philip Smith's blind stamp dated 1974-75 on front doublure, the covers with an overall panoramic landscape continuing onto doublures, executed in scarf-jointed skins with maril and feathered onlays, upper cover with shaped top edge, 8vo (23.5 x 15cm/9.25 x 6ins), housed in a purple felt-lined cloth solander box, with spine label and marbled paper sides, with press stud fasteners Illustrated in 'The Book: Art & Object' by Philip Smith, 1982. (1)

@Sellars (David, 1949-2015). Earth-moon, Illustrated by the author, by Ted Hughes, Rainbow Press, 1976, letterpress illustrations in turquoise, some full-page, patterned pastedowns, all edges gilt, near contemporary inlaid and onlaid black and brown morocco (some textured), with binder's monogram blindstamp dated 1982 on rear pastedown, with interlocking circle design, incorporating onlaid 'ties' in reptile skins with appear to emanate from the covers and terminate in clasps with press-stud fasteners, small 4to (13.5 x 13.5cm/5.25 x 5.25ins), housed in a upright scuplted leather case with circular perspex window on both sides, that to front forming part of hinged door with flap, 24.5 x 16.5cm (9.75 x 6.5ins) Limited edition of 266 copies, this unnumbered and unsigned. David Sellars studied at Camberwell College of Arts with Sally Lou Smith, setting up his first studio in Clerkenwell. He taught and lectured widely at various institutions including Camberwell, Brighton Polytechnic, Oxford Brookes University, and The Royal College of Art, as well as at venues in Europe, Canada and North and South America. He wrote courses on the exploration of the book as a fine art medium and embraced the migration to computer generated books and books in digital formats. In the mid seventies David Sellars was awarded Fellowship of Designer Bookbinders and he served as President of the society for four years. His work is represented in most major libraries in the world and many private collections. (1)

@Sellars (David, 1949-2015). L'Infinito in tutte le lingue che l'hanno saputo pronunciare, by Giacomo Leopardi, Urbino, Italy: Edizioni I.S.A., 1997, marbled free endpapers with inset contrasting circle, pastedowns of scored black morocco, marbled silver edges, contemporary marbled black morocco, signed and dated 1998 in pencil on limitation leaf, spine titled in blind, covers scored and with continuous chasm-like cut-away with jagged edges, small folio (30.5 x 21.5cm/12 x 8.5ins), housed on a cloth cradle with labelled spine in a slipcase with patterned paper sides Limited edition, 53/1300 copies. Exhibited: First Italian International Exhibition of Book Art. David Sellars studied at Camberwell College of Arts with Sally Lou Smith, setting up his first studio in Clerkenwell. He taught and lectured widely at various institutions including Camberwell, Brighton Polytechnic, Oxford Brookes University, and The Royal College of Art, as well as at venues in Europe, Canada and North and South America. He wrote courses on the exploration of the book as a fine art medium and embraced the migration to computer generated books and books in digital formats. In the mid seventies David Sellars was awarded Fellowship of Designer Bookbinders and he served as President of the society for four years. His work is represented in most major libraries in the world and many private collections. (1)

*Picasso (Pablo, 1881-1973). Head of a soldier, 1959, lithograph, 35 x 26.5cm (13.75 x 10.5ins), framed and glazed From the Picasso Sketchbook,published by Editions Cercle d'Art, 1959, limited edition 853/1500, (Globe Gallery Contemporary Fine Art, Weybridge, Surrey, printed sheet and label to verso). (1)

*Ghisi (Giorgio Mantovano, circa 1520-1582). The Last Judgement (after Michelangelo), mid 1540's [but later, circa 1677], engraved portrait frontispiece of Michelangelo by Ghisi, engraved plate of the complete Last Judgement by Sebastian Furck (1589-1665), and ten irregularly shaped double-page copper engraved plates of Michelangelo's Last Judgement in the Sistine Chapel, numbered A-I and L, the latter signed Georgius Mantuanus, and the preceding plate I with printed dedication to Matthys van de Merwede, the general plate and final plate L with publisher's name Giovanni Giacomo Rossi, Rome (active 1638-1684), all on laid paper, some marks and marginal soiling and light waterstain to upper inner margins, portrait with semi-circular portion to lower blank margin excised, generally with very wide margins, sheet size 495 x 620 mm (19.5 x 24.4 ins), contemporary calf-backed marbled boards, worn, folio Boorsch & Lewis, Engravings of Giorgio Ghisi, Metropolitan Museum of Art, New York (1985), 9, state v. The late reissue by Giovanni Giacomo Rossi (1600-1699) of Ghisi's famous engravings after Michelangelo's fresco of the Last Judgement, originally published by Antonio Lafreri. (1)

*Bessant (Don, 1941-1993). Cotswold Spring, & August Morning, 1977, together two colour lithographs on handmade paper, published by Christie's Contemporary Art, both signed, dated, titled and numbered 123 and 51 from editions of 150 respectively, sheet size 470 x 400 mm (18.5 x 15.75 ins), matching gilt frames, glazed, with CCA certificate of authenticity to verso, together with Daniel (Valerie, 20th/21st century), Cottage Window, etching with aquatint, signed, titled, and numbered 65/100, plate size 540 x 400 mm (21.25 x 15.75 ins), with margins, framed and glazed (unexamined out of frame) (3)

Three fine art prints, contemporary oak framed together with four further pictures and a tapestry

An Art Nouveau style contemporary silver photo frame, embossed with a figure of a lady surrounded by scrolled foliage and tulips, 22cm high, 14.5cm wide

ENGLISH BULLDOG ORNAMENT, large size contemporary art style plated finish, 41cm H x 35cm x 70cm L.

