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A TRANSLUCENT AQUAMARINE GLASS 'COSMIC EGG', HAN DYNASTYChina, 202 BC to 220 AD. The ritual object of ovoid form, the deep-blue glass of high translucency.Provenance: Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was 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: Good condition, commensurate with age. Extensive wear, small losses, nicks, scratches, cracks, extensive signs of weathering and erosion. Displaying remarkably well overall.Weight: 852.2 gDimensions: Height 9.5 cmIn Chinese history, glass played a peripheral role in arts and crafts when compared to ceramics and metal work. The limited archaeological distribution and use of glass objects are evidence of the rarity of the material. Literary sources date the first manufacture of glass to the 5th century AD. However, the earliest archaeological evidence for glass manufacture in China comes from the Warring States period. The Chinese learned to manufacture glass comparatively later than the Mesopotamians, Egyptians and Indians. Imported glass objects first reached China during the late Spring and Autumn and early Warring States periods, c. early 5th century BC, in the form of polychrome 'eye beads'. These imports created the impetus for the production of indigenous glass beads. During the Han dynasty, the use of glass diversified. The introduction of glass casting in this period encouraged the production of molded objects, such as bi disks and other ritual objects.The cosmic egg is a mythological motif found in the cosmogonies of the Proto-Indo-European culture and several other major civilizations. Typically, the world egg is a beginning of some sort, and the universe or some primordial being comes into existence by "hatching" from the egg, sometimes lain on the primordial waters of the Earth. Eggs symbolize the unification of two complementary principles (represented by the egg white and the yolk) from which life or existence, in its most fundamental philosophical sense, emerges.In the myth of Pangu, developed by Taoist monks hundreds of years after Lao Zi, the universe began as an egg that symbolizes the primordial state of Taiji. A primeval hermaphroditic giant named Pangu, born inside the egg, broke it into two halves: the upper half became the sky, while the lower half became the earth. As the god grew taller, the sky and the earth grew thicker and were separated further. Finally Pangu died and his body parts became the sun, moon, different parts of the earth and living things. The first writer to record the myth of Pangu was Xu Zheng during the Three Kingdoms period. Recently his name was found in a tomb dated AD 156, during the later Han period.Literature comparison: Compare a related “glob” of glass, 3.5 cm high, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S2012.9.698. Compare a related glass bi disk, 17.8 cm diameter, dated to the Western Han dynasty, in the Metropolitan Museum of Art, accession number 2006.404. Compare a glass bowl, 8.3 cm diameter, dated to the Western Han dynasty, excavated from Tomb 70 at Wenchangta, Hepu county, Guangxi, 1987, lent by the Guangxi Zhuang Autonomous Region Museum, exhibited in The Metropolitan Museum of Art, Age of Empires: Chinese Art of the Qin and Han Dynasties, 3 April to 16 July, 2017.Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 5 March 2021, lot 48Price: EUR 7,584 or approx. EUR 8,600 adjusted for inflation at the time of writing Description: An aquamarine green glass bi disk, Han dynasty Expert remark: Note the size (14.3 cm)Auction result comparison: Type: Remotely related Auction: Christie's Hong Kong, 1 December 2010, lot 2902 Price: HKD 620,000 or approx. EUR 108,000 converted and adjusted for inflation at the time of writing Description: A very rare early translucent aqua glass cup, Han dynasty Expert remark: Note the diameter (7.7 cm)漢代海藍寶石色玻璃蛋中國，公元前202 年至公元 220 年。半透明海藍寶石色玻璃，橢圓形禮器。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況良好，磨損、輕微的缺損、刻痕、劃痕、裂縫、風化和侵蝕跡象。 重量：852.2 克 尺寸：高9.5 厘米

A RARE BRONZE FIGURE OF A RECUMBENT BUFFALO, DONG SON CULTUREVietnam, 500 BC to 300 AD. Well cast in a recumbent position with the legs tucked underneath the body, the head raised and flanked by horns, the head and body incised with numerous characteristic spiral designs.Provenance: From the private collection of Paolo Bertuzzi (1943-2022), who 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: Minor old repairs and fills as generally expected from ancient Dong Son excavations. Some losses, fissures, signs of weathering and erosion, and casting flaws. Overall, still in very good condition commensurate with age. Fine malachite-green patina with brown encrustations overall.Weight: 394.5 g Dimensions: Length 11.8 cmDong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Văn Lang and Âu Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Literature comparison: Compare a related elephant-shaped vessel with similar spiral designs, 16 cm long, dated 2nd century BC to 2nd century AD, in the Asian Civilizations Museum, Singapore, accession number 2007-56439.Auction result comparison:Type: RelatedAuction: Christie's London, 30 January 2019, lot 149Price: GBP 5,250 or approx. EUR 7,200 converted and adjusted for inflation at the time of writingDescription: Four Cambodian Dong Son buffalo bells, Battambang province, probably 300 BC-300 ADExpert remark: Compare the related spiral decorations and curled horns東山文化罕見銅牛擺件越南，公元前500至公元300年。臥牛雙腿夾在身體下方，頭部抬起，兩側有角，頭部和身體表面有許多典型的螺旋圖案。 來源：Paolo Bertuzzi (1943-2022年) 私人收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。 Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。 他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：小修和填充，一些缺損，裂縫，風化和侵蝕的跡象，鑄造缺陷。綠色銅鏽包漿細膩，有棕色結殼。 重量：394.5 克 尺寸：長 11.8 厘米 東山文化是位於越南北部紅河河谷的一個鐵器時代史前文化。它約繁盛於公元前1000年到公元前後，它影響的區域包括東南亞其他地區乃至以及印度-馬來亞群島。越南歷史學家將其歸因於範朗州和悠樂州。公元前1000年，它的影響了東南亞的其他地區，包括海上東南亞。長期以來，這種文化對西方考古學家來說一直是個謎，人們只能通過青銅器了解它，其中許多通過考古墓地挖掘。東山青銅器在其原始位置被確定之前就在歐洲展出了一個世紀，關於文化年代測定方法的幾種理論和推測一直持續到今天。

A RARE 'PENSIVE MONKEY' BRONZE VESSEL, DONG SON CULTUREVietnam, 500 BC to 300 AD. The vessel in the form of a seated monkey with slender elongated arms and legs, one elbow resting on his knee, the left hand lowered toward his waist and touching his prominent member. The face of almond shape with bulging eyes and a broad nose, the incised mouth forming a subtle smile, flanked by two tubular ears, the mouth of the vessel at the top of his head. The body incised with vertical lines, the recessed base decorated with a characteristic spiral design.Provenance: From the private collection of Paolo Bertuzzi (1943-2022), who 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: Minor old repairs and fills as generally expected from ancient Dong Son excavations. Some losses, fissures, signs of weathering and erosion, casting flaws. Overall, still very good condition commensurate with age. Fine malachite-green patina with brown encrustations overall.Weight: 663.8 g Dimensions: Height 20 cmDong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Văn Lang and Âu Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Literature comparison: Compare a related seated male figure, though of much smaller size (8.9 cm), in the collection of the Metropolitan Museum of Art, accession number 2000.287.Auction result comparison:Type: Closely relatedAuction: Galerie Zacke Vienna, 16 October 2021, lot 579Price: EUR 15,168 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A rare male bronze figure, Dong Son cultureExpert remark: Compare the nude man with prominent member and related incised decoration. Note the size (28 cm).東山文化罕見坐猴銅管越南，公元前500至公元300年。器形為坐猴狀，手腳細長，一肘擱膝，左手垂向腰部。杏仁形臉，雙眼圓睜，闊鼻，咧開的嘴露出笑意，兩側耳朵。器皿的口在頭頂。主體刻有垂直線條，圈足，全身有螺旋狀圖案。 來源：Paolo Bertuzzi (1943-2022年) 私人收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。 他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：小修和填充，一些缺損，裂縫，風化和侵蝕的跡象，鑄造缺陷。綠色銅鏽包漿細膩，有棕色結殼。 重量：663.8 克 尺寸：高20 厘米

