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

AN INSIDE-PAINTED GLASS 'FISH AND INSECTS' SNUFF BOTTLE, BY ZHOU LEYUAN, CHINA, DATED 1890Expert's note: According to Hugh Moss, “Zhou Leyuan began to paint this subject of fish and insects with a grassy rock bank quite early in his career, but most of the subject date from 1891 and 1892, the last two full years of production when it obviously became a popular part of his repertoire. Although Zhou repeated subjects, he never repeated compositions, every single bottle being re-thought as a work of art, unlike most of his contemporary artists who were largely decorative and repeated both subjects and compositions frequently. This is the form the subject generally takes in these later years, with the grassy bank wrapped around the bottle, but this is an early version of the classic subject."Of flattened form, the rounded rectangular body supported on a rimmed oval foot, rising to a slightly flared cylindrical neck with a flat lip. Powerfully painted bold rocks next to a meandering stream with some celestial eye goldfish and a catfish, and buzzing dragonflies and beetles above.Inscription: To one side, signed 'Zhou Leyuan' and dated 'In the first Autumn month of 1890'. One red seal, 'Yuanyin'.Provenance: Hugh Moss Ltd., Hong Kong, November 1997. Collection of Dr. Elsa R. Graser, Baltimore, USA, acquired from the above. Collection of Cynthia G. Locke, inherited from the above and thence by descent. The base with an old collector's label, '3445'. A copy of the original invoice from Hugh Moss Ltd., Hong Kong, dated 8 November 1997, stating a purchase price of USD 5,000 or approx. EUR 8,800 (converted and adjusted for inflation at the time of writing), accompanies this lot. Also with a copy of a letter written and signed by Hugh Moss, addressed to Elsa Graser, dated 10 November 1997, noting that Zhou Leyuan is Moss's favorite inside painting artist and in his opinion “incredibly better than most of the others." Hugh Moss (b. 1943) is an author, dealer, artist, lifelong collector, and enthusiast of Chinese art, and the foremost authority on Chinese snuff bottles. Elsa R. Graser was a teacher of Latin and English and one of the first women on the faculty of the Baltimore Polytechnic Institute. An avid collector of snuff bottles, she served as editor of the Journal of the International Chinese Snuff Bottle Society. Her daughter Cynthia Graser Locke (1923-2019) also collected snuff bottles and lived in Duxbury, Massachusetts.Condition: Very good condition with minor wear and slight fading of colors and seal.Stopper: Aquamarine, neatly carved in 'Beijing' style in the shape of an official's hat, complete with integral finial and collar Weight: 32.8 g Dimensions: Height including stopper 68 mm. Diameter neck 15 mm and mouth 6 mm. Zhou Leyuan is the founder of the popular Beijing school of painting. His career spanned the period from 1881 to 1893. Every single artist of the first phase of the school owed a considerable debt to Zhou, and most began their careers by copying his style and signing his name. Some even devoted most of their careers to producing copies of his work. Hugh Moss has described Zhou Leyuan as “the single most important artist in the entire field of inside-painted snuff bottles".Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 28 November 2011, lot 4Price: HKD 100,000 or approx. EUR 16,500 adjusted for inflation at the time of writing Description: An inside-painted glass 'Shen Zhou inspired' snuff bottle, Zhou Leyuan, the Studio of Thirty-six Memorials, probably Beijing, dated 1891Expert remark: Compare the closely related composition, form, and size (6.89 cm).Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 25 May 2011, lot 121Price: HKD 84,000 or approx. EUR 14,000 adjusted for inflation at the time of writing Description: An inside-painted glass 'goldfish' snuff bottle, Zhou Leyuan, dated 1890Expert remark: Compare the closely related composition, form, and size (6.2 cm). 1890年周樂元款內畫《蜻蜓與魚》料器鼻煙壺由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A BRONZE POURING VESSEL, YI, LATE SONG - EARLY MING DYNASTYChina, 12th-15th century. The deep rounded sides supported on four feet cast with archaistic scroll, the gently rising spout extending to a narrow U-shaped mouth, the handle in the form of a two-horned dragon with spiked mane and coiled tail. The body carved to the side with three elegantly curved grooves below a leiwen band. The interior with a three-character inscription.Inscriptions: To the interior, 'Zhai […]'.Provenance: Galerie M. Michel Beurdeley, Paris, France. Old French private collection, acquired from the above in the 1950s/1960s, and thence by descent in the same family. Established in 1817 by Jean Beurdeley (1771-1853) as a shop selling curiosities, Galerie Beurdeley rose to prominence under his grandson Alfred-Emmanuel-Louis Beurdeley (1847-1919) as the most important Chinese art gallery in Paris. After World War II, the gallery was run by Michel Beurdeley (1911-2012). In the early 1970s, his son Jean-Michel Beurdeley took over operations of the gallery for the next three decades before eventually moving to Thailand in 2001. Jean-Michel is a co-founder of MAIIAM Contemporary Art Museum in Chiang Mai and sponsor of the Patsri Bunnag Foundation. He was honored with the French title Chevalier de l'Ordre des Arts et des Lettres in 2007 and promoted to Officier in 2018.Condition: Good condition with expected old wear, weathering, minor corrosion and casting irregularities. Tiny nicks, light scratches, small dents and fine cracks. The bronze with a rich, naturally grown patina with distinct malachite and cuprite encrustations. Overall displaying exceptionally well.Weight: 1,581 gDimensions: Width 28.5 cm Bronze yi emerged as a ritual vessel form during the late Western Zhou period and continued in popularity until the Warring States period. The function of yi has been documented since the earliest stages of Chinese history. Yi were used together with water basins, pan, in ritual ceremonies to cleanse hands. It was stipulated in one of the ancient Chinese classics, the Book of Rites (Liji), that an elder would pour water from the yi for the ritual performers to wash their hands before proceeding with sacred rites, and the clan's junior member would concurrently carry a pan to collect the water. Yi had been a tangible symbol reflecting the ritual etiquette of royalty and the nobility during the Zhou dynasty.Bronze yi, in addition to serving as water implements during ritual ceremonies, also functioned as wine vessels in the Eastern Zhou dynasty. According to the inscription of the Spring and Autumn period Lu Da Si Tu Yuan Yi, discovered in Qufu county during the Republic period, currently preserved in the Shandong Museum, Jinan, the vessel is identified as a 'drinking vessel' (see Zhu Fenghan, Zhongguo qingtongqi zonglun [A Comprehensive Survey of Chinese Bronzes], vol. 1, Shanghai, 2009, p. 288).Literature comparison:Compare to a related archaic bronze yi of this from in the Palace Museum, illustrated in Bronzes in the Palace Museum, Beijing, 1999, p. 219, pl. 211. Compare a related pouring vessel (yi), dated 9th-8th century BC, in the Saint Louis Art Museum, object number 111:2014. For another prototype, see an archaic bronze ritual pouring vessel (yi), dated to the late Western Zhou dynasty, at Sotheby's New York, 22 March 2023, lot 618.Auction result comparison: Type: Near Identical Auction: Bonhams London, 6 November 2008, lot 311 Estimate: GBP 2,500 or approx. EUR 4,000 converted and adjusted for inflation at the time of writing Description: A finely cast archaistic bronze wine vessel, yi, Song dynasty Expert remark: Compare the near identical form and decoration. Note the closely related size (29 cm).Auction result comparison: Type: Near Identical Auction: Sotheby's New York, 18 March 2014, lot 257 Estimate: USD 6,000 or approx. EUR 7,000 converted and adjusted for inflation at the time of writing Description: A Bronze Pouring Vessel (Yi), Ming Dynasty Expert remark: Compare the near identical form and decoration. Note that this Yi has severe condition issues, unlike the present lot. 宋末至明初青銅匜中國，十二至十五世紀。器身如橢圓形瓢，前端寬流高高昂起，後端執鋬作蛟龍探水狀，匜的四獸足，曲體承載匜的器身,極其穩健。口沿下一周雲紋，之下三道弦紋。 款識: 匜内“齋 […]" 來源：法國巴黎Michel Beurdeley藝廊；法國私人收藏，於 二十世紀五十年代/六十年代從上述藝廊購得，並同一家族傳承。 品相：狀況良好，有磨損、風化、輕微腐蝕和鑄造不規則性，微小刻痕、輕微的劃痕、小凹痕和細裂紋。青銅有豐富的自然包漿，具有獨特的紅綠色結殼。 重量：1,581 克 尺寸：寬 28.5 厘米 拍賣結果比較： 形制：幾乎相同 拍賣：紐約蘇富比，2014年3月18日，lot 257 估價：USD 6,000（相當於今日EUR 7,000） 描述：明銅竊曲紋龍鋬匜 專家評論：比較幾乎相同的外形和裝飾。請注意此匜品相不佳。 由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A PAIR OF MONUMENTAL GILT AND RED LACQUERED WOOD FIGURES OF BUDDHIST LIONS, LATE QING DYNASTYChina, 19th century. Both modeled standing in mirror image, the female with a pup clambering at her feet and the male with a pierced brocade ball, and each with a ball in their mouths. The fierce lions with deeply incised curly manes, mouths agape revealing sharp teeth, and a collar around the neck suspending bells. The rectangular stepped base carved with openworked dragons and petal lappets. (2)Provenance: From the private collection of Lu Xiaguang, and thence by descent. Lu Xiaguang (1906-1994) was a Chinese painter who became a protege of Xu Beihong in 1929 and learned oil painting in the Western style. On Xu's advice, he studied painting at the Ecole des Beaux-Arts in Paris and the Royal Academy of Belgium, after which he returned to Paris. He copied famous paintings from various schools in the Louvre, studied with great concentration, and collected paintings, art objects, and antiques. In 1984, he established the Lu Xiaguang Studio in Paris, which contributed to the cultural exchange between China and France. In 1993, Lu Xiaguang donated his life's work and his art collection of cultural relics, calligraphy, and painting to the People's Republic of China. His works and collection are permanently displayed in the Zhejiang Provincial Museum in Hangzhou. Condition: Good condition with old wear, expected age cracks, flaking and abrasions to lacquer, nicks, scratches, chips and losses. Minor old repairs. Fine, naturally grown patina overall - displaying exceptionally well.Dimensions: Height 145 cm and 148.5 cm Buddhist lion statues are an architectural decoration in front of an entrance to a temple, palace, business, tombs, and home. They are always found as a pair; one male with a ball under his right paw and one female with a cub under her left paw. These guardian lions are thought to protect the building from harmful spiritual influences and harmful people that might be a threat. The male lion guards the exterior of the building, while the female is in charge of the building's interior. The cub represents the continuity of protection.Lions are not native to China, and although live animals were brought to the Chinese court by foreign embassies since at least the Han dynasty (206 BC - AD 220), they were always exotic rarities. In India, the lion is intimately associated with Buddhism, considered a symbol of strength and protector of the Dharma, the Buddhist law, and with the growing popularity of the Buddhist religion during the Tang dynasty (618-907), pairs of lion figures were increasingly placed in front of Buddhist temple gates as guardian animals.The Yongle Emperor's international diplomacy efforts brought China once more in direct contact with foreign lands, their animals, plants and other exotica in the early Ming dynasty. The court welcomed foreign embassies and the Muslim seafarer and diplomat, Court Eunuch Zheng He (c. 1371-1435), embarked on seven extensive maritime expeditions to ports throughout Asia and as far as Africa, which continued into the Xuande reign. At this time, lions were apparently so little known in China that Ma Huan (c. 1380-1460), Zheng He's Muslim interpreter who accompanied him on three voyages, left us a contemporary account describing them in detail: “The lion has a body which resembles a tiger's in shape; it is a dark-yellow color, without stripes; it has a large head and a broad mouth; the tail tapers to a point, which has a lot of hair, black and long, like a tassel; the noise of its roar is like thunder. All the beasts, when they see it, fall down and dare not rise; it is indeed the king among the beasts" (J.V.G. Mills, ed., Ma Huan, Ying-yai Sheng-lan. The Overall Survey of the Ocean's Shores [1433], Hakluyt Society, London, 1970, reprint Bangkok 1997, p. 158-159).Although lions were among the exotic animals that had been brought to China already by some Timurid embassies, and on occasion were received as tribute by Zheng He's delegation, they were rare and desirable enough to be specially purchased on these voyages and be brought back to the court: during the sixth expedition in the Yongle reign, for example, when in 1421 the ships stopped in Aden (ibid., p. 50 and 159), and during the seventh voyage in the Xuande reign, when in 1431 a division of the fleet went to Mecca, where it had, among other things, brought porcelain items as gifts (ibid., p. 51 and 178). 清末一對紅漆描金太獅中國，十九世紀。母獅左前爪抬高摟著著一隻小幼崽，雄性右脚罩著一個花球。獅子火焰狀捲毛，嘴裏還叼著一個小球，雕刻手法細緻，神態生動可愛。(2) 來源：呂霞光私人收藏，傳承至今。呂霞光（1906-1994），中國畫家，1929年師從徐悲鴻，學習西洋油畫。在徐的建議下，他先後在巴黎美術學院和比利時皇家學院學習繪畫，之後返回巴黎。他在盧浮宮臨摹各流派的名畫，潛心研究，收藏繪畫、藝術品、古董。1984年在巴黎成立呂霞光工作室，為中法文化交流做出了貢獻。1993年，呂霞光將其畢生心血收藏的文物、字畫捐贈給中國。他的作品和收藏陳列於杭州浙江省博物館。 品相：狀況良好，有磨損、老化裂紋、剝落和漆面磨損、刻痕、劃痕和缺口，有小修。整體包漿細膩。 尺寸：分別高145 厘米與148.5厘米