Endre Roder (b.1933) Budapest - Figures in bathing costumes on a beach, signed Roder, also extensively inscribed verso on various labels and newspaper articles, mixed media, 12.5" x 5.25" *Provenance: Bath Contemporary Art, 35 Gay Street, Bath, BA1 2NT (reference: The Bath Magazine, September 2015

Eunice Napangardi (c. 1940 - 2005), assisted by Maxie Tjampitjinpa (1945 - 1997), acrylic on canvas - Womans Dreaming, 1991, in gilt frame, 131cm x 84cm. Provenance: Purchased from Corbally Stourton Contemporary Art September 1992, with original receipt

A low contemporary Art Deco style side cupboard with decorative polished burr and figured walnut veneers and brass effect trim, enclosed by a pair of doors with partially fitted interior

Kenny Roach (contemporary),poppies, three, reclaimed records,each 120cm high (3)Creating pieces of art from reclaimed materials has always been part of Kenny’s life; long before ‘re-purposing’ became fashionable. Kenny’s creative and practical skills have developed in response to his strong desire to follow what he has been inspired by.

Peter Hayes (contemporary),'Disc', stoneware,98cm high, on a wood and steel plinthHayes was born in Birmingham, England, where, aged 12, he was selected to attend the Moseley School of Art. In 1961, he left to study at the Birmingham College of Art before travelling extensively in Africa. Over the course of several years, he worked as a ceramic artist with tribes and village potters who inspired him with the exquisite work they produced, using very limited technology and tools. Moving on to India, Nepal, Japan, Korea and New Mexico, he found similar skills, and adopted the techniques he learned. In 1982, Hayes came home and built a studio in a disused toll house on Cleveland Bridge, Bath. His work now builds on the techniques and methods he learned during his travels to create ceramic art that is often inspired by memories of landscapes he has seen. The distinctive appearance of Peter Hayes’ ceramics comes from the techniques like Raku firing to which he subjects them, but a

A cased set of six Swedish silver teaspoons, each with Art Nouveau style terminal, stamped P&H, along with a collection of Walker and Hall and Elkington stainless steel cutlery of contemporary design with Danish influence, to include; knives, forks, spoons etc

Two contemporary art metal sculptures of birds

A bevelled edge art deco mirror along with a reproduction oak framed bevel edge mirror and a contemporary large pine framed mirror. 87x53cm

An unusual contemporary / modernist brutalist large Art wall mirror. Of square form with metal frame having embellished sheet metal adornments. Measure: 112cm x 105cm.

AN ART NOUVEAU SILVER THREE PIECE HAMMER TEXTURED TEA SERVICE with whiplash handles, teapot 11.5cm h, by Charles Edwards, London 1907, 24ozs gross ++In good condition. The teapot engraved with contemporary initials and date

Johnson (Samuel). A Dictionary of the English Language: In which the Words are Deduced from their Originals, and Illustrated in their Different Significations by Examples from the Best Writers, to which are Prefixed, a History of the Language, and an English Grammar, 2 volumes, 3rd edition, 1765, titles printed in red and black, double column, some spotting and browning, old damp stain to lower corner of volume 2 with a little resultant discoloration, touching text throughout, name stamp 'Antoine Polier an 2' at foot of both titles, contemporary calf with gilt ornament to each board, some edge wear and corners bruised, gilt-decorated spines, rubbed and joints slightly cracked, folio (405 x 250 mm) The ownership name referred to Colonel Antoine-Louis Henri de Polier (1741-1795), a Swiss adventurer, art collector, military engineer and soldier who was assassinated in Avignon on 9 February 1795 in the terror that followed the French Revolution. Alston V, 179. (2)

Dugdale (Thomas, assisted by William Burnett). Curiosities of Great Britain. England & Wales Delineated, Historical, Entertaining & Commercial, Alphabetically arranged, 4 vols., n.d., c. 1840, frontispiece and engraved title to volumes 1 & 2, 58 double-page uncoloured maps and 258 steel-engraved views, some minor scattered spotting, contemporary half morocco gilt, a little worn at head and foot of spine, together with Ireland (Samuel), Picturesque Views on the Upper, or Warwickshire Avon, from its Source at Naseby to its Junction with the Severn at Tewkesbury: with observations on the public buildings, and other works of art in its vicinity, 1795, sepia aquatint frontispiece (spotted), single-page map and sepia aquatint views, some foxing to plates, mostly marginal, top edge gilt, contemporary half morocco, rubbed and slightly cracked at base of upper joint, plus A Picturesque Tour Through Holland, Brabant, and Part of France; made in the Autumn of 1789, 2 volumes, 1790, half-titles, sepia aquatint vignette title to each volume, 45 sepia aquatint plates, 19th-century half morocco, spines faded and some wear, mostly to head of spines, all 8vo, and a photograph album containing approx. 120 pasted in b & w albumen photographs, circa 1880s, including Jersey, Stow on the Wold, Burnham, Warwick, Kenilworth, Stratford on Avon, Hereford, Ross, Exeter, Torquay, Teignmouth, Dartmouth, Chagford, Clifton Suspension Bridge,etc., mostly 14cm x 18cm, some 20cm x 29cm, a few faded, contemp. half morocco album, rubbed, folio, plus 3 others related (11)

Millais (John Guille). The Life and Letters of Sir John Everett Millais, President of the Royal Academy, volumes 1 & 2, 1899, numerous black and white illustrations, contemporary inscription to volume 1 front endpaper, uniform original gilt-decorated blue cloth, spines slightly rubbed to head and foot, 8vo, together with Millar (Oliver), The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty the Queen, 2 volumes (Text & Plates), 1st edition, 1963, numerous black and white illustrations, both original blue cloth (plate volume in dust jacket) in slipcase, boards slightly marked, folio, plus S nchez-J vregui (Maria Dolores & Wilcox, Scott, [editors]), The English Prize, The Capture of the Westmoorland, An Episode of the Grand Tour, 1st edition, Yale, 2012, numerous colour illustrations, original green cloth in dust jacket, folio, plus other late 19th century and modern British art reference and related, mostly original cloth in dust jackets, G/VG, 8vo/folio (3 shelves)