A BRONZE DEATH MASK, DONG SON CULTUREVietnam, 500 BC to 300 AD. Cast as the face of a man with arched brows above deep eye sockets, pierced almond-shaped eyes, a broad nose, and full lips, the mouth slightly open.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was 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: Fine condition commensurate with age and displaying remarkably well given its high age. Some losses, dents, nicks, scratches and old wear. Expected signs of weathering, erosion and corrosion. Minor structural cracks, old fills and repairs. Magnificent, naturally grown patina overall with extensive malachite and cuprite encrustations.Weight: 315.9 gDimensions: Height 20.8 cmDong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Van Lang and Au Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Literature comparison: Compare a related Dong Son bronze face mask, lacking most of the patina because of extensive restoration and conservatory work, illustrated by Danny Tan, Assistant Curator of the Asian Civilizations Museums, Singapore.東山文化銅面具越南，公元前500至公元300年。面具成男人面容，眉毛深邃，眼窩深邃，大眼圓睜，鼻樑寬闊，嘴唇豐滿，嘴巴微微張開。 來源：Paolo Bertuzzi (1943-2022年) 私人收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：品相良好，有一些缺損、凹痕、刻痕、劃痕和磨損，並可見風化、侵蝕和腐蝕的跡象；輕微的結構裂縫、填充物和維修。大面積自然包漿與綠色銅紅色結殼。 重量：315.9 克 尺寸：高20.8 厘米 東山文化是位於越南北部紅河河谷的一個鐵器時代史前文化。它約繁盛於公元前1000年到公元前後，它影響的區域包括東南亞其他地區乃至以及印度-馬來亞群島。越南歷史學家將其歸因於範朗州和悠樂州。公元前1000年，它的影響了東南亞的其他地區，包括海上東南亞。長期以來，這種文化對西方考古學家來說一直是個謎，人們只能通過青銅器了解它，其中許多通過考古墓地挖掘。東山青銅器在其原始位置被確定之前就在歐洲展出了一個世紀，關於文化年代測定方法的幾種理論和推測一直持續到今天。 文獻比較： 比較一件相近東山文化面具，由於廣泛地修復，因此沒有包漿，圖見新加坡亞洲文明博物館助理館長Danny Tan。

A PAINTED TERRACOTTA FIGURE OF A ZEBU, MATURE HARAPPAN PERIODIndus Valley Civilization, ca. 2600-1900 BC. The humped bull standing foursquare, its head with large eyes, a short muzzle, and long curved horns, the animal further modeled with a tail. The eyes, horns, neck, and back encircled by brown-painted stripes.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was 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: Good condition, commensurate with age. Extensive wear, minuscule nicks, minor smoothened losses, expected old fills and repairs, signs of weathering and erosion, and encrustations.Weight: 651.4 gDimensions: Length 16 cmThe Indus Valley Civilization was a Bronze Age culture in the northwestern regions of South Asia, lasting from 3300 BCE to 1300 BCE, and in its mature form from 2600 BCE to 1900 BCE. Together with ancient Egypt and Mesopotamia, it was one of three early civilizations of the Near East and South Asia, and of the three, the most widespread. Its sites spanned an area from northeast Afghanistan and much of Pakistan to western and northwestern India. The civilization flourished both in the alluvial plain of the Indus River, which flows through the length of Pakistan and along a system of perennial monsoon-fed rivers that once coursed in the vicinity of the Ghaggar-Hakra, a seasonal river in northwest India and eastern Pakistan. The cities of the ancient Indus were noted for their urban planning, baked brick houses, elaborate drainage systems, water supply systems, clusters of large non-residential buildings, and techniques of handicraft and metallurgy. Both Mohenjo-Daro and Harappa likely grew to a size of 30,000 and 60,000 individuals, and the civilization may have contained between one and five million total population during its florescence. It is also known as the Harappan civilization, after its type site Harappa, the first to be excavated early in the 20th century in what was then the Punjab province of British India and is now Punjab, Pakistan. The discovery of Harappa and soon afterwards Mohenjo-Daro was the culmination of work that had begun after the founding of the Archaeological Survey of India in the British Raj in 1861. There were earlier and later cultures called Early Harappan and Late Harappan in the same area. The early Harappan cultures were populated by Neolithic civilizations, the earliest and best-known of which is Mehrgarh in Balochistan, Pakistan. Harappan civilization is sometimes called Mature Harappan to distinguish it from the earlier cultures.Terracotta figures such as the present lot have been unearthed at Mohenjo-daro and Harappa, suggesting a commonality of style and purpose throughout the Indus Valley during the mature Harappan period (ca. 2600-1900 BC). In one excavated example from Chanu-daro a hole was poked in the belly, indicating that it would have been attached to a stick for use as a puppet or a small standard of the kind carried in the processions depicted on some seals. In others, the hole was indeed placed on the back of the animal, thus suggesting an alternative function, perhaps as part of a larger ensemble.Zebu cattle are thought to be derived from the Indian bos primigenius namadicus, a subspecies of the aurochs. Wild Asian aurochs disappeared during the time of the Indus Valley Civilization from their range in the Indus River basin and other parts of the South Asian region possibly due to interbreeding with domestic zebu and the resultant fragmentation of wild populations due to loss of habitat. Believed to have first been bred in northwestern South Asia, between 7000 and 6000 BC, they are understood to have been dispersed by 4000 BC and spread across much of South Asia by 2000 BC.Literature comparison: Compare a related painted terracotta figure of a unicorn, also dated ca. 2600-1900 BC, illustrated by Jonathan Mark Kenoyer, Cities of the Indus Valley, in Joan Aruz (ed.), Art of the First Cities: The Third Millennium B.C. from the Mediterranean to the Indus, 2003, no. 276, p. 390. Compare a related serpentine figure of a bull, 14.7 cm long, also dated ca. 2600-1900 BC, in the Metropolitan Museum of Art, accession number 1986.280. Compare two related terracotta models of a humped ox, 9 cm long, dated ca. 2500 BC, used to draw a toy chariot, in the Brooklyn Museum, accession numbers 37.96 and 37.97.

A BRONZE HALBERD BLADE, GE, WESTERN ZHOU DYNASTYChina, c. 1100-771 BC. Finely worked with the elongated blade (yuan) cast in relief with the profile of a mythical beast with ruyi-shaped ears, its long sharp tongue protruding from its mouth and extending toward the tip of the blade, all bordered by crisply finished edges. The end of the yuan pierced with a rectangular chuan (aperture), the tang (nei) with a circular chuan.Provenance: La Balaustra Antichita, Bologna. Paolo Bertuzzi, acquired from the above. A copy of a certificate of authenticity by La Balaustra Antichita, Bologna, written and signed by Giuliana Zanetti, dated 20 January 1992, and describing the piece as a ceremonial axe likely dating from the Shang dynasty, accompanies this lot. From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was 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: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, nicks and cracks, shallow surface scratches. Possibly with minor old repairs. Fine, naturally grown patina with malachite and cuprite encrustation overall.Weight: 255.6 g Dimensions: Length 22.8 cmLiterature comparison:Compare a closely related bronze halberd, Western Zhou dynasty, 10th to 9th century, in the collection of the Metropolitan Museum of Art, accession number 1994.605.7.Auction result comparison: Type: Related Auction: Christie's New York, 18 March 2009, lot 230 Price: USD 9,375 or approx. EUR 12,500 converted and adjusted for inflation at the time of writing Description: An unusual bronze socketed ge-halberd blade, Western Zhou dynasty, circa 1100-771 BC西周銅戈中國，公元前約 1100-771 年。細長的刀刃（援）做工精細，浮雕神獸紋，有如意形耳，長而尖的舌頭從嘴裡伸出並延伸到刀尖。援端鑿一長方形孔，援末和胡上有穿繩纏柲的小孔（穿）。 來源：義大利博洛尼亞La Balaustra Antichita；Paolo Bertuzzi 1992年購於上述藝廊。隨附一份1992年1月20日 La Balaustra Antichita 出具的原始發票複印本一份，Giuliana Zanetti書寫並簽名，描述此拍品為商代禮器。Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：品相良好，大面積磨損、風化和侵蝕，有刻痕和裂縫、表面淺劃痕。可能有小修。精美、自然包漿，整體帶有綠色紅色結殼。 重量：255.6 克 尺寸：長22.8 厘米 文獻比較： 比較一件非常相近的公元前十至九世紀西周銅戈，大都會藝術博物館，館藏編號1994.605.7。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2009年3月18日，lot 230 價格：USD 9,375（相當於今日EUR 12,500） 描述：公元前1100-771年西周銅戈

A BACTRIAN TRAVERTINE BOWL, LATE 3RD TO EARLY 2ND MILLENIUM BCPublished: Massimo Vidale, Treasures from the Oxus. The Art and Civilization of Central Asia, London/New York, 2017, p. 59, no. 51, described as a truncated cone-shaped bowl in banded calcite or travertine.Oxus Civilization. The deep conical sides supported on a slightly rounded base and rising to an everted rim above a short waisted section. The stone of a beautiful cream color with faint veins of amber.Provenance: Bruno Cooper, Norwich, United Kingdom, 2009. Paolo Bertuzzi, acquired from the above. A copy of the original invoice from Bruno Cooper, Norwich, dated 18 October 2009, describing the piece as a Bactrian truncated cone-shaped bowl in travertine, dating it to the 3rd millennium BC, and stating a purchase price of EUR 1,800 or approx. EUR 2,400 (converted and adjusted for inflation at the time of writing), accompanies this lot. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was 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: Very good condition with old wear, few minuscule chips to the rim, signs of weathering and erosion, encrustations, and natural fissures, some of which may have developed into hairline cracks.Weight: 825.2 g Dimensions: Diameter 16.3 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the "Oxus civilization", apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Literature comparison: Compare a closely related marble bowl, with a similar waisted section below the rim, dated ca. late 3rd to early 2nd millennium BC, in the Metropolitan Museum of Art, accession number 1983.535.4.Auction result comparison:Type: RelatedAuction: Christie's New York, 11 December 2003, lot 99Price: USD 7,170 or approx. EUR 11,500 converted and adjusted for inflation at the time of writingDescription: A Bactrian banded calcite-alabaster bowl, circa late 3rd-early 2nd millennium BCExpert remark: Compare the related form, material, and size (17.5 cm). Note the vibrant bands and thin walls.