A BRONZE DEATH MASK, GOA MADE, EAST JAVA, INDONESIA, 1ST MILLENNIUM BC - 1ST MILLENNIUM ADPublished: Claudio Giardino, Massimo Vidale, and Gian Luca Bonora (editors), Goa Made - An Archeological Discovery, Rome, 2012, page 220, no. 112.Indonesia. Finely cast from thin bronze, the mask is realistically styled with thin arched brows above heavy-lidded pierced eyes, a broad nose, and full butterfly lips curling into a calm smile. The face has finely aged, covered overall in a solid layer of malachite green encrustation.Provenance: A private collector in London, United Kingdom, and thence by descent to his daughter Amanda Torri. Alex Torri, Bologna, Italy, inherited from the above. Paolo Bertuzzi, acquired from the above in 2002. A copy of the original invoice from Alex Torri, dated 7 October 2002, showing an image of the present lot, and stating a purchase price of ITL 8,000,000 or approx. EUR 6,300 (converted and adjusted for inflation at the time of writing), accompanies this lot. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy, and the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Excellent condition commensurate with age. The shape has remained in its original form. As expected, the bronze has corroded overall and there are a soil encrustations. Minor losses and old wear.Weight: 191.1 g Dimensions: Height 18.5 cm Goa (or Gua) Made (Made Cave) is a site north of the Brantas River in East Java. Its importance was first discovered by Anacleto Spazzapan, an Italian archeologist, designer, and collector of ethnographic and folk art who frequently traveled to Indonesia. He was first introduced to the site in 1999. He brought back several sample fragments of fired clay, which he sent to Arcadia labs in Milan for thermoluminescence testing. The first official excavations were subsequently conducted in an underground temple by the Bureau for the Archaeological Conservation of East Java (BACEJ) in 2001 and 2006, the latter funded by Paolo Bertuzzi (the last owner of the present lot), who had developed a profound interest in the site. Finds included imported glazed pottery, Chinese copper or bronze coins, and highly distinct bronze heads such as the present lot. Thermoluminescence analysis of terracotta bricks found in the excavations indicated a date in the early 1st millennium BC. This would not only suggest the discovery of a lost civilization but also challenge widely held notions of Southeast Asian history. The earliest uncontested architectural remains in East Java are two temples dating from the 8th - 9th century AD.In 2007, larger-scale excavations were carried out by a team of Italian and Indonesian archeologists, which revealed a previously overlooked shaft, a complex subterranean structure displaying a sophisticated integrated design that would have required mass community involvement in both its construction and usage. In the following years, disagreements between archeologists involved in the Goa Made project began to emerge. A 2010 article by Andreas M. Steiner and Massimo Vidale in the renowned Italian magazine Archeo supported the dating of to the early 1st millennium BC. In the same year, however, Fiorella Rispoli wrote an article for World Archeology Magazine wherein she questions the accuracy of the thermoluminescence analysis and instead proposed a post-10th century AD dating for the bronze heads. Rispoli suggested that the underground temple was most likely a water control system but offers no explanation as to why or how the heads, a clear part of East Java religious practices, came to be placed there. Most scholars disagree with Rispoli's arguments, especially given that it is primarily based off a single faulty thermoluminescence test she discovered.Cultural acculturation, the mixture of elements from various cultures over various ages implemented in religious contexts is a well-known practice in Indonesia. Settlers of the Indonesian archipelago had consistent contact with Indian traders which led to the adoption of many foreign religious practices. Unsurprisingly, this had a direct effect on the cultural material of Indonesia. Dong Son, the earliest bronze culture in Southeast Asia, was likely introduced to Indonesia by traders during the 1st millennium BC. More than 100 objects from Goa Made are bronze objects, and the majority of these are bronze masks. Many of the masks have characteristics elements which reflect the style of face common to the Majapahit period (13th-16th century). However, the masks which do not illustrate Indonesian facial styles, like the Malayan-Mongoloid face of this lot, are similar to nekara bronzes. This suggests a far earlier dating for these masks. Given the origin of bronze working in Indonesia came from the Don Son culture, these masks can be dated as far back as 2000 BC. However, archeologists are still not unified on this dating. In his 2016 book Hitawasana, Studies on Indonesian Archeology (where the present lot is illustrated, page 55), Prof. Dr. Agus Aris Munandar from the University of Indonesia wrote that further scientific studies remain necessary, and that additional research is expected to step-by-step resolve the questions regarding this important archeological site.