[Glasse, Hannah]. The Art of Cookery, Made Plain and Easy; which far exeeds anything of the kind yet published, new edition, printed for A. Millar and others, 1767, some marks and minor soiling, modern calf, 8vo, together with Veauvilliers (A.B.), The Art of French Cookery, 1st English edition, Longman, Hirst, Rees, 1824, light spotting to first and last few leaves, contemporary half-calf gilt, rubbed and minor wear to extremities, 8vo, plus one other (3)

Siege of Vienna. A Journal: Or a most particular account of all that passed in the late Siege of Vienna. Written by a principal officer, who was in the town during the whole time of the siege. And sent by the authority to the Imperial Commissioner at the Dyet of Ratisbonne. Translated out of high-Dutch by His Majesty's special command, printed for H. Rogers and M. Gylliflower, 1684, large woodcut coat of arms of Charles II facing title, title with double-rule outer border, some worming to lower blank margins (only affecting a few letters to foot of title), contemporary blind-ruled plain calf, 8vo, together with [Arnauld, Antoine]. Logic; or,The Art of Thinking..., 2nd edition, corrected and amended, printed by T.B. and are to be sold by Randal Taylor, 1693, 480 pages, some worming to lower margin at front of volume, affecting some letters, contemporary mottled calf (endpapers renewed), some restoration with rear cover replaced, 12mo Ex libris Denton Manor library, Lincolnshire. Wing J1112 & A3724bA respectively. ESTC R32990 & R231968 respectively. (2)

A fine and important Issey Miyake 'Colour Prism' coat, Autumn-Winter, 1997, labelled, of black felted wool overlaid layered abstract bands of multi-coloured silk floss silk and chiffon panels which are needle punched in place, the front side closure gently falls in from the black collar, with large buttons held in place by thongs, quilted satin lining, chest 107cm, 42in Literature: Stella Tennant was photographed by Michael Thompson for Vogue Paris wearing a similar coat, December, 1997. 'Irving Penn Regards Issey Miyake' 'Miyake Issey' exhibition catalogue, The National Art Centre, Tokyo, March-June 2016, p.46. 'Issey Miyake' published by Taschen pp.194, 196, 197 (showing images of the Arizona exhibition), 498. Pieces from Miyake's important 'Prism Collage' collection have been exhibited at the following galleries: ISAMU NOGUCHI and ISSEY MIYAKE 'ARIZONA', an exhibition at the Marugame Genichiro-Inokuma Museum of Contemporary Art, Kagawa, 1997. 'Japanese Textile Design', at the Indira Gandhi National Centre for the Arts, New Delhi, India, 1997. 'Issey Miyake Making Things', Fondation Cartier pour l'art contemporain, Paris, 1998. 'Structure and Surface: Contemporary Japanese Textiles', Museum of Modern Art, New York, 1998-99. 'Issey Miyake Making Things', Museum of Contemporary Art, Tokyo 2000. 'Issey Miyake Making Things', Ace Gallery, New York, 2000. CONDITION REPORT: Good condition, no problems

An Issey Miyake/Cai Guo-Qiang printed 'Dragon or Rainbow Serpent' dress, Guest Artist, Series 4, 1999, labelled and size 3, of pleated polyester with sinuous snaking pattern to front and back in shades of brown, blue and mauve, fin-like point to one shoulder and diagonal slope to the other, points to hem, bust approx 92-102cm, 36-40in This Chinese artist produces these prints/designs by means of detonating gun-powder charges on paper which leaves a residue of scorch marks and ash, reminiscent of traditional Chinese calligraphic ink drawings. The undulating lines are suggestive of serpents, Chinese dragons or snaking river paths. An identical dress was included in the following exhibitions: Breaking the Mode: Contemporary Fashion from the Permanent Collection, Florence, ITA, Palazzo Strozzi, October 12, 2007-January 20, 2008 Los Angeles, CA, Los Angeles County Museum of Art, September 17, 2006-January 7, 2007 Indianapolis, IN, Indianapolis Museum of Art, March 16, 2008-June 1, 2008 Literature: Cai Guo-Qiang: 'I Want to Believe', Guggenheim Museum, New York, 2008, colour illustration, p167. CONDITION REPORT: Good condition, no problems

*Gian Antonio Signoretti (d. 1602), Giulia Pratonieri, uniface lead medal, three-quarter length bust facing right set on a voluted plinth, wearing elaborate helmet and drapery, two spears tucked under her left arm; signed on volute below her right arm, s, 68mm (Attwood 653; Arm. I, 213, 3; Clifford 154), pierced, some marks but an extremely fine contemporary cast [ex Clifford collection]. Ex Michael Hall collection, Baldwin’s, 4 May 2010, lot 168. Pollard mentions that aside from the Kress example (Pollard 522 = Kress 453, in a lead alloy) only two specimens of this medal are recorded, being those in Berlin (Bange 261, a later cast in bronze) and the Bargello (Vannel & Toderi 630, also in bronze). To these should be added the damaged gilt-lead specimen in the Ashmolean Museum, Oxford (Attwood 653a) and the lead specimen formerly in the Clifford collection (1996 catalogue, lot 154). As noted in Currency of Fame the finest examples of these uniface medals of the Emilian school are cast on wafer-thin lead flans, as is the case with the present medal and the piece formerly owned by Clifford. Signoretti’s fine mannerist style along with that of other members of the Emilian school of medallists such as Ruspagiari and Bombarda has been connected to the art of the painter Lelio Orsi of Novellara (c. 1511-87) who had an involvement with the mint of Reggio. Signoretti himself wrote two letters to Alfonso Gonzaga, Count of Novellara in December 1569 describing the coins to be struck there under Orsi’s supervision.