A NECKLACE WITH FOURTEEN AGATE AND CARNELIAN BEADS, PYU, 9TH - 10TH CENTURYPyu city-states. Of tubular, biconical, and globular form, etched with pentagons, lines, and other geometric patterns. Four stones of opaque black color, one of translucent reddish amber, the remaining of a pale gray and brown color with bands of light gray and white. Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was 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: Good condition with some wear, minuscule chips, and natural fissures.Weight: 27.6 g Dimensions: Length 30.8 cm (the necklace) and 2.1 cm (the largest bead)Etched carnelian beads were first produced in the Indus Valley around the middle of the third millennium BC. Trade with Mesopotamia during this period probably sparked their local production. They then spread across the world, with archaeological examples found in various places, such as Myanmar, China, Iran, Iraq, Syria, Ukraine, and Russia. Their shapes, sizes and etched patterns are very diverse, and their wide geographical distribution is striking evidence of their ubiquity.Literature comparison: For a discussion of Pyu beads with related examples, see Elizabeth Moore and Terence Tan, Eyes on the Past: Samon and Pyu Beads in Myanmar, Arts of Asia, vol. 38, no. 1, January-February 2008, p. 134-141. See also Terence Tan, The Journey through Beads: from Prehistory to the Pyu States in Myanmar, Arts of Southeast Asia, vol. 2, no. 1, January-February 2021.

Barney (Matthew) The Cremaster Cycle, New York, 2002 § Bryson (Norman) & others, editors. John Currin, New York, 2006 § Goicela (Anthony) Drawings, signed by Goicela on title, Santa Fe, 2005 § Vollbracht (Michaele) Nothing Sacred: Cartoons and Comments, signed by Vollbracht on half-title, New York, 1985 § Julian Schnabel, New York, 2003 § Dennison (Lisa) Ross Bleckner, New York, 1995 § O'Keeffe (Georgia) 100 Flowers, New York, 1987, illustrations, many colour, original cloth or boards, all but the second and third with dust-jackets, the second also with slip-case, and c.20 others on modern and contemporary American art, 4to & folio (c.25)

Breskin (David) Richter 858: 8 Abstract Pictures, limited edition, with CD of music by Bill Frisell in pocket at beginning, and 8 additional colour plates in pocket at end, original cloth, metal slip-case, with original box, New York, 2002 § Eliasson (Olafur) Your Lighthouse: Works with Light 1991-2004, Wolfsburg, 2004 § Rauch (Neo) Neue Rollen: Paintings 1993-2006, Wolfsburg, 2006 § Spielier (Reinhard) Frans Gertsch: Retrospective, Bern, 2006 § Charles Belle, Seoul, 2005, illustrations, many colour, original cloth or boards, the last two with dust-jackets; and 9 others on contemporary continental art, v.s. (14)

Osten (Gert von der) & Horst Keller, editors. Kunst der Sechziger Jahre: Sammlung Ludwig im Wallraf-Richartz Museum, 5 vol. comprising first edition and second, third, fourth & fifth revised editions, original embossed plastic wrappers fastened with two large metal screws, Cologne, 1969-71 § Hultén (K.G.Pontus)The Machine as seen at the end of the mechanical age, original metal with hinged metal covers (upper pictorial), with original cardboard box with flap (rubbed and browned), New York, MOMA, 1968 § Francis (Mark) & Kay Pallister, editors. Crash: Homage to J.G.Ballard, 2 vol. including box of posters, original plastic wrappers, covers with pocket containing photograph of crashed car, with box of folding posters (one of 100 copies) featuring crashes by Warhol and other artists loose in original decorated card box with lid, Gagosian Gallery, 2010 § Booth-Clibborn (Edward) The History of the Saatchi Gallery, second edition, original half rexine, prospectus tipped to lower cover, 2011, illustrations, many colour, some tipped in; and c.15 others, exhibition catalogues, collections etc. of modern and contemporary art, v.s. (c.20) ⁂ The first is an important catalogue of the art of the 1960s featuring the work of Warhol, Lichtenstein and many others.

Zhang (Huan) Buddha/Ash, 2 vol., original boards, together in board slip-case, 2007; Altered States, original pictorial boards, Milan & New York, 2007 § Kuntiz (Daniel) Blessings: Zhang Huan, original cloth-backed wooden boards, upper cover with title in ink and cut-out Chinese characters, New York, 2008 § Yang (Jiechang) No-shadow Kick, original pictorial wrappers, Shanghai, n.d. § Butterfly Dream, original boards, dust-jacket, Shanghai, n.d., illustrations, some colour; and 2 others on Chinese contemporary art, 4to (8)

NO RESERVE Auction Catalogues.- A collection of auction catalogues of modern & contemporary art, photography and design, illustrations, original wrappers or cloth/boards with dustjackets, 4to, v.d. (c.45)⁂ Including The Edward James Collection, 4 vol., Christie's, 1986; The Maurice & Margo Cohen Collection: Important 20th Century Decorative Arts, New York, Christie's, 1999; The Beck Collection of German Expressionist & Modern Art, 5 vol., Sotheby's, 2002; Veronica's Revenge: Contemporary Photography from the Lambert Collection, New York, Phillips, 2004; Andy Warhol's Mao, Christie's, 2006; The Savoy Sale, Bonham's, 2007.

A contemporary American sycamore console table, in the Art Deco style, ebony strung and crossbanded top, triple slim frieze drawers, block legs, 79cm high, 160cm wide, 46cm deep

A large Chinese carved hardwood stand, 19th century,. height 9cm, inner diameter 22.9cm, outer diameter 30cm and seven other wooden stands.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.The large stand has been re-glued between the top 'ring' and the base and with a few minor breaks. It is heavily water stained on the top. One bowl stand has a crack. The larger three lobed stand is missing a foot. Circular stands good. Please see images.

* Needlework. A collection of embroideries and other related items, 18th & 19th century, comprising: a small 18th century hairwork landscape, Continental, finely hand-worked in back stitch on cream silk, depicting a figure at a large well, with a windmill in the distance, and a building with steep roof to the right, laid over card with contemporary stitching to edge, toned, 8 x 12 cm (3.25 x 4.75 ins); an 18th century embroidery of a songbird perched on a leafy branch, worked in long and short stitch on cream silk backed with cotton, using silk threads (predominantly light brown, cream, and green), silk ground perishing, tack holes to edges, 18.5 x 22.5 cm (7.25 x 8.75 ins); a small polychrome beadwork picture on perforated card (toned), of a Turkish gentleman smoking a hookah, rose border to upper and lower edges, 13 x 14.5 cm (5.25 x 5.75 ins); a blackwork picture on linen-backed silk, of a castle in a rocky landscape, circa 1800, silk ground beginning to perish, 17.5 x 23 cm (7 x 9 ins); an early Victorian hand-coloured Berlin chart of a mother and child flanked by a palm tree and a pagoda, 8 x 10 cm (3.25 x 4 ins), contemporary glazed mahogany frame with hanging loop to top edge (13 x 15.5 cm); a pair of flower embroideries on paper, circa 1820, toned and foxed, sheet size 23 x 21 cm (9 x 8.25 ins), and 2 others similar, another on paper, Victorian, browned, and one on linen, circa 1800, stained; 7 Victorian tapestry pictures, various (floral, historical, children, animals, etc.), in gros or petite point, 33 x 33 cm (13 x 13 ins) and smaller; and a gros point dolls' house rug, 12 x 8.5 cm (4.75 x 3.25 ins), mounted on card, together with a circa 1900 Art Nouveau design of stylised berries, leaves, and flowers, gouache in brown tones on cream wove paper, with 'E.S.K.' oval blindstamp lower left corner, sheet size 31.7 x 19.5 cm (12.5 x 7.75 ins) QTY: (18)NOTE:The embossed stamp 'E.S.K.' on the final item listed indicates that the work was entered for examination at the South Kensington School of Art.