The historically important Great War Victory Medal awarded to Colonel T. Sinclair, Army Medical Service, who personally conducted the first post-mortem examination of Baron Manfred Albrecht Freiherr von Richthofen in a hanger of No. 3 Squadron, Australian Flying Corps, just hours after he was extricated from the wreckage of his red triplane, near Corbie, on 21 April 1918 Having analysed the pathway of a single .303 bullet through the Baron’s torso using a rudimentary piece of wire, it was Sinclair’s report which gave considerable weight to the argument that the fatal shot came from a trailing aircraft, rather than the ground - thus, the Canadian Pilot, Captain A. R. Brown, was officially credited with the ‘kill’ shortly after receiving a Bar to his D.S.C. Victory Medal 1914-19, with copy M.I.D. oak leaves (Col. T. Sinclair.) mounted on contemporary wearing pin, better than very fine £500-£700 --- ‘Copy extracts from A. H. File No. 21/13/506 In the Field 22nd April 1918. We have made a surface examination of Captain Baron von Richthofen and find there are only the entrance and exit wounds of one rifle bullet on the trunk. The entrance wound is on the right side about the level of the ninth-rib, which is fractured, just in front of the posterior axillary line. The bullet appears to have passed obliquely backwards through the chest striking the spinal column, from which it glanced in a forward direction and issued on the left side of the chest, at a level about two inches higher than its entrance on the right and about in the anterior axillary line. There was also a compound fracture of the lower jaw on the left side, apparently not caused by a missile – and also some minor bruises of the head and face. The body was not opened – these facts were ascertained by probing from the surface wounds.’ Thomas Sinclair, Colonel AMS, Consulting Surgeon IV Army, B.E.F. Thomas Sinclair was born in Belfast in 1858. Credited by the Ballymena Weekly Telegraph as ‘one of the most outstanding Ulstermen of his generation’, Sinclair graduated with distinction from the Royal University of Ireland and became Professor of Surgery at Queen’s University in 1886. Appointed surgeon to the Royal Victoria Hospital and consulting surgeon to the Ulster Hospital for Children, the Forster Green Hospital, and the County Antrim Infirmary, Sinclair spent the next thirty years training a generation of medical students in the art of surgery - indeed, under his tutelage, the Belfast School of Modern Surgery came to be regarded as one of the most advanced in the British Isles. Volunteering for active service at the outbreak of hostilities, Sinclair served as Colonel in Egypt from 15 November 1915, before being transferred to the Western Front as Consulting Surgeon to the Fourth Army, which at that time was commanded by that other distinguished Ulsterman, Lord Rawlinson. Decorated with the C.B., ‘in recognition of work well and faithfully done on various fighting fronts’, Sinclair was further Mentioned in Despatches on 4 January 1917 whilst serving as Consultant. However, quite by accident and pure circumstance, it was from Headquarters on a sunny spring day in 1918 that Sinclair received the order to proceed immediately to a small hangar at Poulainville aerodrome on the Somme; awaiting his inspection lay the body of one of the most dangerous foes of the Great War. Controversy remains to this day as to who exactly fired the fatal shot which killed the Red Baron. During the autopsy it was noted that Sinclair used a piece of wire, rumoured to be fence wire, to track the path of the bullet, rather than a more appropriate smooth and rounded apparatus. Such a crude improvisation laid open the opportunity for error and inaccuracy, but it is widely accepted that this first report remains the most important piece of evidence to this day which addresses the circumstances of death and factual wounds, more-so given that the infamous red Fokker Dr.I. 425/17 triplane was scavenged within hours for souvenirs. Sinclair’s conclusions however, remain contested, especially following recent analysis of the path of the machine gun bullets fired from the trenches by Sergeant Cedric Popkin of the 24th M.G.C., 1st Australian Imperial Force. Elected to the Ulster Senate representing Queen’s in 1921, Sinclair was later honoured as Founder of the Modern Ulster School of Surgery and is remembered via a large and impressive oil portrait by George Harcourt, R.A., which hangs to this day in the Great Hall of Queen’s University, Belfast. His acceptance speech was particularly humbling: ‘What a sustaining and consoling thought it is to me that so many warm friends consider that I have not altogether lived in vain, but have been enabled in some degree to alleviate or assuage the heavy burden of human suffering throughout the years.’ Sinclair died of illness on 5 November 1940.