CONTEMPORARY MIXED MEDIA MODERN ART PICTURE 'FIGURES AND A BOAT' BEARING INITIALS L.A.E. 2.70 91 X 71 CM. (AR)

Renee Halpern, French 1982 - limited edition lithograph on arches paper entitled "La Chasise Verte" prov. Christies Contemporary Art, Christies New York, pencil signed and No 71/200, 54 x 64cm.

* PIMENOV, YURI (1903-1977) Dressing Room at the Bolshoi Theatre, signed with initials and dated 1972. Oil on canvas, 87 by 81 cm. Provenance: With the salon of the Art Fund of the USSR (label on the stretcher). Gekkoso Gallery, Tokyo (label on the backing cardboard). Russian Art, Sotheby’s New York, 12 April 2011, lot 32. Yuri Pimenov undoubtedly ranks among the best Soviet painters, alongside Aleksandr Deineka, Georgy Nissky and Alexander Samokhvalov, whose works are an integral part of the formation and development of a new era in the history of art in the USSR. In the mid-1920s, the young Pimenov, together with Aleksandr Deineka, his friend and associate at the Society of Easel Painters (OST), was influenced by contemporary movements in German art, primarily Expressionism and New Objectivity. Pimenov’s finest works from that period, such as War Invalids (1926, The State Russian Museum), Long Live Heavy Industry! (1927, The State Tretyakov Gallery) and Chinese Dancer (1928, Collection of Pyotr Aven), are true masterpieces of historical significance. Pimenov’s time at the OST served as a solid foundation to his creative career, but by virtue of social circumstances remained a unique experiment of its time. In the second half of the 1930s, the artist’s stylistic manner underwent substantial changes, eventually crystallising into an updated version of Soviet “impressionism”. The topics he tackles, now more intimate and lyrical, are narrowed down to encompass the poetics of mundane life of ordinary Soviet people. These are builders of residential houses, top performing factory workers, schoolteachers and theatre actors. As an artist attuned to sentiment, Pimenov is primarily interested not in specific character types but rather in their activity, the atmosphere that surrounds it, and the flavour of temporality itself – either of a fleeting moment or a longer historical period. This is why his paintings convey the feel for the time of day, the arrival of spring, or the intensity of existential experiences. “For Pimenov the genre artist, special value is attached to ordinary everyday situations, events or phenomena, in which some great truth about life is revealed. The artist transfers to the canvas the glint of glossy black umbrellas in rainy weather; the fragrant lilac bush by the railway station, which trains packed with soldiers, lorries laden with meat, bricks or flowers pass by; and the girls who, in lieu of adornments, have lilac stems and fragrant night violets stuck in their hair. All this Pimenov achieves with great humanity, acuteness and liveliness in conveying the mood,” wrote the art critic Anatoly Roshchin. Theatre occupied a pivotal place in Pimenov’s oeuvre. For nearly 50 years he worked as a theatre designer, designing sets for a great number of productions. He approached each production as a unified, wholesome work of art, striving to preserve conceptual coherence in the layout of the stage and the design of costumes, posters and theatre programmes. Pimenov played an active role in all stages of production, regularly attending the rehearsals to ensure the final designs reflected the original concept. His sketches of events taking place backstage testify to his keen involvement and are regarded as truthful representations of the hustle and bustle of thespian life. Dressing Room at the Bolshoi Theatre (1972), presented here for auction, reveals Pimenov’s outstanding talent – not merely as a genre painter but also as an artist with a unique feel for colour and composition, tackling the space with incredible ease and flamboyance. The interior, the figures and all the smaller details, painted with a lightness normally associated with watercolour, reinforce Pimenov’s stature of a major artist, whose legacy is above political and societal constraints, and immune to shifts of artistic paradigms and trends. It is precisely this feature that makes a true artist special and inimitable.

PETROV, SHURA (b. 1957) The Bull Fighter, signed with initials and dated 1993. Oil on canvas, 61 by 50.5 cm. Provenance: Acquired directly from the artist by the Mimi Ferzt Gallery, New York.Acquired from the above by the present owner in Hong Kong in November 1993.Private collection, France.Authenticity of the work has been confirmed by the artist.Authenticity certificate from the Mimi Ferzt Gallery, New York.Exhibited: Russian Contemporary Art, Mimi Ferzt Gallery, The China Club, Hong Kong, November 1993.

YAKOVLEV, VLADIMIR (1934-1998) Composition with a Face, signed and dated 1971. Pencil and gouache on paper, 61 by 86 cm. Provenance: Acquired directly from the artist by George Costakis.Thence by descent.Important private collection, Europe.Exhibited: Soviet Alternative Art 1956–1988 from the Costakis Collections, State Museum of Contemporary Art, Thessaloniki, 7 June–10 September 2006.Literature: M. Tsantsanoglou, Soviet Alternative Art 1956–1988 from the Costakis Collections, Athens, 2006, p. 189, No. 2, illustrated.

§ MASTERKOVA, LYDIA (1927-2008) Composition, from the series "Planets", signed, inscribed "Paris" and dated 1979, further with a composition on the reverse. Ink and collage with paper on paper, 77.5 by 57 cm. Provenance: Acquired directly from the artist by the father of the present owner.Important private collection of Nonconformist art, France.Authenticity of the work has been confirmed by the artist’s niece Margarita Tupitsyn, historian of contemporary Russian art.