Various Cornish art-related volumes including Tovey (D.) Creating a Splash - The St. Ives Society of Artists; Cross (T.) Catching the Wave - Contemporary Art and Artists in Cornwall; 100 Years in Newlyn - Diary of a Gallery; Art About St. Ives and others etc.

AR * Murphy (Myles, 1927-). Head of a Young Man, circa 1955, oil on board, size 59 x 46 cm (23 1/4 x 18 1/8 ins), contemporary manuscript label to verso with artist's name and address, unframedQTY: (1)NOTE:Provenance: From the collection of Craigie Aitchison (1926-2009). The subject of this study may also be Craigie Aitchison.Myles Murphy was born in Lancashire, and attended local art evening classes taught by L.S. Lowry. His formal artistic education was at the Slade School of Art, where his tutors included Claude Rogers and William Coldstream. When he and fellow student Craigie Aitchison graduated, they won an Abbey Travelling Scholarship and together went to Ravenna. Murphy began teaching at the Slade in 1959, then at Chelsea College up to 1974. He painted throughout his tenure, and his Yellow Nude was acquired for the Arts Council Collection from the London Group in 1964.

AR * Brunsdon (John, 1933-2014). Coastal Scene on the Lleyn Peninsula, etching and aquatint, titled, signed and numbered 84/350 in pencil, plate size 60 x 45 cm (23.5 x 17.3/4 ins), sheet size 79 x 57 cm (31 x 22 1/2 ins), framed and glazed, Christie's Contemporary Art label to verso, together with Rugged Farmland, etching and aquatint, titled, signed and numbered 46/150 in pencil to lower margin, plate size 22.5 x 28.8 cm (8 7/8 x 11 3/8 ins), framed and glazed (39.2 x 44.5 cm)QTY: (2)NOTE:Provenance: 'Farmland' was purchased from Christie's in March 1986 and has since been kept in the same family.

AR * Pasmore (Victor). Cave of Calypso I, 1977, colour etching on thick wove paper with blindstamp, from the edition of 60 impressions published by Marlborough Graphics, signed and dated by the artist lower right, and numbered 30/60 lower left, some overall discolouration, plate size 37 x 37.5 cm (14 1/2 x 14 3/4 ins), sheet size 68.5 x 58.5 cm (27 x 23 ins), framed and glazed, with Christie's Contemporary Art label to versoQTY: (1)NOTE:Bowness & Lambertini 59.

Sir Terry Frost RA,British 1915-2003,At Five O'Clock in the Afternoon II, 1990;etching with aquatint on wove,signed, dated and numbered 24/30,printed by Hugh Stoneman at the Print Centre, London,published by Austin/Desmond Contemporary Books, London,sheet: 76 x 57 cm,(unframed, laid to card)(ARR) Note: together with book 'Terry Frost: red with black on the side - seven decades of printmaking' curated by Dominic Kemp, issued by Austin/Desmond Fine art.

A contemporary Art Deco style coffee table on chrome legs

ART EXHIBITION CATALOGUES. Various Cadogan Contemporary gallery mixed exhibition catalogues.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.

Clarice Cliff - Bizarre - A collection of four contemporary limited edition porcelain china sugar castor sifters. To include; Crocus, Windbells, Blue Firs, Delicia Pansies sweet seduction. Some with original boxes and certificates. Together with a Past Times Art Deco teapot. 

A contemporary studio art glass decanter vase. Having a lipped circular top into a tapering neck with bulbous body with stopper. Together with a matching pattern ball glass vase with lipped top. Both being signed to bottom. Andy Ford - St Clair Pier. 28cm tall. Blue ground with twist paint decoration. 

Early Railway Interest. Arcana of Science and Art: Or An Annual Register of Popular Inventions and Improvements, London: John Limbird, 1830. The engraved frontispiece depicts the 'Liverpool Prize Engines', including Stephenson's Rocket, which had recently been built and won the Rainhill Trials (discussed in the text). Octavo, contemporary cloth, pp. [i-vii], 8-296, plus 4pp. advertisements at front, complete with all engraved plates & woodcuts as called for. Contents well-preserved & bright, some pale spotting to endpapers, cloth discoloured, remnants of paper title label to spine, some bumping & wear to corners

Richard Gilbert (b.1957), oil on linen, 'Small study for Jazz Fest (No.7)', Contemporary Art Society Exhibition label verso, 36 x 70cm

Three framed mixed media works on paper by Sandra Bowden, titled, " Volume I & II", "Reading II", and "Word" each signed and dated '95. Condition AS IS, some scratches and cracks to plexi shadow boxes. Sandra Bowden is an artist and painter from New York, known for her religious imagery. Bowden's work is in the permanent collection of the Vatican Museum of Contemporary Religious Art in Rome and in the Haifa Museum of Art in Israel. Overall size: 11 1/4 x 14 1/4 in. Sight size: 6 3/8 x 7 1/2 in.

Duane Albert Armstrong (b 1938) Amer, Oil / Canvas. Signed lower right and dated '69. The Carter Gallery Label Verso. Duane Albert Armstrong, a native Californian, was born in Fresno on Christmas Day in 1938. He was raised in the countryside near San Luis Obispo until 1950 when his family moved to the Santa Clara Valley. His mother, a teacher, was also an artist and writer. She wrote several short stories and lyrics for several songs, some of which were published. With this background, Duane learned about painting materials and techniques while still in his childhood. He also had an exposure to art shows and museums at the time and was fascinated by the way the various artists were able to make their canvases come alive with paint. This was the beginning of a life long interest in painting, which has resulted in several significant breakthroughs in the world of art, his most popular being his "Fields of Grass" series, which have been reproduced worldwide. He now has over 185 paintings in print, and his art has been marketed in over 3,500 department stores in the United States. During the 1970's, his work earned him the status of being one of the top five print sales artists in the nation. Of this widespread acceptance, a representative of Heritage Publications stated that, "Duane Armstrong will be recognized as one of the top five contemporary painters in America during this decade". Armstrong has worked with many young artists, encouraging them to branch off into their own individual directions and styles, to produce and to work, knowing quite well that painting is not so much involved with that mystical gift some call "talent" as it is with that four letter word, "work". He is practically an unknown personally due to his reclusive and humble nature. He has always chosen to work and produce rather than sell and promote, which explains why he very rarely attends his own shows. He believes that creating art and marketing art are two different worlds and prefers to leave the marketing to others and to spend his time exploring in the unlimited realm of visual expression. Overall Size: 24 3/4 x 24 3/4 in. Sight Size: 19 1/2 x 19 1/4 in.

Duane Albert Armstrong (b 1938) Amer, Oil / Canvas. Signed lower right and dated '69. The Carter Gallery Label Verso. Duane Albert Armstrong, a native Californian, was born in Fresno on Christmas Day in 1938. He was raised in the countryside near San Luis Obispo until 1950 when his family moved to the Santa Clara Valley. His mother, a teacher, was also an artist and writer. She wrote several short stories and lyrics for several songs, some of which were published. With this background, Duane learned about painting materials and techniques while still in his childhood. He also had an exposure to art shows and museums at the time and was fascinated by the way the various artists were able to make their canvases come alive with paint. This was the beginning of a life long interest in painting, which has resulted in several significant breakthroughs in the world of art, his most popular being his "Fields of Grass" series, which have been reproduced worldwide. He now has over 185 paintings in print, and his art has been marketed in over 3,500 department stores in the United States. During the 1970's, his work earned him the status of being one of the top five print sales artists in the nation. Of this widespread acceptance, a representative of Heritage Publications stated that, "Duane Armstrong will be recognized as one of the top five contemporary painters in America during this decade". Armstrong has worked with many young artists, encouraging them to branch off into their own individual directions and styles, to produce and to work, knowing quite well that painting is not so much involved with that mystical gift some call "talent" as it is with that four letter word, "work". He is practically an unknown personally due to his reclusive and humble nature. He has always chosen to work and produce rather than sell and promote, which explains why he very rarely attends his own shows. He believes that creating art and marketing art are two different worlds and prefers to leave the marketing to others and to spend his time exploring in the unlimited realm of visual expression. Overall Size: 34 x 34 in. Sight Size: 29 1/2 x 29 1/2 in.