Cabul 1842 (* No. 1609 J. Gillmon 2d Coy 2d Batln Art *) attractive contemporary engraved naming, fitted with original steel clip and silver bar suspension, very fine £300-£400

Pair: Second Lieutenant R. H. Hobern, Devonshire Regiment, late Gloucestershire Regiment, who served post-Armistice with the Graves Registration Unit British War and Victory Medals (2. Lieut. R. H. Hobern.) better than good very fine (2) £80-£100 --- Roland Henry Hobern was born in Clapton, London, on 24 August 1898. Educated at Bournemouth School, his Officer Service Papers note that he witnessed initial home service at Lance Corporal in the 3rd Battalion, Gloucestershire Regiment, before being appointed to a commission with the 3rd Battalion, Devonshire Regiment, in June 1918. Posted to France, he was attached on 26 November 1919 to the 86th Labour Group at Caudry, near Cambrai, and spent approximately six months serving with “B” Company of the Graves Registration Unit. During the war, burial parties were perceived as essential for the maintenance of morale. With macabre humour, the Corps burial officers gained nicknames from the troops such as ‘the body snatcher’ and ‘cold meat specialist’. Post-Armistice, Hobern and his men were likely heavily engaged in identifying remains from the battlefields and liaising with the Commonwealth War Graves Commission; quite a responsibility for a young man barely 20 years of age. Upon returning to England, Hobern took employment as passenger clerk for the Canadian Pacific Railway Company and spent the next 40 years working in various roles, including cruise director in the West Indies and Mediterranean. Recorded in the 1939 Census of England as a shipping clerk stationed at Southampton and living at 21 Morris Road, Hobern served as an A.R.P Warden at All Saint’s Ward No. 9, Post 3, and was present throughout the Southampton Blitz. This included two devastating daytime raids on 24 and 26 September 1940, which targeted the Supermarine works and killed 110 people. Another on 6 November 1940 targeted the City’s Civic Centre, killing 35 people including 15 children in an art lesson. Further attacks led to the destruction of All Saint’s, Holyrood and St. Mary’s churches, with the A.R.P. wardens heavily engaged in digging civilians from the rubble. Contemporary accounts relating to Southampton at this time note that the firestorm could be seen from as far away as Cherbourg.

A contemporary travertine dining table, 73.5cm high, 170cm long, 100cm wide; a set of six dining chairs, 116.5cm high, 49cm wide, the seat 42cm deep (7)NB - This lot is offered for sale as a work of art, the cushions may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling

A contemporary George III Revival Gainsborough armchair, 102cm high, 72cm wide, the seat 56cm wide and 52cm deepNB - This lot is offered for sale as a work of art, the cushions may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling

CHARLES RENNIE MACKINTOSH (1868-1928) 'LAVANDER, WALBERSWICK', 1915 pencil and watercolour, inscribed, dated and signed with initials LAVANDER/ WALBERSWICK/ 1915/ CRM/ MMM, later framed Dimensions:sheet size 28.8cm x 22.5cm (frame 46.3cm x 38.7cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Note: During a ten-month period in 1914-1915, Charles Rennie Mackintosh created his celebrated series of botanical watercolour studies at Walberswick on the Suffolk coast. Believed to number around 30-40 in total, these works are loved for their meditative, skilful delicacy, and the way they encapsulate the extraordinary marriage of technical and creative vision that Mackintosh possessed. Few beyond Mackintosh are capable of perceiving, much less conveying, both the random beauty and extraordinary symmetry and inherent structural design of the natural world. By 1915 he had married Margaret Mackintosh, and her initials ’MMM’ begin to appear on his drawings, denoting, like a diary entry, that she was present with him when these sketches were created. ‘Lavander, Walberswick’, the most detailed of the sketches offered here for sale, beautifully illustrates his technical prowess and ever-elegant hand. Creating a sense of texture by highlighting just a few upper leaves with the most delicate of washes, our eye then focuses on the accomplished pencil mark tangle of unfurling leaves towards the base of the stem. One contemporary source, an article by author Desmond Chapman-Huston, suggests that Mackintosh produced this proliferation of flower studies for a book commissioned by a German publisher, the outbreak of war preventing its publication. It could also have been a deliberate move towards more commercial subject matter as Mackintosh had just quit his architectural practice in Glasgow. He left the recession-bound city under a cloud; his reputation tarnished by rumours of alcoholism. From what we can infer from this beautiful series of drawings, the tranquillity of the coastal village provided him with an opportunity to re-sharpen the clarity of his artistic vision, with many followers holding the Walberswick sketches among his finest work.This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.

* Gillray (James). Anacreontick's in Full Song, H. Humphrey December 1st 1801, etching with aquatint, with contemporary hand-colouring, trimmed to the neatline, some creasing, one repaired marginal closed tear, adhesion scaring to the verso, 240 x 31 mm, together with The Theatrical Bubble; being a New Specimen of the Astonishing Powers of the Great Politico-Punchinello in the Art of Dramatic Puffing, H. Humphrey, Jany. 7th 1805, uncoloured etched caricature, repaired marginal closed tears, trimmed to the neatline and laid on later thick paper, 355 x 255 mm, with Farmer Giles & his Wife shewing off their Daughter Betty to their Neighbours on her return from School, H. Humphrey, January 1st, 1809, etching with bright contemporary hand-colouring, old folds, trimmed to the neatline, splits along old folds, laid on later card, 320 x 480 mmQTY: (3)NOTE:BM Satires numbers 9764, 10459 & 11444.

Art & Antiques. A collection of art & antiques reference & related, including Landscape History, Journal of the Society for Landscape Studies, volumes 1-16, 20-21 (bound in 6 volumes), 1978-99, retaining original covers, bound in uniform contemporary, marbled boards, large 8voThe Sixteenth and Seventeenth-Century Miniatures in the collection of Her Majesty The Queen, by Graham Reynolds, 1st edition, London: Royal Collection, 1999, original cloth in dust jacket, covers lightly rubbed, large 4toArms, Armour and Base-Metalwork [The James A. de Rothschild Collection at Waddesdon Manor], by Claude Blair, Fribourg: Office du Livre, 1974, original cloth in dust jacket & slipcase, spine lightly faded, large 8vo, together with other related material, mostly original cloth, some in dust jackets, G/VG, 8vo/4toQTY: (3 shelves )