§ PIVOVAROV, VICTOR (B. 1937) The Album "Eros", comprising 40 works in two hard, calico-bound folders, each signed, numbered from 1 to 40 respectively and dated 1976, some on the mounts. Twenty-three sheets pencil, ink and gouache on paper, laid on paper, fourteen of which with hors-texte in Cyrillic on the mounts; and seventeen sheets pencil and ink on paper, each measuring each measuring 43 by 31 cm (sheet size). Provenance: Modern and Contemporary Russian Art, Sotheby’s London, 15 February 2007, lot 39.Acquired at the above sale by the present owner.Private collection, UK.Authenticity of the works has been confirmed by the artist.

* PETER HOWSON OBE, THE JUDGEMENT oil on canvas, signed, titled verso 34cm x 24cm Framed Label verso: The Contemporary Fine Art Gallery, Eton

* GWEN HARDIE (SCOTTISH), FACE 06.22.04 oil on canvas 65cm x 59cm, inscribed verso Framed Note: Note: Hardie is the youngest artist ever to be awarded a solo show at The Scottish National Gallery of Modern Art in Edinburgh, Scotland (1990).Gwen Hardie is represented in many private and public art collections in Britain, Europe and America including two major works in The Scottish National Gallery Of Modern Art. Since moving to New York in 2000, she has shown with The Lennon Weinberg Gallery, Dinter Fine Art and has been awarded Residencies at Yaddo in 2004, 2005 and 2006 in a Bogliasco Fellowship at The Liguria Study Center in Italy. She lived in London between 1990 and 2000 and had 6 solo shows with galleries such as Annely Juda Fine Art, Beaux Arts and Fischer fine Art. In 1997 her painting was awarded a prize at the John Moores biennial, Liverpool and was included in the New British Painting'' which toured America in 1986. Hardie left her native Scotland in 1984 when she was awarded a DAAD Scholarship to study with Georg Baselitz in Berlin. A documentary was broadcast on Scottish Television about her in Berlin in 1987. At Edinburgh College of art she was awarded the Richard Ford Award to study the paintings of Velasquez at the Prado Museum and received a first class honours degree in 1983. '' Three of Gwen Hardie's paintings were included in ''REALITY; Modern and Contemporary British Painting'' at The Walker Art Gallery (until 29th November 2015) alongside the work of Walter Sickert, Lucien Freud, Francis Bacon, L S Lowry, Jenny Saville, Ken Currie, George Shaw, David Hockney, Alison Watt, Paula Rego and other important 20th century and contemporary artists.

* IAN HUGHES (SCOTTISH 1958 - 2014), CANCRE oil on photograph on board, signed and titled verso 135cm x 122.5cm Framed Note: Ian Hughes, who has died aged 55, was a well known, inspirational artist producing dramatic paintings on serious themes. Glasgow born, he graduated from Dundee College of Art in 1980, and after various travelling scholarships and awards, settled in Edinburgh. He was a courageous painter and a kind man. Throughout his career he tackled the difficult issue of mental instability in a most impressive way, both in his pictures and as a psychiatric nurse, never deviating from his cause, never painting for the market place, never sensationalising his subject. His work was recognised with major exhibitions at the Scottish National Gallery, and in Rostov-on-the-Don. He is also represented in many UK public museums, including The Whitworth Museum Manchester, Talbot Rice Edinburgh, Tate Gallery, Fleming Collection London, Coutts Bank and Shell. Abroad, his work is found in France, the US, Russia and Poland, and Sean Connery, Bob Geldof, Nick Nairn, Madonna, Peter Gabriel and Lord Maclennan MP are among his many collectors. In 1986, Hughes and his friend Phil Braham showed together at Main Fine Art, Glasgow in Double Vision. It was a memorable year. The pair had objected to the lack of Scottish art in the festival programme and decided to stir things up by hanging pictures on the railings of Edinburgh's Royal Scottish Academy. Festival director Frank Dunlop took up the challenge with a show of young emerging Scottish artists, which evolved into two big official festival exhibitions, Artists at Work in 1986, and 1987's The Vigorous Imagination, a seminal exhibition which finally asserted the vitality and diverse potency of contemporary Scottish art. It is an added poignancy that Hughes died on the eve of the opening of Generation, the biggest celebration of Scottish art ever.

* GWEN HARDIE, FACE 09.17.05 oil on canvas 64cm x 58.5cm (25 x 23 inches) Framed Provenance: The artist. Private London collection. Note: Hardie is the youngest artist ever to be awarded a solo show at The Scottish National Gallery of Modern Art in Edinburgh, Scotland (1990).Gwen Hardie is represented in many private and public art collections in Britain, Europe and America including two major works in The Scottish National Gallery Of Modern Art. Since moving to New York in 2000, she has shown with The Lennon Weinberg Gallery, Dinter Fine Art and has been awarded Residencies at Yaddo in 2004, 2005 and 2006 in a Bogliasco Fellowship at The Liguria Study Center in Italy. She lived in London between 1990 and 2000 and had 6 solo shows with galleries such as Annely Juda Fine Art, Beaux Arts and Fischer fine Art. In 1997 her painting was awarded a prize at the John Moores biennial, Liverpool and was included in the New British Painting'' which toured America in 1986. Hardie left her native Scotland in 1984 when she was awarded a DAAD Scholarship to study with Georg Baselitz in Berlin. A documentary was broadcast on Scottish Television about her in Berlin in 1987. At Edinburgh College of art she was awarded the Richard Ford Award to study the paintings of Velasquez at the Prado Museum and received a first class honours degree in 1983. '' Three of Gwen Hardie's paintings are currently included in ''REALITY; Modern and Contemporary British Painting'' at The Walker Art Gallery (until 29th November 2015) alongside the work of Walter Sickert, Lucien Freud, Francis Bacon, L S Lowry, Jenny Saville, Ken Currie, George Shaw, David Hockney, Alison Watt, Paula Rego and other important 20th century and contemporary artists.