Important large color relief painting consisting of pastel yellow, peach & orange colored wood panels within aluminum frame. Exhibited in 1968 at the ground breaking Interntational Contemporary Art Fair - documenta IV in Kassel, Germany. Provenance: Balthard Falk, Tiburon Ca. He purchased the painting from the artist and lent it to the exhibition in 1968. His check from the purchase and a letter of appreciation from Gerstner will accompany the lot. Pioneering post-war artist Karl Gerstner is most famous for his unorthodox approach to graphic design and typography, although he was also a celebrated painter. His paintings were inspired by the logic of mathematics and computer programming. Gerstner's work has been exhibited in museums worldwide including a solo exhibition at the Museum of Modern Art in 1973. Overall size: 64 1/2 x 64 3/4 in. Sight size: 62 x 62 in.

ANDY WARHOL (1928-1987) Willie Shoomaker, offset lithograph in colours, signed framed (published Los Angeles Institute of Contemporary Art 1981).

Laurence Stephen Lowry RBA, RA (1887-1976)"The Sea"Signed and dated 1965, pencil, 24.5cm by 34cmProvenance: The Stone Gallery, Newcastle Upon TyneFor a related preparatory pencil study (1965) see Sotheby's London, "Modern and Post War British Art", June 10 2015 lot 144A highly comparable oil painting to the present work titled "The North Sea", was sold at Tennants Auctioneers, "Modern and Contemporary Art", 15 October 2022, lot 122, for £840,000 plus buyer’s premium (see image)Lowry was fascinated by the sea. At once both beautiful and dangerously powerful, it was a constant source of inspiration to the solitary artist and he painted it throughout his life. Whilst the majority of his seaside pictures depict bustling seafronts and boats on the North West coast, from the early 1940s he began to depict pure seascapes. These rare, seemingly simple yet highly sophisticated works are far removed from the bustling industrial streets scenes for which he is better known.After the death of his overbearing mother in 1939, Lowry frequently stayed for long periods of time at the Seaburn Hotel in Sunderland, to which he became deeply attached. Here he always stayed in the same room, which looked straight out at the empty expanse of the North Sea, sketching, and watching the water and sky melding at the horizon. The work is stuck down onto the back board of the mount. Some very light surface dirt. Slight shadow to the outer edges where the mount has been in position. Minor crease from left of top margin down the left edge into the sea (see image), another minor crease lower right corner and one upper right edge.

Laurence Stephen Lowry RBA, RA (1887-1976)"The Stepped Street" Signed and dated 1929, pencil, 38cm by 27.5cmProvenance: Phillips London, Tuesday 4th June 1991, British, Irish, Traditional Modern and Contemporary, lot 63 "The Stepped Street", 1929 is a superb example of Lowry’s mastery of drawing and comes from a golden period of productivity, creativity and artistic energy which formed the foundation of his successes to come . Shortly after leaving Art School in 1928, Lowry’s father suggested he sketch the nearby soon to be demolished St Simon’s Church in Salford and indeed a few days later the building was razed to the ground. This began Lowry’s search to record other locally threatened architectural gems such as Crowther Street, which was later partially demolished leaving only the right hand portion seen in the drawing which has since been restored. "The Stepped Street" is not a preparatory sketch for an oil painting, here Lowry gives us a detailed, complete, stand-alone and fully formed work in its own right in which he enjoys including many of his signature motifs, dogs, children, prams, smoking chimneys, porches and people in all their shapes and sizes make an appearance if you look hard enough…. In addition Lowry is also indulging his love of Steps as subject matter for his work as he says himself…‘Steps and things ... I liked doing steps, steps in Ancoats ... steps in Stockport ... steps anywhere you like, simply because I like steps and the area which they were in was an industrial area. I did a lot, you see. I've never found it interesting to paint pure landscapes. I'm not interested in pure landscapes'. - L.S. Lowry ©. Jonathan Horwich, January 2023The work is stuck onto the backboard of the mount. Pin holes to each corner. Slight time staining/oxidisation to the paper, most noticeable to the sky. Very slight cockling to the paper upper right. Feint, sporadic small sized foxing spots in evidence. In particular but not contained to areas of the sky. Small brown mark to the right of the top writing on the large sign, upper left. A more pronounced foxing spot within the dark grey right edge next to the window, a scattering of tiny slightly more pronounced spots, three next to the man lower left corner, a handful within the centre of the railings on the 4th step up. See additional images. For further information please contact the Picture Department.

Sarah Bowman (b.1975) “Still life with Conch Shell” Signed and dated (20)07, oil on canvas, 70cm by 100cmProvenance: Ainscough Contemporary Art, Devon

Sarah Bowman (b.1975) “Spring Flowers” Signed, oil on board, 38cm by 48cm Provenance: Ainscough Contemporary Art, Devon

oil on canvas, signed, titled versoframedimage size 51cm x 101cm, overall size 78cm x 128cmNote: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).Condition is good overall

ERNI UPTON FRSA OYSTERCATCHERS, PORT DUNAIN, NORTHWEST IONA oil on board, signed, titled versoframedimage size 26cm x 31cm, overall size 45cm x 50cmNote: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).Condition is good overall

oil on board, monogrammedmounted, framed and under glassimage size 16cm x 41cm, overall size 30cm x 55cm Note: Lil Neilson was a member of the quartet who became known as 'The Catterline School' along with Joan Eardley, Annette Stephen and Angus Neil. Lil Neilson studied at Duncan of Jordanstone College of Art from 1956-60, including a summer school at Hospitalfield House, Arbroath. She completed a post-diploma year tutored by Hugh Crawford and Alberto Morroco in 1960-61 and was awarded a travelling scholarship to France and Italy in 1961-62. On her return she joined Joan Eardley in Catterline: they had become friends in 1960 at Hospitalfield House and Eardley invited Lil to paint in the studio she and Annette Stephen shared in Catterline. Like many other painters and visitors, Lil became enthralled with the place. At this time Lil also worked backstage with Reet Guenigault in theatres including the Traverse in Edinburgh and also in England, returning to Catterline to nurse Eardley when her illness was diagnosed in the new year of 1963. Reet joined them three months later to take over and give Lil a rest, and after Eardley's death in August of that year, Lil bought No 2 South Side, Catterline, to make her home in one half and studio at the other end. Some pictures of this period show Catterline views which Eardley famously painted, especially with the great round moons low in the summer sky. Neilson's foregrounds are less detailed and the viewer's eyes are led upwards towards the sky. Lil continued to work in theatres until 1969, when she returned to Catterline to try to work through the Eardley influences which had been made more than a bitter cup. She felt that she must paint that problem out in Catterline. She spent some time in Norfolk with Gaydon Phillips, but not many paintings of Norfolk exist and she returned to paint in Catterline regularly over the next nine years. She moved permanently to Catterline in 1986 and, once there, Joyce Laing's Pittenweem gallery exhibited some of Lil's work which showed new directions. In 1989, at the influential 369 Gallery, Edinburgh, an exhibition shared with Annette Stephen showed a two-room retrospective of Lil's work. Her last show was 'Certain Days and Other Seasons' (1997) at both Seagate and Aberdeen Art Galleries. Lil pronounced this to be ''the end of my life's work'', prophetically as it turned out, for by August 1997 it became apparent that this private and reticent woman had been working under duress for the past two years as the extent of her disease was discovered. Lil's good friends and neighbours loved and nursed her, enabling her to be in her beloved Catterline until she needed the services of Roxburgh House. Lil Neilson's UK auction record price remained the £4600 (hammer) for "Catterline" achieved for lot 1744 in The Scottish Contemporary Art Auction on 15.12.2013 and for a number of years, very few of her paintings appeared at auction, anywhere. However, in The Scottish Contemporary Art Auction of 17th April 2022, "A Beached Boat" by Neilson ( a 43 x 92cm oil) sold for £5000 (hammer) - a new auction record for the artist. This price was beaten in The Scottish Contemporary Art Auction of 21st August 2022 when lot 370 "Red Boat" (by Lil Neilson) sold for £6500 (hammer).