TABAKA, TARAS (Ukrainian b. 1965) 'Spring' an atmospheric abstract view of spring with blossoms, oil on canvas 50 x 60 cms (1)Further information:Taras Tabaka, Born in 1965 in Uzhhorod. 1992-1997 - Ukrainian Academv of Arts (monumental art). Kviv. 1984-1989 - Lviv Polytechnic Institute (architecture), Lviv Painter, curator of contemporary art projects . Ihe studios are located in Uzhhorod, Budapest, Essen and Long Island. Member ot the Association of Artists-Activists of Ukraine (2002) and the Union of Artists of Westphalia, RKB (2010, Germany).CURATORIAL PROJECTS:2021 ONE HUNDRED YEARS OF LONELYNESS (Palace of Arts, Lviv), 2020 "TELL ME ABOUT SILENCE". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2020 "( de )TERMINATION". Korsakiv Museum of Modern Ukrainian Art. Lutsk. Ukraine2019 "And NTRO". Ilko Gallery Art Center, Uzhhorod; Korsakiv Museum of Modern Ukrainian Art. Lutsk Ukraine, 2018 "FRAGMENTATIONS. NAMEZHI". Fair of modern Ukrainian photography "KYIV PHOTO FAIR"." Chicago Central House". Kyiv, Ukraine2017-2018 "FAREWELL, WORD.!", Ilko Gallery Art Center, Uzhhorod; Museum of the History of the City of Kyiv. Kyiv, Ukraine, 2016-2017 "LATEST REALISM" (cycle of exhibitions). Ilko Gallery Art Center, Uzhhorod, 2014 "INSOMNIA". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2013 "FRAGMENTATIONS". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2011 "INDEFERENTA". Transcarpathian Regional Art Museum named after Y. Bokshaya. Uzhgorod, Ukraine, 2010 "CINEMA IS NOT FOR EVERYONE". A week of contemporary Hungarian independent films. Uzhgorod National University. Uzhgorod, Ukraine, 2009 "IDEALIST™ . Transcarpathian Regional Art Museum named after Y. Bokshaya. Uzhgorod, Ukraine, 2005 "UNKNOWN HOLLYWOOD", week of American arthouse. Transcarpathian Regional Music and Drama Theater. Uzhgorod, Ukraine, 2004 "SENSEI OF EASTERN CINEMA", East Asian Cinema Week. Transcarpathian Regional Music and Drama Theater. Uzhgorod, UkrainePERSONAL EXHIBITIONS:2017 Personal exhibition. " Reflection gallery», Santa Fe, USA2016 Personal exhibition "EGOIST". Ilko Gallery Art Center. Uzhgorod, Ukraine2011 Personal exhibition project. Zollferrein, Germany.2008-2009 series of personal exhibitions in Essen, Wuppertal and Duisburg, Germany2007-2009 New Year's art fair of modern art. Hungarian pavilion. Linz, Austria1993 "STORAGE". Bombosfovishche House of Life. Uzhgorod, Ukraine1988 Personal exhibition. Kosice, Slovakia 

DOLGOSH, ODARKA (Ukranian, b. 1963), «Irises» - 5 acrylic on card, 50 x 70 cm  Further information: Odarka Dolgosh-Sopko, is well-known Ukrainian graphic painter, polygraphist, candidate of Art studies was born in Ukraine, in the city of Uzhgorod at 1963. Graduated from Lviv Academy of typography in 1988. She successfully combines the work of typographer and a graphic and the 7art of painting. In Ukraine she is well-known for her artworks with unique techniques of layering and the floristsic paintings. She created a unique technique which is used in plastic graphic. Odarka Dolgosh-Sopko is constantly participating in International exhibitions and plein air exhibitions All Ukrainian and abroad. Personal exhibitions in Uzhgorod at 1993, 1995, 2003 years; Personal exhibitions in Slovakia at 1998 200, 2005, 2006; Personal exhibition Mukachevo, Ukraine at 2003; Personal exhibition in Kiev Ukraine, 2004. Her artworks are exhibited in galleries of contemporary art in Namestow Bratislava, Budapest, Transcarpathian museum of Art. CONDITION: Igor KolisnykBorn April 19th, 1956.Graduated I. Trush Lviv State College of Applied and Decorative Art in 1977, Art Decoration Department.1988 to present - Chief Artist in Private Joint Stock Company "Gal-Expo".During this time Igor Kolisnyk supervised more than 600 international exhibits and presentations.2000 to present - Member of National Union of Ukrainian Artists and Chief of Lviv region of NUUA.Igor is specialising in design, painting and graphics.His art was presented in more than 30 personal exhibitions.Experimenting in different fields of painting, graphic, drawing and design.Images are representing symbolism, allegory and romantic expressionism.

TABAKA, TARAS (Ukrainian, b. 1965) "NU",a painting loosely based on figurative nude, oil on canvas, 60 x 50 cms, signed verso (1)Further information:Taras Tabaka, Born in 1965 in Uzhhorod. 1992-1997 - Ukrainian Academv of Arts (monumental art). Kviv. 1984-1989 - Lviv Polytechnic Institute (architecture), Lviv Painter, curator of contemporary art projects . Ihe studios are located in Uzhhorod, Budapest, Essen and Long Island. Member ot the Association of Artists-Activists of Ukraine (2002) and the Union of Artists of Westphalia, RKB (2010, Germany).CURATORIAL PROJECTS:2021 ONE HUNDRED YEARS OF LONELYNESS (Palace of Arts, Lviv), 2020 "TELL ME ABOUT SILENCE". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2020 "( de )TERMINATION". Korsakiv Museum of Modern Ukrainian Art. Lutsk. Ukraine2019 "And NTRO". Ilko Gallery Art Center, Uzhhorod; Korsakiv Museum of Modern Ukrainian Art. Lutsk Ukraine, 2018 "FRAGMENTATIONS. NAMEZHI". Fair of modern Ukrainian photography "KYIV PHOTO FAIR"." Chicago Central House". Kyiv, Ukraine2017-2018 "FAREWELL, WORD.!", Ilko Gallery Art Center, Uzhhorod; Museum of the History of the City of Kyiv. Kyiv, Ukraine, 2016-2017 "LATEST REALISM" (cycle of exhibitions). Ilko Gallery Art Center, Uzhhorod, 2014 "INSOMNIA". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2013 "FRAGMENTATIONS". Ilko Gallery Art Center. Uzhgorod, Ukraine, 2011 "INDEFERENTA". Transcarpathian Regional Art Museum named after Y. Bokshaya. Uzhgorod, Ukraine, 2010 "CINEMA IS NOT FOR EVERYONE". A week of contemporary Hungarian independent films. Uzhgorod National University. Uzhgorod, Ukraine, 2009 "IDEALIST™ . Transcarpathian Regional Art Museum named after Y. Bokshaya. Uzhgorod, Ukraine, 2005 "UNKNOWN HOLLYWOOD", week of American arthouse. Transcarpathian Regional Music and Drama Theater. Uzhgorod, Ukraine, 2004 "SENSEI OF EASTERN CINEMA", East Asian Cinema Week. Transcarpathian Regional Music and Drama Theater. Uzhgorod, UkrainePERSONAL EXHIBITIONS:2017 Personal exhibition. " Reflection gallery», Santa Fe, USA2016 Personal exhibition "EGOIST". Ilko Gallery Art Center. Uzhgorod, Ukraine2011 Personal exhibition project. Zollferrein, Germany.2008-2009 series of personal exhibitions in Essen, Wuppertal and Duisburg, Germany2007-2009 New Year's art fair of modern art. Hungarian pavilion. Linz, Austria1993 "STORAGE". Bombosfovishche House of Life. Uzhgorod, Ukraine1988 Personal exhibition. Kosice, Slovakia