Alexander Drysdale - Breathing, watercolour and paper on card, 24 x 24cm; and one other by the artist also entitled Breathing, each with Contemporary Art Society Market labels verso (2)

A CONTEMPORARY STUDIO GLASS 'FISH' VASE ATTRIBUTED TO MICHAEL HARRIS, unmarked example, possible Isle of Wight glass 'cut ice' fish vase, tonal creams and brown effect leading up to a narrow neck, within a blueish green cased body, H 24 cm, together with two studio art glass fish figures (3)

Contemporary Art - a felt and cross hatched woolwork design depicting stylised boats, believed to be from the Manchester School of Art, c.1970's, 84cm x 59cm

Gerard Dillon (1916-1971) THE FISH EATERS, 1946 oil on board signed lower right; Arts Council of Ireland label on reverse 17¼ x 21in. (43.82 x 53.34cm) C.E.M.A. Collection, Tyrone House;Arts Council of Northern Ireland;Sotheby's, 24 November 1993, lot 29;Private collection;Sotheby's, 13 May 2005, lot 97;Private collection 'Gerard Dillon Retrospective', Municipal Gallery of Modern Art, Dublin, 5 January to 4 February 1973, catalogue no. 24 S. B. Kennedy, 'Irish Art & Modernism 1880-1950, Belfast, 1991, p.141 (illustrated) In The Fish Eaters Gerard Dillon draws inspiration from Celtic manuscripts and the relief carving on the High Crosses that he studied while staying with his friend, the artist Nano Reid, in Drogheda. Dillon and Reid went out sketching to Monasterboice and Mellifont Abbey in the Boyne Valley where they studied the architecture and the relief carving on the monumental High Crosses which date from the tenth century. While staying with Reid in 1950, Dillon wrote to the Australian art historian Bernard Smith, 'I've done a lot of watercolours from early Christian carvings on an old Celtic Cross near here, they are wonderful - all the male figures have got big walrus moustaches like Douglas Hyde, the last President.' (1)The 'big walrus moustaches' that Dillon admired, one of which can be seen in The Fish Eaters, originate on Muiredach's Cross at Monasterboice. Like the Tall Cross at the same site, Muiredach's Cross is a 'scripture cross' carved with scenes from the Bible. In later paintings such as Holy Island, Dillon included balding figures with long curling moustaches that are comic self-portraits. The resemblance between the moustached figure in The Fish Eaters and the artist is not as obvious as it is in later works but this may still be an instance of the artist putting himself into the painting. As Niamh NicGhabhann has pointed out in her essay in the catalogue for the exhibition Nano Reid and Gerard Dillon, the images that Dillon borrowed from the high crosses were often changed or rearranged to suit his needs. (3) In this work, he has utilised the stylised figurative style and flattened perspective from high crosses to create a scene of four figures eating a meal of fish and potatoes. The bottle of Chianti in its traditional fiasco bottle, brings a contemporary note to what could otherwise be a timeless scene. From the window a west of Ireland landscape is visible and the statue of the Madonna and Child also helps to contextualise the scene. Unlike the similar work, Fast Day, which is now in the Drogheda Municipal Collection at Highlanes Gallery, The Fish Eaters does not feature the stylised patterning taken directly from Celtic manuscripts such as The Book of Kells. And yet, the simple dress and bare feet of the four figures, which appear to be two men and two women, are more austere than other paintings of this period. The unadorned interior, simple clothes and dominance of the statue of the Madonna and Child may suggest that this is an image of a religious community eating the traditional Friday meal of fish, or simply a very poor and pious household. Nano Reid's painting Friday Fare, painted in 1945, a year before The Fish Eaters, also depicts a table laden with fresh fish, wine, fruit and vegetables, ready to be made into Friday's dinner.In his biography of Dillon, James White suggested that the high cross carvings plus the influence of manuscript illuminations, allowed Dillon to move away from the literary nature of much Irish art and to combine narrative painting with modernist flatness. In The Fish Eaters, Dillon is not illustrating any particular story but does hint at a narrative that is neither ancient nor modern, but timeless. Dr Riann CoulterApril 20161. Letter from Gerard Dillon to Bernard Smith, 1950, CSIA, National Gallery of Ireland. 2. Niamh NicGhabhann, 'Ancient and Modern', Nano Reid and Gerard Dillon, exhibition catalogue, Highlanes Gallery, Drogheda, 2009, p.52. L

Harry Kernoff RHA (1900-1974) QUEEN'S MEWS COURT, STORE STREET, DUBLIN, c.1939-1940 oil on panel signed lower right; inscribed with title [Queen's Mews Court, Store Street, Dublin (Now Gone), 1940] and artist's address [Stamer St., Dublin] on reverse 21 x 20in. (53.34 x 50.80cm) Acquired directly from the artist by the present owner's family 'Loan and Cross Section Exhibition of Contemporary Paintings', October 7-31, 1939, catalogue no. 51; 'Recent Work of Harry Kernoff, RHA,' Victor Waddington Galleries, Dublin, 11-19 June 1940, catalogue no. 20; RHA Annual Exhibition, 1940, catalogue no. 22; 'Exhibition of Old and New Paintings by Harry Kernoff RHA', Studio Arts Club, 6 - 20 October 1942, catalogue no. 44 Brightly coloured and filled with bustling detail, this painting is characteristic of Kernoff's views of streets and lanes around Dublin.No longer part of the city's streetscape, Queen's Mews Court was located at the junction of Mabbot Street and Store Street, almost tucked under the overhead railway track. The original function of the Court was to serve as stabling for the Custom House, and in his seminal text Dublin 1660 - 1860 Maurice Craig described it as 'the Custom House Stables, Store Street'. (1) Kernoff has filled the composition with small details evocative of daily life in this small corner of the city. Clean laundry appears to waft gently in a breeze, casting strong, dark shadows on the pink wall of the terrace. The pavement is neat and tidy, save for a lingering puddle. The small black dog in the left hand corner can be found in many of Kernoff's Dublin paintings, such as Liberty Hall, Dublin (Night), (Whyte's, 1 October 2012, lot 64). The stance and braided hair of the young girl in on the right hand side is also repeated in other works, for example, Sunny Day, Dublin, 1943 (Crawford Art Gallery, Cork). A preparatory sketch in the collection of the National Gallery of Ireland (NGI.7766.411) is dated to 14 August 1939, and a comparison of the two works show that Kernoff made a number of changes to the composition in the finished painting. In the drawing, a steam engine is coming into sight on the railway bridge, while above the 'Kosy Kottage', two advertisements can be seen. In the present work, an eye-catching blue and white sign touts cut price cigarettes - a notable change from eggs, as seen in the drawing. The addition of the woman pushing a cart of laundry bags at the edge of the canvas, draws the viewer's eye, and we cannot but help follow her glance towards the children playing to the side. Dr Kathryn MilliganESB Fellow, ESB Centre for the Study of Irish Art, National Gallery of IrelandApril 2016Footnote:1. Maurice Craig, Dublin 1660 - 1860: a social and architectural history, Dublin, Allen Figgis Ltd., 1969, plate XLI. P

ENGLISH 'BULLDOG' FIGURE, contemporary art design, plated finish, 28cm H x 26cm W x 50cm L.

FRANK LAMB (Liverpool School of Art), pencil drawing "In the Trenches" - World War I, signed lower left, 25cm x 19cm Provenance: from the collection of Josh Kirby [1829 - 2001] who was a contemporary of Frank Lamb and who went on to illustrate a number of Terry Pratchett's books

Two similar Art Deco chromium plated table lamps with glass ball shades 17'' and 11''h; and a contemporary mirror 12'' x 26'' RSB

A set of four modern fine art prints, contemporary oak framed

Late 9th-10th century AD. A Viking or Anglo-Scandinavian flat-section discoid silver plaque with incised niello-filled ornament, four of the original five domed bosses and plaque to the reverse; the field divided into an outer border and four intersecting rings; the border with running zigzag and notch to the inner edge; the rings reserved on a hatched background with fleshy acanthus-leaf and shell-spiral motifs to the spandrels, a zoomorph within each ring comprising: a serpent with double-looped body, lentoid markings, open jaws with forked tongue; an advancing stag(?) with spiral hips, forked tail and antlers, open mouth with lolling tongue, fillets above the paws; a triple-looped serpent with tridentine tail and tongue; a regardant stag with scrolled shoulder and hip, curled antlers, lolling tongue; to the reverse, an applied propeller-shaped plaque with running zigzag border, shell-spiral fill. 94 grams, 95mm (3 3/4"). Property of a Scottish gentleman; acquired from continental Europe in the late 1970s; gifted to his daughter in the early 1980s; thence by descent 2004. Supplied with a positive X-Ray Fluorescence metal analysis certificate. Cf. the Sutton, Isle of Ely brooch in Backhouse, J., Turner, D.H. & Webster, L. The Golden Age of Anglo-Saxon Art: 966-1066, London, 1984, item 105, and the Anglo-Saxon disc brooch in Statens Historiska Museum, Stockholm, item 17. Accompanied by an Art Loss Register certificate. The ornament is Anglo-Saxon with influence from contemporary (Ringerike style, 10th century) Scandinavian art, visible in the scrolled hips and other details of the zoomorphs.The brooch is closely similar in many respects to the example from Sutton, Isle of Ely, especially the zigzag border, intersecting ring-based layout, pairs of serpents and quadrupeds. The brooch shows signs of heavy usage wear prior to deposition including the loss of one boss. The plaque to the reverse is partial and shows fractures to each end, and incorporated the pin and catchplate; the Sutton brooch has a corresponding riveted panel with a short runic text, with an extensive Old English owner formula to the reverse. Fine condition, one boss absent, edge notched, rear plaque partly absent. Excessively rare.

A pair of low contemporary Art Deco style chairs with curved wide bar backs over deep upholstered seats, raised on squat square tapered supports