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948) BALNAHARD BEACH BALNAHARD BEACH, ISLE OF COLONSAYoil on canvas, signed, titled and dated 2005 versoframed and under glassimage size 61cm x 61cm, overall size 80cm x 80cmComment: Balnahard beach on Colonsay is famed for its beauty, remoteness and very pale sand. Colonsay is an island in the Inner Hebrides of Scotland, located north of Islay and south of Mull. Colonsay has a population of around 120 people.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick's Tug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.Condition is good overall

charcoal on paper, titled and dated 1988 label versomounted, framed and under glassimage size 58cm x 41cm, overall size 81cm x 62cmLabels verso: The Fleming-Wyfold Art Foundation, London; East-West Contemporary Art Gallery, London

oil on canvas, monogrammedframedimage size 47cm x 37cm, overall size 67cm x 57cmNote: Catriona Millar's work takes its inspiration from the stories that lie at the heart of the human condition, and the sparkle of a narrative behind the eyes of her subjects hints at everything from longing to melancholy. Her work often juxtaposes human characters with a variety of animal confidants, with some seeming physically present in the composition while others take on a talismanic quality. Born in Glasgow, Catriona Millar studied at Harrogate School of Art and Grays School of Art, Aberdeen. Since the success of her sell-out 2005 degree show she has exhibited across the UK including the Royal Scottish Academy, Edinburgh. In October 2006 she came to the attention of Charles Saatchi with her first solo exhibition at the Dundas Street Gallery, Edinburgh. Catriona Millar now lives and paints in the southeast of England. Catriona Millar is listed in the 2012 edition of Who's Who in Scotland. Catriona Millar's work takes its inspiration from the stories that lie at the heart of the human condition, and the sparkle of a narrative behind the eyes of her subjects hints at everything from longing to melancholy. Her work often juxtaposes human characters with a variety of animal confidants, with some seeming physically present in the composition while others take on a talismanic quality. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).

watercolour on paper, signedmounted, framed and under glassimage size 29cm x 29cm, overall size 47cm x 47cm Artist's label versoNote: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Harkess has also worked on the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through Claire's paintings. Painting in watercolour or gouache offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery, where her most recent highly successful solo show was in July 2020, and at other prestigious galleries around the UK. In The Scottish Contemporary Art Auction of 21st August 2022 lot 43 "Coastal Flght" a watercolour by Claire Harkess sold for £850 (hammer).

oil on canvas, signedframedimage size 60cm x 90cm, overall size 77cm x 107cmProvenance: We are grateful to The Butterworth Gallery for confirming: "the location is Royal Deeside Aberdeenshire probably painted in in the late 80's and early 90's. The River - Is the River Dee from the South Deeside Road between Aboyne and Dinnet, just before the sawmill with Morven and has a wee cottage and views of the gliding strip fields". The typical gallery price for a Howard Butterworth of these dimensions is in excess of £9000. Note: Born in Rochdale in 1945, Howard Butterworth is a renowned Scottish artist who has lived and painted professionally in Northern Scotland since 1968. Howard captures the atmospheric light and colours of Scotland especially around Balmoral, Royal Deeside, Cairngorms National Park and the Scottish Highlands. Capturing the moods and seasons as only an Aberdeenshire-based artist painting outdoors can, Butterworth paints 'en plein air' and he describes his style of painting as "emotional realism". He conveys the sense of being in a particular place at a particular moment in time and the experience and feeling of Nature's constantly changing colours and light. Howard Butterworth paintings are held in private and corporate collections worldwide, particularly his paintings of Scotland including those of native birchwoods, Caledonian pine forests, heather covered moorland, snow-capped mountains and the lively waters and bridges of Royal Deeside. Howard Butterworth's patrons include private and corporate buyers with several paintings featuring in the Royal Collections of H.M. Queen Elizabeth II and Queen Elizabeth the Queen Mother who closely supported him over the years. In The Scottish Contemporary Art Auction of 19th January 2023 lot 85 "Loch Kinord" a significantly smaller (50 x 75cm) oil by Howard Butterworth, from the same private collection, sold for £1550 (hammer).

oil on board, titled label versoframedimage size 17cm x 12cm, overall size 23cm x 18cmLabel verso: The Scottish Gallery, EdinburghNote: The Scottish Gallery (Edinburgh) staged their fifth "highly successful" William Crosbie solo show "The Devoted Creative" 1st - 28th April 2020. In The Scottish Contemporary Art Auction of 20th June 2021, lot 712 "Susanna and the Elders" (a 17 x 15cm oil on board by Crosbie) sold for £2200 (hammer).Condition is good overall

watercolour on paper, signed, titled label versoframed and under glassimage size 16.5cm x 16.5cm, overall size 33cm x 33cmLabel verso: Roger Billcliffe, GlasgowNote: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.

Jack Butler Yeats RHA (1871-1957)The Ring Master and the Clown (1909)Watercolour, 25 x 35cm (10 x 13¾")SignedProvenance: Peter Katz; sold to Victor Waddington, London 1967; With Victor Waddington Galleries, London, label verso Allen Figgis (owner); Waddington Galleries Montreal label verso; Sale, these rooms, 14 July, 1983; Private Collection, DublinExhibited: Dublin 1909, Aonach, Exhibition of Paintings, Cat. No.21Literature: Yeats, Jack B., Life in the West of Ireland (1912, 1915) 75; Yeats, Jack B., And to You Also (1944, 1974) 120; Pyle, Hilary, Jack B. Yeats His Watercolours, Drawings and Pastels, Cat. No.681, p.161 illusBy the time The Ringmaster and the Clown was first exhibited in 1909, Jack Yeats had already achieved a significant degree of fame and appreciation. Hugh Lane, a few years earlier, in his quest to establish a gallery of modern art in Dublin had approached artists and friends in an effort to persuade them to present works to form a nucleus of a collection. Jack Yeats, while still living in Devon presented three watercolours, The Rogue, The Melodeon Player and The Day of the Sports. By January 1908, The Dublin Municipal Gallery of Modern Art had opened at 17 Harcourt Street. According to Hilary Pyle, Jack Yeats had given what he considered his most up-to-date important work – character studies of contemporary Irishmen of the West.Pyle continues … ‘From about 1906, when Yeats was painting a little more in oil, a new spirit is noticeable in his watercolours. The images and manner are much the same as before, but they are treated more seriously, often isolated pictorially in space; and the themes generate a greater breadth of purpose. Synge’s friendship has made the artist see his Western Irish imagery in a wider context, so that landscapes and figures plumb more deeply from the particular to the universal’.Yeats writing in And to You Also in 1944, described ‘the parasol of the auditorium’ of the circus tent. ‘The sad-faced clown stumbles along on the ring-master’s left, while up above the ring-master on his right, sits the beautiful girl … on the back of a grand old cream horse … ’.  The circus life theme stayed with Yeats throughout his career, the images from his childhood life in Sligo indelibly etched on his pictorial memory, notably in The Haute École Act and That Grand Conversation was under the Rose, the oils of 1925 and 1943. In the present work the clown is, as Hilary Pyle describes ‘…. in merry mood, looking coyly at the spectator’.