ZASTAVNA, NATALIA (Ukrainian, b.1988),  "A woman who smokes", figurehead in mixed media and oil on canvas, 60 x 80 cms Further information on artist: Natalia Zastavna, born in 1988 in New Rozdol, which is situated not far from Lviv, Ukraine. In 2011, graduated from the Lviv Polytechnic National University, Department of design. The artist is a member of a National Artist's Union of Ukraine since 2017. Participant of numerous national and international exhibitions, plein airs, residences. Lives and works in LViV. EXHIBITIONS: 2019 - 8th Beijing International Art Biennale «BIAB-2019», 2019, National Art Museum of China (NAMOC) (certificate, catalog), Beijing, CHINA, 2019 -AIl-Ukrainian exhibition "Art-Nova"', Kremenchuk, Grand prix, UKRAINE, 2018 -Group exhibition in fortress "Rocca dei Rettori", Benevento, ITALY, 2017 -Hotel "Karolina" exhibition "Colours of Vilnius-2017", Vilnius, LITHUANIA, 2017 -Group exhibition Light and Shadows, Museum of Contemporary Art, Kyiv, UKRAINE, Private collections: Ukraine Europe USA, Museum of Modern Art, CYPRUS CONDITION: NATALIA ZASTAVNA, born in 1988 in New Rozdol, which is situated not far from Lviv, Ukraine. In 2011, graduated from the Lviv Polytechnic National University, Department of design. The artist is a member of a National Artist's Union of Ukraine since 2017. Participant of numerous national and international exhibitions, plein airs, residences. Lives and works in LViV.EXHIBITIONS:2019 - 8th Beijing International Art Biennale «BIAB-2019»2019, National Art Museum of China (NAMOC) (certificate, catalog), Beijing, CHINA2019 -AIl-Ukrainian exhibition "Art-Nova"', Kremenchuk, Grand prix, UKRAINE2018 -Group exhibition in fortress "Rocca dei Rettori", Benevento, ITALY2017 -Hotel "Karolina" exhibition "Colours of Vilnius-2017", Vilnius, LITHUANIA2017 -Group exhibition Light and Shadows, Museum of Contemporary Art, Kyiv, UKRAINEPrivate collections: Ukraine Europe USAMuseum of Modern Art, CYPRUS

SHKARUPA, VALERY (Ukrainian, b. 1950), 'North Wind' a highly textured painting revealing outline torso, oil and mixed media on canvas, 100 x 65 cms. (1) Further Information:  Valery Shkarupa, Born in 1950 in Sumy. Works in painting, graphics, ceramics. He studied at the Moscow Institute of Restoration (VNDIR). The author of the idea and the curator of international projects "Raku-keramika" (since 1993) and international svmposia of land art (2000-2002). Since 1997 - a member of the Al Ukrainian creative association BLn-art.The works are in the Sumv Art Museum. the Zaporizhia Art Museum. the Shevchenko National Reserve in Kane, the Soviart Contemporary Art Center, the Kaliningrad Art Gallery, the Kharkiv Municipal Gallery, the Lenin Gallery (Zaporizhia), the Triptych Gallery (Kyiv), the Museum für Gestaltung in Zurich (Switzerland), Staatliches Museum Schloss Burgk (German), as well as in private collections of Armenia. Italv. ermanv, Israel, Switzerland, France, Canada, Egypt, USA CONDITION: Further Information: VALERY SHKARUPA. Born in 1950 in Sumy. Works in painting, graphics, ceramics.He studied at the Moscow Institute of Restoration (VNDIR).The author of the idea and the curator of international projects "Raku-keramika" (since 1993) and international svmposia of land art (2000-2002).Since 1997 - a member of the Al Ukrainian creative association BLn-art.The works are in the Sumv Art Museum. the Zaporizhia Art Museum. the Shevchenko National Reserve in Kane, the Soviart Contemporary Art Center, the Kaliningrad Art Gallery, the Kharkiv Municipal Gallery, the Lenin Gallery (Zaporizhia), the Triptych Gallery (Kyiv), the Museum für Gestaltung in Zurich (Switzerland), Staatliches Museum Schloss Burgk (German), as well as in private collections of Armenia. Italv. ermanvIsrael, Switzerland, France, Canada, Egypt, USA

FREDERICK NEWENHAM (1807-1859) ‘Rich and Rare were the Gems She Wore’: Portrait of a Lady Oil on canvas laid down on wood, 91.5 x 71 cm Signed and dated 1854 Exhibited: Royal Academy, 1854 (no. 1084) Literature: William Laffan, in Nicola Figgis (ed.), Art and Architecture of Ireland Volume 2 (Dublin, London, New Haven, 2014) pp. 385-86, illustrated fig 394 Newenham is among the talented group of artist to emerge from Cork in the nineteenth-century and is noted in Peter Murray’s history of Cork art as a member of the artistic family whose members also included Robert O’Callaghan Newenham, the landscape painter, and William Newenham of Coolmore, county Cork, who combined his role as Superintendent General of Barracks with an active career as a topographical artist. According to Strickland, Frederick Newenham was born in Cork in 1807, but, like Daniel Maclise and James Barry, he made his name in London where ‘he achieved some success, becoming a fashionable painter of ladies’ portraits’. However he also painted history and anecdotal pictures which he exhibited at the Royal Academy from 1838 to 1855 as well as sending seventeen paintings to the British Institution between 1841 and 1852. The subjects of these were largely drawn from history and included Cromwell Dictating to Milton (1850) and Princess Elizabeth Examined by the Council (1852). As William Laffan notes in Art and Architecture of Ireland (2014), ‘the sheer scale of some of these attests to Newenham,’s ambition – the Cromwell picture measures 11 ft across’. Newenham was also commissioned to paint portraits of Queen Victoria and Prince Albert. His technical ability is clearly apparent in this work which takes its subject from Moore’s Melodies, which famously also inspired Maclise, Newenham’s elder by one year. Rich and rare were the gems she wore And a bright gold ring on her wand she bore But oh! Her beauty was far beyond Her sparkling gems, or snow white wand. An allegory of ‘Erin’s honour and Erin’s pride’, it tells the story of a young lady of great beauty’ who ‘adorned with jewels and costly dress, undertook a journey alone, from one end of [Ireland] to another, but ‘such an impression had the laws and government of [King Brien] made on the minds of all the people, that no attempt was made upon her honour, nor was she robbed of her clothes of jewels’. Newenham’s picture was exhibited at the Royal Academy in 1854 under the title ‘Rich and rare were the gems she wore’. It shows the young lady preparing for her journey, her jewel box in the table and her looking glass to the left – rather recalling iconography of The Lady of Shallot, so beloved of contemporary Pre-Raphaelite artists. Described in Art and Architecture of Ireland as ‘an accomplished piece of painting; which shows Newenham to have fine colourist working in a polished high Victorian manner’, it invites further study on this largely forgotten contemporary of Maclise.

PHILIPPE FERRANDIS, PARIS; two contemporary pendant necklaces, a Schreiner of New York brooch, a silver and enamel maple leaf brooch, a white metal and malachite inset brooch, an Art Deco style bird brooch, a locket and a further floral brooch (8).