Late 3rd century BC. A large ceramic vessel consisting of a pedestal base decorated with diagonal lines of cream, pink, brown and red paint; a bowl shaped body decorated with applied relief consisting of acanthus leaves, rope decoration and a central head of Medusa flanked by a floral scroll, traces of paint; lid painted with a scene of a woman in yellow and white robes seated on a throne, left arm reaching forward; in front winged Eros kneeling and reaching both hands towards an altar; on other side of altar a female (Aphrodite?) seated on a throne and looking towards the altar, Eros and seated female, wearing white and yellow robes; behind another seated female looking towards the other figures and wearing white and brown robes; below painted scene applied rope decoration with applied lion heads below; finial connector painted with flowers, possibly myrtle, on the bulbous body, top with turned grooves and hole in the centre, underside with projecting funnel; possibly a further section absent; on top a sitting dove, head turned slightly to the left, in a white slip. 10 kg, 94cm (37"). Fine condition, restored. Extremely rare. Property of a German gentleman; acquired 1980s, previously in the Antoine Sanna collection, Belgium, since the late 1960s. Cf. Mayo, M. The Art of South Italy: Vases from Magna Graecia, Ricmond, 1982, pp.282-285. For a similar example see the Metropolitan Museum of Art, accession number 30.11.4a–c; and the Museum of Fine Arts, Boston, accession number 1970.478. Accompanied by an Art Loss Register certificate. This lidded bowl is known as a lekanis and belongs to a unique local tradition of pottery known as Centuripe Ware which was manufactured in eastern Sicily in the third century BC, at a time when the island was a Greek colony. Vessels of this type have been discovered in tombs near the towns of Centuripe and Morgantina, close to Mount Etna, and usually depict women performing religious rites. These vessels are distinguished by the application of tempera paints after firing, which allows for a wider range of colours than is found in the conventional black and red figure traditions. The background of the painted scenes is usually painted a rosy red, and the figures are often made up of pastel colours such as pink, blue, yellow, or purple.The beautifully modelled figures and complex colour combinations look beyond conventional Greek vase-painting practices to traditions of monumental painting, of which few contemporary examples survive; one notable surviving example of this genre is the painting of the abduction of Persephone over the entrance to the tomb of Philip II, father of Alexander the Great, at Vergina. Painted and gilded terracotta appliques, some of which recall architectural details, were also added to these vessels. Although the majority have been found in funerary contexts they have also been found at temples. At Morgantina the majority of the vessels have been found in sanctuaries and all of the temples in the area dedicated to Demeter and Persephone have produced examples, as well as sanctuaries to Aphrodite. Some examples have also been found in domestic contexts.The scenes painted on the vases generally have a ritual character that has been explained as depicting marriage ceremonies, usually of the gods, and the examples found in private houses have been explained as wedding gifts that were displayed to commemorate the marriage of the owners. The deities represented on the scenes have been interpreted as the marriage of Persephone to Hades, with the rituals being presided over by Aphrodite and Eros; the presence of a dove on this piece would tie in well with marriage rituals as the dove was sacred to Aphrodite, goddess of love. The importance and expense of this type of pottery would have led to them being re-used in funerary contexts, particularly the idea of love extending beyond the grave. 

GEORGIY ZIMIN (RUSSIAN 1901-1985)Fatima, Sudan, 1920-1930photograph23 x 28 cm (9 1/8 x 11 in.)inscribed Fatima Sudan lower right on the front of the matPROVENANCEAcquired from the estate of the artist.LOT NOTESGrigory Zimin was a well-known Soviet graphic artist and photographer. Grigory studied in VKhUTEMAS, the famous school of Russian Avant-garde under Korolev and Lavinsky.LOT NOTES Georgiy Zimin was a well-known Russian painter and photographer who worked in Moscow for his entire life. After graduating from VKhUTEMAS in 1920, he showed regularly at exhibitions curated by the Russian Art of Movement group. In the late 1920s, he experimented with photograms, comparable to those made by his contemporary, Laszlo Moholy-Nagy.THIS LOT IS BEING SOLD WITHOUT RESERVE.

GEORGIY ZIMIN (RUSSIAN 1901-1985)At the Ashkhabad Marketplace, 1934vintage photograph29 x 16 cm (11 1/2 x 6 3/8 in.)LOT NOTESGrigory Zimin was a well-known Soviet graphic artist and photographer. Grigory studied in VKhUTEMAS, the famous school of Russian Avant-garde under Korolev and Lavinsky.PROVENANCEAcquired from the estate of the artist.LOT NOTESGrigory Zimin was a well-known Soviet graphic artist and photographer. Grigory studied in VKhUTEMAS, the famous school of Russian Avant-garde under Korolev and Lavinsky.LOT NOTES Georgiy Zimin was a well-known Russian painter and photographer who worked in Moscow for his entire life. After graduating from VKhUTEMAS in 1920, he showed regularly at exhibitions curated by the Russian Art of Movement group. In the late 1920s, he experimented with photograms, comparable to those made by his contemporary, Laszlo Moholy-Nagy.THIS LOT IS BEING SOLD WITHOUT RESERVE.

GEORGIY ZIMIN (RUSSIAN 1901-1985)Spring, 1920soil on paperboard32.5 x 25 cm (13 x 9 3/4 in.)LOT NOTES Georgiy Zimin was a well-known Russian painter and photographer who worked in Moscow for his entire life. After graduating from VKhUTEMAS in 1920, he showed regularly at exhibitions curated by the Russian Art of Movement group. In the late 1920s, he experimented with photograms, comparable to those made by his contemporary, Laszlo Moholy-Nagy.THIS LOT IS BEING SOLD WITHOUT RESERVE.

PINCHAS LITVINOVSKY (ISRAELI-RUSSIAN 1894-1985)Portrait of David Ben-Gurion, oil on paper86.5 x 65.5 cm (34 x 25 3/4 in.)signed lower left LOT NOTES Pinchas Litvinovsky (nee Piotr Vladimirovich), born in Ukraine to a family of Jewish merchants, immigrated to Israel in 1912. Throughout the beginning of his artistic career, Litvinovsky traveled back and forth between Israel and Imperial Russia, studying at various art schools. In the 1920s, he settled down in Israel and joined the young modern artists' movement. His unique manner of painting emerged from the influences of both Russian constructivism and contemporary Hebrew art. In the 1930s, Litvinovsky made several trips to France, discovering the art of Cubists and the School of Paris, which made another great impact on the style of his painting. The present lot, a portrait of the primary founder of the State of Israel and its first Prime Minister, David Ben-Gurion, is an exceptional representation of the personality of an important historic figure through the eyes of his contemporary.

A large contemporary glass scent bottle in the Art Deco style with clear crystal body decorated with applied black glass domed panels below a matched inverted stopper, unmarked, height 20cm.