William Scott RA (1913 - 1989)Still Life No.2 (1970)Gouache on paper, 59 x 78cm (23¼ x 30¾")Signed and dated 1970Provenance: Collection of R.W. Wilson, DublinStill Life No.2 (1970) is representative of the approach to such themes painted by William Scott at this time.  Over the years, Scott had explored a range of thematic subjects, from the early biblical narratives and genre scenes, to the landscapes and nudes that featured repeatedly throughout his oeuvre. However, Scott consistently reverted to still life as the primary theme of interest across his life as an artist. William Scott’s earliest still life images are relatively naturalistic, though always stylised rather than strictly mimetic. Following a series of phases of exploration, the forms in Scott’s paintings became increasingly distilled, typically based on the familiar domestic objects typical of his childhood in Greenock, Scotland, where he was born. He later moved with his family to his father’s native Enniskillen, and remained in Northern Ireland where he began his education as an artist. He continued his education at the Royal Academy Schools in London, eventually settling in Somerset. Scott was ground-breaking in creating art that combined the familiar and mundane useful object with his perspective on Modernism abstracted form.Still life has attracted artists for centuries, providing an opportunity to represent a host of significant objects. The earliest examples in western art present still life elements in religious altarpieces, particularly in Northern Europe, prioritising the potential of objects, some ordinary, others precious, to carry symbolic meaning: thus this genre provided a readable array of distinctive ‘attributes’, by which the character of religious characters could be defined - a vital visual language in an era of low literacy. Over time, still life emerged as a subject in its own right, though it continued to embody a host of readable symbols for purposes of morality, intended as reminders of the perceived wisdom at the time.  In time, still life became a celebration of the ordinary, as artists began to focus on mundane objects for their own sake, to signify the familiar and to evoke nostalgia. From the late nineteenth century, towards the emergence of Modernism, the possibilities of forms of expression that challenged academic principles, provided an impetus for alternative methods of seeing: from the colours and shapes of the objects themselves, to how they could be located in space.William Scott had the opportunity to observe methods of expression through the work of artists encountered in exhibitions and art galleries, ranging from the Renaissance to the present, from Piero della Francesca to Henri Matisse, via Jean Siméon Chardin and Paul Cézanne. His visits to the United States from 1953, for his own exhibitions there, provided unique opportunities to observe the most contemporary developments and to meet some of the leading exponents as an equal – artists like Jackson Pollock, Barnett Newman – and Mark Rothko, who visited him in Somerset some years later. Still Life No.2 (1970) demonstrates characteristics that can be observed in iconic works by William Scott, such as Still Life Brown with Black Note (1969)(1). Still Life No.2 comprises colours and forms typified by the artist at the time: a flat black profile appears suspended, suggestive of the profile of a skillet, familiar in Scott’s work. A white circular object to the left is cut off by the edge of the painting, while on the right a white jug, another form that appears in Scott’s work, is presented like a stencil against the red-brown ground. The background shows the marks of the brush, and there is a suggestion of shadows thrown by some of the objects. The slight ‘bleeding’ of paint at the edges of objects, softens their otherwise austere profiles, and indicates the hand-crafted dimension of the artwork, and introduces a human dimension to the austerity of the arrangement. The composition is spare and spacious, a marked distinction from Scott’s still life paintings of the 1950s, which featured crowded, almost chaotic, ‘table top’ images connecting the artist and viewer more closely with the domestic realities of a busy kitchen environment. The present painting reflects the more abstract and symbolic nature associated with the later works of the painter. Once he divested his repertoire of the food items (fish, eggs, vegetables) evident in his earliest work, Scott’s particular selection of items reflects his stated preference for man-made over ‘natural’ things, perhaps identifying with durability despite repeated use, over organic fragility.William Scott is recorded as commenting on his practice in a lecture delivered at the British Council in 1961 that sheds light on his approach to still life:“My pictures now contained not only recognisable imagery but textures and a freedom to distort. I again painted a profusion of objects that spread themselves across the canvas, often clinging to the edges leaving the centre open …’.(2)Dr. Yvonne Scott, January 20231 William Scott, Still Life Brown with Black Note (1969), oil on canvas, 121.9 x 183 cm, Irish Museum of Modern Art, Dublin. See Norbert Lynton, William Scott, Thames & Hudson Ltd., London, 2004, p.313.2 William Scott, British Council lecture, quoted in Sarah Whitfield and Lucy Inglis (eds.), William Scott, Catalogue Raisonné of Oil Paintings,       Vol.2, 1952–1959, Thames & Hudson,in association with the William Scott Foundation, London, 1913, p.18.Condition Report: Very good overall conditionWe have no additional documentation, the painting was consigned from a deceased estate The edges or the hand made paper are a little scuffed in places, see images

Clermont [Menon]. The Professed Cook: Or, the Modern Art of Cookery, Pastry, and Confectionary, made plain and easy. Consisting of the most approved Methods in the French as well as English Cookery. In which The French Names of all the different Dishes are given and explained, whereby every Bill of Fare becomes intelligible and familiar .... Including a Translation of Les Soupers de la Cour; with the Addition of the best Receipts which have appeared in the French or English Languages, and adapted to the London Markets, 3rd ed., revised and much enlarged, London, 1776, contemporary ownership inscription to head of title ' A. H. Penruddocke, A Gift of a Dear Friend', additionally signed bu A. H. Penruddocke to front endpaper, a few minor spots, contemporary full calf, rubbed and some wear to joints and edges, with joints partly cracked, 8vo QTY: (1)NOTE:MacLean 99. Cagle 606. Simon 355.This is in part a translation and adaption of Menon's French work 'Les Soupers de la Cour' by B. Clermont, who describes himself for the first time in this third edition as having been for 'many Years Clerk of the Kitchen in some of the first Families of this Kingdom, and lately to the Right Hon. the Earl of Abingdon'. The French names of all dishes are given and explained. It was originally published 1767 in two volumes under the title 'The Art of Modern Cookery Displayed'.

Caylus (Anne Claude Philippe, Comte de). Recueil d'Antquities Egyptiennes, Etrusques, Grecques et Romaines,7 volumes including Supplement, mixed editions, Paris: Desaint & Saillant and others, 1756-67, volume I nouvelle edition, 1761, half titles for volumes I, III-VI, numerous (over 800) engraved plates, occasional light spotting, one or two small marginal water stains, all edges gilt, bookplate, contemporary French Cat's Paw calf gilt, joints cracked, spines and edges rubbed, 4to QTY: (7)NOTE:Blackmer 303; Cohen de-Ricci 211."This work is remarkable for its range and for the number of pieces which have been illustrated. Even more remarkable his the fact that most of the objects have been engraved after the originals and have not been taken from other illustrations. Many of the objects came from Caylus's own collection and are now in the Cabinet des Medailles of the Bibliotheque Nationale. Caylus travelled extensively in Italy and continued on to the Levant in the suite of the French ambassador to the Porte, c. 1715-20, but certainly well before 1731 when he was elected to the Academie Royale de Peinture. He was one of the most interesting figures of his time, an archaeologist, connoisseur, litterateur and a competent engraver." (Blackmer).Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.

* Ennion (Eric, 1900-1981). Ringed Plovers, watercolour and gouache on paper, signed lower right, 27.5 x 23.5 cm mount aperture, framed and glazedQTY: (1)NOTE:Provenance: Exhibited at Nature in Art, Twigworth, Gloucester, GL2 9PA. SWLA 40th Anniversary Founders Show Sept 9th - October 19th 2003; Robert Gillmor, labels to verso. From the Collection of Robert Gilmor (1936-2022).Renowned wildlife artist and author Eric Ennion assisted Robert Gillmor in organising an exhibition of contemporary bird painters at Reading Museum and Art Gallery in 1960. It was the first of its kind and a great success, subsequently touring the country, and led to the formation, in 1964, of the Society of Wildlife Artists with Eric Ennion acting as its first Chairman. (SWLA).

A modern hand blown art glass centrepiece of naturalistic form featuring a large bowl with collapsed sides, with printed contemporary pattern, on a Venetian-style organic circular stem to a concave foot, with polished pontil to the base, unsigned, height 27cm, diameter 34cm.

(Cookery, Wine and Wine Making, Confectionery), [Mr. Borella]: 'The Court and Country Confectioner: or, the House-Keeper’s Guide..., To which is added, a dissertation on the different species of fruits, and the art of distilling simple waters, cordials, perfumed oils, and essences, by an Ingenious Foreigner, now head confectioner to the Spanish Ambassador in England.', London, G. Riley et al, 1770, 1st edition, [2],ii,3,xxiii,[1],271 + 46pp 'On Distilling in General' at end, some marginal worm damage at front from title page to pp.vii (marginal, not affecting text) and from p.111 to end, contemporary calf worn. Later editions revealed the author to be Mr. Borella, head confectioner to the Spanish ambassador to England. A rare cookery title, the first English book with a whole section of ices and ice creams, including for tea ice cream.

A collection of antiquarian and leather bound volumes, including [Bulstrode Whitlocke]: 'Memorials of the English affairs, or, An historical account of what passed from the beginning of the reign of King Charles the First, to King Charles the Second his happy restauration : containing the publick transactions, civil and military : together with the private consultations and secrets of the Cabinet.', London, Nathaniel Ponder, 1682, 1st edition, 704pp, folio, contemporary panelled calf, armorial bookplate of Robert Bristow (1688-1737), MP for Winchelsea, Director of the Bank of England and East India Company, to front pastedown; Sir William Temple: 'The Works of Sir William Temple, Bart.', L, T. Woodward et al, 1750, 2 volumes, folio, contemporary calf gilt, armorial bookplates of Thomas Powys, 1st Baron Lilford (1743-1800) to front pastedowns; 'The Works of Mr Abraham Cowley', 1707-1711, 3 volumes, numerous engraved plates, uniform contemporary calf gilt; 'The Genuine Works of Flavius Josephus, The Jewish Historian', L, J. & J. Cundee, c.1812, 2 volumes in 1, numerous engraved plates, folding maps etc, thick 4to, contemporary calf gilt worn; 'The Poetical Works of Nicholas Rowe', 1715; 'The Historie of Philip de Commines. [Translated from the French by Thomas Danett.], circa 1601, a/f, lacks title page; Sidney Algernon 'Discourses Concerning Government', 1763, a/f; 'The Botanic Garden A Poem', 1799, 4th edition, etc etc. From the estate of John Richard Harding Yeoman (1916-1988), Copy Writer and Director for several Advertising Agencies, Assistant Secretary (Publicity) for the Council for the Protection of Rural England, Borough Councillor for Kensington and Chelsea, Governor of the Chelsea School of Art, and lover of art, poetry and books. John Yeoman’s first wife was Antonia Yeoman, née Beryl Antonia Thompson (1907-1970), the Australian-English commercial artist, cartoonist and illustrator who worked under the name “Anton”

ANTÓN LAMAZARES SILVA (Lalín, Pontevedra, 1954).Untitled, 1981.Gouache, ink, wax and cardboard on panel.There is a tear in the frame and some damage.Signed in the lower central area.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 126 x 122 cm; 151 x 146 cm (frame).In this piece on cardboard, the artist not only composes the work on the basis of drawing and colour, but also intervenes directly on the support by tearing and manipulating the texture of the cardboard. A characteristic that he explored in several works such as 'A Sepultura de Fiz', 1985, which belongs to the collection of the Museo de Arte Contemporáneo Artium, located in Vitoria. The expressive pictorial language with complementary colours used as a background and a figure with deformed features indicate that it is probably a work from before 1987. This is the year in which he travelled to New York and his style changed towards informalism and abstraction.A painter, sculptor and engraver with an anarchic background and an anarchic life, Lamazares has worked in Galicia, Madrid and the United States, where his expressionist, synoptic work, sometimes on perishable materials such as corrugated cardboard, is highly appreciated. Lamazares suggests ingenuities which, nevertheless, emerge from careful meditation. He became known, like so many other painters, in the group exhibitions in the Plaza de la Princesa, sponsored by the Vigo City Council, in 1973. The following year he made his individual debut in Compostela, and was also present at the first edition of Atlántica, in Bayonne (Vigo), in 1980. That same year he began to cross borders and exhibited in Buenos Aires. He obtained grants and was selected for very restrictive exhibitions, such as the one held at the Museo de Arte Contemporáneo in Madrid. His work travelled to Brazil, Germany, France, the United States... and before he was thirty years old he was already a celebrity, an essential name in the panorama of young Spanish painting. Among his numerous personal exhibitions are those held in the galleries Ánfora (Madrid, 1977), Elisabeth Franck (Belgium, 1982), Müller (Winterthur, Switzerland, 1985), Facchetti (New York, 1988), Engström (Stockholm, 1990), Citania (Santiago de Compostela, 1991) and Pelaires (Palma de Mallorca, 1992), among many others. Lamazares began with a very synthetic expressionist figuration, characterised by a great economy of means. He gradually evolved towards a more meditated, more serene and fully informalist painting, in which large black spaces and geometric structures dominate. In his paintings a random thing, a non-existent object, is installed in a neutral space, and allows the spectator an imaginary dialogue of diverse suggestions. Antón Lamazares is represented in all the contemporary art museums in Galicia, as well as in the Museo Nacional Centro de Arte Reina Sofía, the Caixanova collection and various public and private collections abroad.

MARIANO ANDREU ESTANY (Mataró, Barcelona, 1888 - Biarritz, France, 1976).Untitled.Pencil on paper.Signed in the lower left-hand corner.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 46 x 36 cm; 63 x 53 cm (frame).Classical or Renaissance-inspired characters are a constant in Mariano Andreu's work. In this particular case, the mask worn by the main character indicates that he is the mythical character from Commedia dell'Arte, Arlechino.A painter, draughtsman, engraver, sculptor, decorator and set designer, Mariano Andreu began his career in the world of art attracted by the visual arts. Mainly self-taught, he sporadically attended Francesc A. Galí's academy. He studied in London at the Municipal School of Arts & Crafts, where he was fascinated by the style of Aubrey Beardsley and by Pre-Raphaelite painting. On his return to Barcelona he joined the Decadentist group, the first manifestation of Noucentisme. In 1911 Andreu exhibited his work for the first time in a group exhibition organised at the Faianç Català. The following year he moved to Paris, where he was always a great success with critics and the public, although he returned to Barcelona intermittently. Later he travelled to Italy to study the works of the Renaissance, an event that would have a definitive influence on his work. He held several exhibitions in Barcelona, Paris, Munich, Tokyo, Osaka, London, Brussels, New York, Los Angeles and Buenos Aires. He is represented in the Museums of Theatre and Contemporary Art in Barcelona, as well as in various public and private international organisations.

MARIANO ANDREU ESTANY (Mataró, Barcelona, 1888 - Biarritz, France, 1976).Untitled.Pencil on paper.Signed in the lower area.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 46 x 36 cm; 63 x 53 cm (frame).Painter, draughtsman, engraver, sculptor, decorator and set designer, Mariano Andreu started in the world of art attracted by the plastic arts of the spectacle. Mainly self-taught, he sporadically attended Francesc A. Galí's academy. He studied in London at the Municipal School of Arts & Crafts, where he was fascinated by the style of Aubrey Beardsley and by Pre-Raphaelite painting. On his return to Barcelona he joined the Decadentist group, the first manifestation of Noucentisme. In 1911 Andreu exhibited his work for the first time in a group exhibition organised at the Faianç Català. The following year he moved to Paris, where he was always a great success with critics and the public, although he returned to Barcelona intermittently. He later travelled to Italy to study the works of the Renaissance, an event that would have a definitive influence on his work. He held several exhibitions in Barcelona, Paris, Munich, Tokyo, Osaka, London, Brussels, New York, Los Angeles and Buenos Aires. He is represented in the Museums of Theatre and Contemporary Art in Barcelona, as well as in various international public and private institutions.

CHEMA MADOZ (Madrid, 1958)Untitled, 2000.Positive bromide virado. Copy 3/15.With the label of the Galería Moriarty (Madrid) on the back.Signed, dated and justified on the back.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 60 x 50 cm; 81 x 71,5 cm (frame).The Patio Herreriano Museum in Valladolid has the first copy of this series. In its cataloguing the museum states "In 1995 Madoz took a photograph of a real cactus planted in a sewing thimble. The association of the spiky plant with the thimble triggered in the observer the hypothetical effect of a finger entering the thimble. In this photograph the cactus has become stone. Madoz has replaced the fleshiness of the plant with the inert hardness of the boulders. He composes his objects, but never disguises the nature of each one. That thimble was perfectly legible as a thimble; in this photograph the pot and the stones are also fully identifiable. This play with the recognisable makes the effect of surprise provoked by the union of disparate and even antithetical elements even more intense, because it places us before concrete and familiar fragments of reality. The artist proposes a certain distancing from the motif captured, which generally appears with a carefully prepared mise-en-scène. This scenographic distancing is not objective, because it seeks to provoke subjective reactions from the gaze that the photographer and the camera have decided to fix on paper".Visual paradox is the fertile ground in which Chema Madoz moves. The way he interprets art through photography and his poetic vision make Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths. Playing with the everyday, generating associations, metamorphoses, in a playful background, he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or the logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Prize and the PHotoEspaña Prize in 2000, and the Culture Prize of the Community of Madrid in the category of Photography in 2012, among others.

CHEMA MADOZ (Madrid, 1958)Untitled (Árbol Piedras), 2000.Positive bromide virado. Copy 3/15.With label on the back of the Galería Moriarty (Madrid).Signed, dated and justified on the back. Provenance: private collection conceived since the 70s between London and Madrid.Size: 60 x 50 cm; 81 x 71 cm (frame).The Telefónica Foundation dedicated an exhibition to the artist, called Telos. It brought together a selection of works from 2000 to 2004, dedicated to nature. This "Tree Stones" belonged to the aforementioned group of which the artist commented: "I have chosen a series of images with common interests: their axis is nature and for this reason they are more distant from other series of objects from everyday life. I also make use of matter that comes from nature itself and lacks that objectual character, be it grass, water or sand, in an attempt to access the idea of landscape in other images".The way he interprets art through photography and his poetic vision make Chema Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths, there is always an undercurrent of play. Playing with the everyday, generating associations, metamorphoses, in a playful background he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or the logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Prize and the PHotoEspaña Prize in 2000, and the Culture Prize of the Community of Madrid in the category of Photography in 2012, among others.

CHEMA MADOZ (Madrid, 1958)Untitled, 2000.Positive bromide virado. Copy 3/15.With label of the Galería Moriarty (Madrid) on the back.Signed, dated and justified on the back.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 60 x 50 cm; 81 x 71,5 cm (frame):Naturgy's Spanish Contemporary Art collection owns the first copy of this same photograph. Visual paradox is the fertile ground in which Chema Madoz moves. The way he interprets art through photography and his poetic vision make Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths. Playing with the everyday, generating associations, metamorphoses, in a playful background, he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or the logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Prize and the PHotoEspaña Prize in 2000, and the Culture Prize of the Community of Madrid in the category of Photography in 2012, among others.