A German Art Deco silver and black and green enamel compact, c1930, of octagonal section, tapered at either end, the interior with three lidded compartments and mirror, with celluloid tablet to the other side, fitted with a retractable pencil and twin suspension rings, the long black silk tassel contemporary, 10cm h; 28.5cm including tassel, apparently unmarked Good condition

Antiquarian and Later Books. Neale's Views of The Seats of Noblemen and Gentlemen [...], Second Series, volume I only, London: Sherwood, Jones and Co., 1824, illustrated with India paper proof plates of country houses, uncut, 20th c buckram over grey papered boards, 4to, Porny ([Mark Anthony], French-Master at Eton-College), The Elements of Heraldry [...], third edition, London: T. Carnan, and F. Newbery, Junior, 1777, engraved frontispiece and plates, later 20th c faux morocco, 8vo, [German heraldry] Ströhl (Hugo Gerard), Heraldischer Atlas, Stuttgart: verlag von Julius Hoffman, 1899, full-page colour and monochrome plates, in-text illustrations, repaired contemporary cloth, folio (35.5 x 27cm), other non-fiction, including Jewitt's Ceramic Art of Great Britain, n.d. [c. 1880], original green cloth, large 8vo, 1948 Camden Society Miscellany, 1941 Burton-upon-Trent history, Derby School leather prize binding, architecture, history, further heraldic and ceramic reference, etc Ströhl's Heraldischer Atlas sold as a collection of plates and as such not liable to return.

Miscellaneous literature and the arts, late 19th/early 20th c including the Decadent Movement, comprising an association copy, First Editions of Algernon Swinburne, New York: Dodd & Livingston, n.d. [1915], contemporary cloth over boards, gilt-lettered morocco vertical spine label, enclosing original wrappers, top-edge gilt, 8vo, an Aesthetic Movement theatre programme, The Darling of the Gods, His Majesty's Theatre, March 23rd, 1904, concertina format with 'Japanese' colour illustrations, 8vo, Ross (Robert), Aubrey Beardsley, London: John Lane, The Bodley Head, 1909, original publisher's pictorial red cloth gilt, faded, top-edge gilt, other uncut, 8vo, Whistler's Gentle Art of Making Enemies, 1919, original cloth over boards, 8vo, R.L. Stevenson Memories, first edition, London & Edinburgh: T.N. Foulis, n.d. [1912], original wrappers over boards, 8vo, Thomas Hardy, John Addington Symonds, other John Lane imprints, Richard Le Gallienne, etc., (20) Provenance: 1st: Clement King Shorter (1857-1926), journalist and literary critic, presented to him by Luther S. Livingston (1864-1914), of the eponymous Dodd & Livingston, American bibliophile and scholar; verso of recto wrapper with autographed dedication inscription, pastedown with Shorter's pictorial bookplate.

Theodor Rudolf Rocholl (1854 - 1933) - Tscherkessenbeute Öl auf Leinwand. Darstellung eines Trupps berittener Tscherkessen auf einem schmalen Pfad in karger Berglandschaft. Von einem erfolgreichen Kriegszug kehren die bewaffneten Männer mit reicher Beute zurück. In der Mitte des Bildes eine gefangene junge Frau, die sich mit allen Kräften gegen ihre Verschleppung zur Wehr setzt. Links unten signiert "Th. Rocholl" und bezeichnet "Y. Sagerschewski Kriegsgefangenenlager Tuchel 1918". In zeitgenössischem goldfarbenen Holzrahmen, leicht bestoßen. Bildmaße 79 x 107, mit Rahmen 104 x 131 cm.Theodor Rudolf Rocholl (1854 - 1933), deutscher Maler, Grafiker und Schriftsteller, studierte an den Kunstakademien in Dresden und München, später als Meisterschüler in Düsseldorf. Er avancierte zu einem der bekanntesten Militär- und Schlachtenmaler seiner Zeit und nahm als Kriegsmaler an verschiedenen Kriegen des frühen 20. Jhdts. bis hin zum Ersten Weltkrieg teil. Theodor Rudolf Rocholl (1854 - 1933) - "Circassian Booty" Theodor Rudolf Rocholl (1854 - 1933) - "Circassian Booty"Oil on canvas. Depiction of a troop of mounted Circassians on a narrow path in a barren mountain landscape. The armed men are returning with abundant spoils of war from a successful military expedition. In the centre of the picture, a young female prisoner is resisting being abducted with all her strength. The bottom left signed "Th. Rocholl" and labelled "Y. Sagerschewski Kriegsgefangenenlager Tuchel 1918". In a contemporary, gold-coloured wooden frame, slightly knocked. Size of the painting 79 x 107 cm, including frame 104 x 131 cm.Theodor Rudolf Rocholl (1854 - 1933) was a German painter, graphic artist and writer. He studied at the academies of art in Dresden and Munich, and was later a student in the master class in Düsseldorf. He went on to become one of the best known painter of military and battle scenes of his time, as a war artist participating in various early 20th century battles, up to World War I. Condition: II +

Style of Roy Lichtenstein (1923-1997, American), acrylic on canvas, Two pop art portrayals 'Mais au moins...' & 'Et si ce que j'ai observe...', signed G.Forster and dated '13 to the lower right, displayed within contemporary ebonised frames, measuring 66cm x 66cm overall

Harold Riley DL, DLitt, FRCS, DFA, ATC (1934-2023) and Laurence Stephen Lowry RBA, RA (1887-1976) Crowther Street Stockport Signed by Harold Riley and L S Lowry, with an oil sketch of a young man to the reverse, oil on canvas, 49cm by 39cmProvenance: A gift from the artist to the vendor's father Thence by descent Harold Riley and Lowry often embarked on joint ventures together over their thirty-year friendship, having first met in 1945 when the former presented Riley with an award for first prize at a Salford Grammar School art exhibition. However, these were usually works on paper, thus making this fully finished oil painting a rarity.This scene depicts Crowther Street in Stockport, a landmark re visited by Lowry throughout his lifetime.Tennant’s Modern & Contemporary Art sale in March 2023 saw the sale of a pencil drawing by Lowry titled “The Stepped Street”, this was a depiction of Crowther Street and sold for £70,000 hammer. (see image).Shortly after leaving Art School in 1928, Lowry sought to record locally threatened architectural gems such as Crowther Street, which was later partially demolished leaving only the right-hand portion. This also indulged his love of steps as subject matter.Though somewhat changed since the artist’s day and with far fewer people than in Riley’s view, the cobbled street is still recognisable to this day.

Damien Hirst (b.1965)Shark and skullSigned and dedicated "for Sam", biro on a Jersey Europa '93 Contemporary Art First Day Cover, 11.5cm by 21.5cm

The Legend of the 7 Golden Vampires - Mondo Hammer Horror screen-print poster, starring Peter Cushing & artwork by Robert Sammelin, edition of 265, flat, not backed, 24 x 36 inches.Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings. Condition Report: Mint condition.

Dracula Prince of Darkness - Mondo Hammer Horror screen-print poster, starring Christopher Lee & artwork by J.S. Rossbach, edition of 245, flat, not backed, 24 x 36 inches.Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings. Condition Report: Mint condition.

The Devil Rides Out - Mondo Hammer Horror screen-print poster, starring Christopher Lee & artwork by Robert Sammelin, edition of 220, flat, not backed, 24 x 36 inches.Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings. Condition Report: Mint condition.

The Curse of Frankenstein - Mondo Hammer Horror variant screen-print poster, starring Christopher Lee & Peter Cushing, artwork by Francesco Francavilla, edition of 120, flat, not backed, 24 x 36 inches.Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings. Condition Report: Mint condition.

The Curse of Frankenstein - Mondo Hammer Horror screen-print poster, starring Christopher Lee & Peter Cushing, artwork by Francesco Francavilla, edition of 245, flat, not backed, 24 x 36 inches.Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings. Condition Report: Mint condition.

Back to the Future III - Mondo screen-print poster, artwork by Laurent Durieux, edition of 575, flat, not backed, 24 x 36 inches.Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Mondo X Cyclops Print Works Print No.12: Bambi - Mondo screen-print poster, artwork by Laurent Durieux, edition of 400, framed, 24 x 36 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Iron Man 3 : Ansin - Mondo screen-print poster, artwork by Martin Ansin, edition of 450, framed, 24 x 36 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Star Wars Rogue One - Mondo screen-print poster, artwork by Martin Ansin, edition of 1775, framed, 24 x 36 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Alien - Mondo screen-print poster, artwork by N.C. Winters, edition of 1785, framed, 24 x 36 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

The Dark Knight - Mondo screen-print poster, artwork by Rory Kurtz, edition of 2030, framed, 24 x 36 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Spider-Man Homecoming - Mondo screen-print poster, artwork by Martin Ansin, edition of 2030, framed, 24 x 36 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Beauty and the Beast - Mondo screen-print poster, artwork by Oliver Barrett, edition of 320, framed, 24 x 36 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Star Wars AT-AT Driver - Mondo Giclée-print poster, Released in partnership with Acme Archives, artwork by Mike Mitchell, signed limited edition, framed, 12 x 16 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Star Wars Han Solo - Mondo Giclée-print poster, Released in partnership with Acme Archives, artwork by Mike Mitchell, signed limited edition, framed, 12 x 16 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Star Wars Nien Nunb - Mondo Giclée-print poster, Released in partnership with Acme Archives, artwork by Mike Mitchell, signed limited edition, framed, 12 x 16 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Star Wars Princess Leia - Mondo Giclée-print poster, Released in partnership with Acme Archives, artwork by Mike Mitchell, signed limited edition, framed, 12 x 16 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Star Wars Tie Fighter Pilot - Mondo Giclée-print poster, Released in partnership with Acme Archives, artwork by Mike Mitchell, signed limited edition, framed, 12 x 16 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Star Wars Red Five - Mondo Giclée-print poster, Released in partnership with Acme Archives, artwork by Mike Mitchell, signed limited edition, framed, 12 x 16 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Star Wars Darth Vader - Mondo Giclée-print poster, Released in partnership with Acme Archives, artwork by Mike Mitchell, signed limited edition, framed, 12 x 16 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Star Wars Stormtrooper - Mondo Giclée-print poster, Released in partnership with Acme Archives, artwork by Mike Mitchell, signed limited edition, framed, 12 x 16 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Star Wars Sandtrooper - Mondo Giclée-print poster, Released in partnership with Acme Archives, artwork by Mike Mitchell, signed limited edition, framed, 12 x 16 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Star Wars Tusken Raider - Mondo Giclée-print poster, Released in partnership with Acme Archives, artwork by Mike Mitchell, signed limited edition, framed, 12 x 16 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

Blade in the Dark - Mondo screen-print poster, artwork by Jay Shaw, edition of 100, framed, 13 x 25 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings.

A signed and limited lithograph "Marshland" by Jeremy King no 28 with Christie's contemporary art certificate en verso 

Gollerbakh (Erikh Fedorovich) Risunki M. Dobushinskogo [Drawings by M. Dobuzhinsky], illustrations, original wrappers, yapp edges frayed and creased, lightly potted, spine ends torn, State Publishing House, 1923 § Kuzmin (M.) Lesok [The Grove], portrait and illustrations by Bozheryanov, ownership name to title and provenance note to colophon page, original wrappers, edges nicked and creased, 1922, Petrograd, 8vo (2)⁂ The first is a scarce monograph about a significant artist of contemporary Russian art from the Lenin era.

Gill (Eric) An Essay on Typography, one of 500 copies on handmade paper signed by the author and his fellow-printer René Hague, illustrations by Gill, some wood-engraved, pencil signature of Philip Le Brocq to front free endpaper, trimmed, contemporary dark red cloth, spine a little faded, [Gill 21], 1931; A Book of Alphabets for Douglas Cleverdon drawn by Eric Gill, number 194 of 550 copies, illustrations, original half cloth, slip-case, Wellingborough, 1987; Sacred and Secular in Art and Industry: A Lecture given before the Royal Institution London, February 1939, one of 400 copies, original printed green wrappers, uncut, [Gill 41], Newport, RI, John Stevens, 1939; and 12 others by or about Gill and his typography, lettering, essays etc., 8vo (15)

λ&nbspDAVID JONES (BRITISH 1895-1974) HORSES GRAZING; TWO FAWNS SITTING; SLEEPING FAWN; BIG CAT; CAT RESTING Etching Each signed (lower right) and numbered 15/20; Ed 20; 1/20; 4/20; 3/20 respectively (lower left) Born on 1st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele.  The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones, Tate Gallery, London, 1981, p.24)  As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted.          Condition Report: All n overall good original condition. Some light undulation to the sheets and some light foxing to the lower margin of 'Cat Resting'. Under glass and unexamined out of frames.Condition Report Disclaimer

A replica Art Nouveau pewter shallow tray  10"w; a contemporary inkwell  8"w; a mid 20thC cast metal pocket watch stand, fashioned as a ropetwist column with a tripod base and lion paw feet

A contemporary Art Deco style brass table lamp by Heathfield Lighting, with maker's lable. 44x58cm.

A contemporary Art Deco design lounge chair.

λ&nbspDAVID JONES (BRITISH 1895-1974) PIETA Etching Signed and dated '26' (lower right) numbered '2-20' (lower left) Plate 15 x 12cm (5¾ x 4½ in.)Born on 1st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele.  The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones, Tate Gallery, London, 1981, p.24)  As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted.             Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer

λ&nbspDAVID JONES (BRITISH 1895-1974) THE HOLY FAMILY Watercolour Signed with initials and dated '1924' (lower right) 16.5 x 16cm (6¼ x 6¼ in.)Provenance: Gifted by the artist to Clare Pepler, a member of the Ditchling Community and thence by decent Christie's, South Kensington, 20th Century British Art Including the Olga Davenport Collection, 25 March 2009, lot 51, titled 'Mary and Joseph with Baby Jesus and the Donkey', where purchased by Robert Kime Born on 1st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele.  The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones, Tate Gallery, London, 1981, p.24)  As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted. Condition Report: Unexamined out of glazed frame. Very slight discolouration to the extreme edges of the visible sheet. Condition Report Disclaimer

λ&nbspDAVID JONES (BRITISH 1895-1974) SPIRIT IN AN ORCHARD Pencil, watercolour and bodycolour Signed and dated 26 (lower left) 38 x 55cm (14¾ x 21½ in.)Born on 1st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele.  The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones, Tate Gallery, London, 1981, p.24)  As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted. Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer