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Higgins (Bryan). Experiments and Observations made with the View of Improving the Art of Composing and Applying Calcareous Cements and of Preparing Quick-lime, 1st edition, London: T. Cadell, 1780. 8vo (212 x 125 mm), modern boards, half-title, together with 6 others, mainly science (not collated), including William Ramsay, The Gases of the Atmosphere, 1st edition, 1896 (original cloth), J. J. Thomson, Rays of Positive Electricity and their Application to Chemical Analyses, 1st edition, 1913 (original cloth), F. W. Aston, Isotopes, 1923 (original cloth), Memoirs of the Rev. Dr. Joseph Priestley, 1809, and similar (qty: 7)ESTC T53600 (Higgins).

A SMALL COLLECTION OF SOUTH AFRICAN TRIBAL ZULU ART BEADWORK AND SOME MODERN SHELL JEWELLERY

FOUR MODERN FRAMED ART DECO STYLE OILS ON BOARD OF LADIES SIGNED SANDRA PENNILL

TWO MODERN FRAMED ART DECO STYLE OILS ON BOARD OF LADIES SIGNED SANDRA PENNILL

FOUR MODERN FRAMED ART DECO STYLE OILS ON BOARD OF LADIES SIGNED SANDRA PENNILL

THREE MODERN FRAMED ART DECO STYLE OILS ON BOARD OF LADIES SIGNED SANDRA PENNILL, TOGETHER WITH AN ART DECO WATERCOLOUR ENTITLED 'GOOD EGG' (4)

A PAIR OF SMALL CHINESE BRONZE MASK APPLIQUES AND A BRONZE MIRROR SPRING AND AUTUMN PERIOD AND TANG DYNASTY The masks modelled as mythical creatures with bulging eyes, striated brows and a pair of tusks, framed in a modern perspex stand, the circular mirror decorated with a crouching animal encircled by bands of birds and beasts amidst fruiting grapevines, 113g (including the perspex frame) and 265g, 5.6cm and 8.9cm. (3) Provenance: from the collection of the late Michael Sherrard QC CBE (1928-2012), the pair of masks purchased from The Antique Square, Hong Kong, on 3th February 1994, the mirror purchased from Eastern Antiques Art & Crafts, Hong Kong, on 6th June 1992, a copy of the invoice is available.

A PAIR OF GOLD AND STEEL 'FUNNY' EARCLIPS, BY MARINA B, 1989Designed as bombé crescents overlaid with patterned motif, mounted 18K gold and steel, signed Marina B, with maker's marks 'MB', numbered, Italian assay marks, length 4.3cmCf: See Viviane Jutheau de Witt (2003-2011) Marina B: The Art of Jewellery Design. Skira Editori, for a comparable pair of earrings, page 197, no. 390The granddaughter of Bulgari’s founding father, Sotirio Bulgar, Marina Bulgari has jewellery design in her blood.Her father, Constantino was Bulgari's eldest son and held a central role in the family firm. As a young woman though, Marina had other interests, amongst them aspirations of becoming a mathematician as well as a keen interest in sailing. It was inevitable that she would succumb to pressures to join the family firm and by 1973, she had become co-CEO with her cousin Gianni.Fuelled by an entrepreneurial spirit and an independent mind, Marina eventually left Bulgari in 1976 and struck out on her own. In 1978, she founded Marina B. For the next number of years, she travelled extensively and eventually opened stores in Geneva, London, Milan, Monte-Carlo, Paris and New York. Creative Director and Chairman of Marina B today, Guy Bedarida describes her as "a woman designing for women".From the late 1970s to the early 1990s, the voluminous, bold, and colourful jewellery of Marina B, was the brand of choice of famous movie stars and singers such as Sophia Loren, Elizabeth Taylor, Jackie Kennedy, Grace Kelly, Nan Kemper, Julia Roberts, and Queen Noor of Jordan. Marina B’s use of colour in her jewellery was considered ground-breaking at the time and what made them a product of the modern era. In her work, 18 karat yellow gold is matched with an array of coloured gemstones. Diamonds are a strong part of the designs but are used sparingly, often as a contrast to the coloured gold and gemstones and in pavé-set patterns.In 1989, a descendent of her Fuji Yama and Yama collections, the Funny earring collection debuted, featuring thick crescents of burnished or unburnished steel decorated with a lattice of gold. Favouring the unique combination of precious and non-precious metals over the gems used in her earlier works, the swirling gold and silver steel create a striking look, both stark yet opulent in appearance.Marina’s works speak to their designer’s being as a woman of multitudes, combining old school glamour with a sharp freshness that has made her jewellery popular today among the likes of Taylor Swift and Rhianna.Condition Report: Numbered F1877Minor signs of wear, overall in good conditionTotal gross weight approx. 35.9g

RENÉ LALIQUE VICTOIRE GLASS MASCOT. A modern re-issue of the 1928 design-registered original, issued as a 10-year celebration of the end of the Great War in 1918. The mascot was also titled the 'Spirit of the Wind'. An art deco design with a frosted finish, in very good condition, no inscription.

A rare Danish rosewood vanity wall unit, § designed by Poul Jensen, opening to reveal a mirror over shelves, and a pull-out section fitted with two drawers and a slide,55cm wide25cm deep42.5cm high, open 85.5cm highA similar unit in teak is in the permanent collection in the Museum of Modern Art in New York.Repaired to one of the hinges. Good overall condition and colour.Additional bar to hold the piece to wall.CITES A10 No. 615856/06

English School, c.1930An Art Deco interiorinscribed in pencil to the mount 'Douglas & Co. Ltd., 140 Wigmore St', watercolour42.5 x 62.5cm, mounted and framed Good condition.In a modern mount, glazed and frame66 x 85.3cm overall. Small chips to the gold frame edge.

An Art Deco cold-painted table lamp,modelled as two spelter ladies holding a glass globe shade, replaced, on a marble plinth, 47cm highThe glass shade replaced - modern Moncrieff glass. Rubbing and wear to the figures. Needs rewiring.

A Large Heavy Modern Art Glass Vase and Matching charger, Vase 41cm high

A Raku pottery vase by Kaizwa-Miyata, Hawaii, 20cm high, two modern art pottery glazed bowls finished gilt and mottled green glaze, 15.5cm and 17cm diameter and a similar small vase, 12cm high, impressed potter's mark 'DJ', together with one other glazed flared bowl, 17.5cm diameter.

Modern mirrored console table in the Art Deco taste, the rectangular top on shaped supports to rectangular base, 82cm high x 118cm wide x 31.5cm deep

JOSIAH CONDER (1852-1920) KAWANABE KYOSAI (1831-1889) DAVID NEWMAN (1936-2012) 19TH & 20TH CENTURY An extensive collection of paper ephemera, letters, photographs and other material relating to Josiah Conder, his family, Kawanabe Kyosai, and other subjects, including several albums comprising photographs of Conder and his relatives c.1910, many taken while they were living in Japan and featuring interiors decorated with artworks by Kyosai, the archive assembled by David Newman (d.2012) in the 1980s-90s and including a large number of letters he exchanged with Conder's descendants, showing his efforts to trace Kyosai's paintings once owned by the family. (a lot) Provenance: formerly the David and Paula Newman collection, sold on behalf of the executors. Josiah Conder (1852-1920) was a British architect and an 'oyatoi gaikokujin', a foreign advisor to the Meiji Government, sometimes also referred to as the 'Father of modern Japanese architecture'. Conder was hired in 1877 as Professor of Architecture at the Imperial College of Engineering, and Architect to the Public Works Department. The Meiji Government commissioned many European-style buildings as part of its aim to Westernize Japanese society and cities. Conder was hired to supervise the building work and train Japanese students in this European style of architecture. After his contract with the Japanese Government ended, Conder decided to remain in Japan and set up his own company. His most famous constructions include the Ueno Imperial Museum (Tokyo), the Rokumeikan (Tokyo), the Bank of Japan (Tokyo), the Mitsubishi Ichigokan Museum (Tokyo), Christ Church (Yokohama), and many other public structures and private houses in European style. Conder was fascinated by the arts and culture of his adopted country, and notably wrote books about Japanese landscape gardening and flowers. He enjoyed Kabuki theatre and ikebana (flower arrangement), and he studied traditional Japanese painting under the master painter Kawanabe Kyosai (1831-1889). Kyosai nicknamed Conder Kyôei (‹Å‰p), the second character meaning 'Britain'. Conder was by the artist's side when he died in 1889, and he later published in 1911 the first work in English dedicated to his art ('Paintings and Studies by Kawanabe Kyosai'). Conder owned a large number of paintings by his friend and mentor, and many of these are visible in the photographs offered as part of lot 157. Some of these paintings are now in museum collections around the world, and others are currently on display at the Royal Academy of Art, London, until 19th June 2022 as part of the exhibition Kyosai: The Israel Goldman Collection.

A JAPANESE ARITA MODEL OF A LEAPING CARP EDO PERIOD, C.1710 The large fish with its body contorted and its mouth open, the moulded scales with washes of cobalt blue and further details accentuated in red paint, raised on a square base, 29.8cm. Provenance: from the collection of George and Cornelia Wingfield Digby and thence by descent. George and Cornelia Wingfield Digby started buying Chinese and Japanese art, notably porcelain, in the early 1950s. George Wingfield Digby (1911-1989) joined the Victoria & Albert Museum's Textile Department in 1934 and later served as Keeper between 1947 and 1972. He considerably expanded the V&A's textile collection and wrote three books on the subject. He also released three further publications on different fields of art, including The Work of the Modern Potter in England (1952), which he wrote with his wife Cornelia. In addition to their extensive Asian Art collection, they also acquired a significant number of studio pottery pieces which were lent to the Tate, St Ives in 1993. After retiring, they settled in Dorset and part of their Chinese and Japanese art collection was exhibited at Sherborne Castle for 25 years. Cf. M Cohen and W Motley, Mandarin and Menagerie, Chinese and Japanese export ceramics figures, pp.134-5 no.8.1, for two comparable leaping carp.

A large contemporary Islamic modern art mixed media print on canvas painting. Dark purple & black ground with bold lettering in fading colours. Set to a large contemporary frame. Signed by artist to lower corner with monogram. Measures approx; 192cm x 106cm.

MODERN CHINESE DOUBLE HANDLED VASE PLUS SMALLER VASE AND AN ART GLASS VASE (3)

An Art Nouveau pottery tile in brass mount and a modern Delft tile

Ca. 300-100 BCHellenistic PeriodA finely rendered Greek Hellenistic gold disc-shaped brooch/pendant, hammered from thin gold, with an agate eye to the centre, along the brooch thirteen pyramid shaped filigree separate, clusters of filigree decoration.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:44mm / W:44mm; 12.3gProvenance: Private London collection of Ancient Art; previously with a London art dealer; acquired from a Japanese collection (1970-2010).

Ca. 323-31 BCHellenistic PeriodA pair of beautiful gold earrings, each comprising an oval-shaped hoop with hooked attachment and a semi-circular filigree design, ornamented with spherical baubles, which hangs from the bottom of the hoop.The Hellenistic period, which runs from the death of Alexander the Great in 323 BC to the battle of Actium is 31 BC, was an era in which Greek-speaking peoples controlled much of the Eastern Mediterranean and Western Asia as far as present-day Afghanistan. This period saw many momentous scientific discoveries and artistic developments, including the creation of exceptionally intricate jewellery, as this gorgeous piece exemplifies.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: Set of 2: L:38mm / W:43mm; 10.8gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 100-300 ADA sophisticated gold necklace with a loop in loop strand, rope-like in appearance, the chain shows particularly fine workmanship. Due to its fine workmanship, it is believed to be made by an atelier in Rome.For similar see:Richter, Gisela M. A. 1923. “ Classical Department: Miscellaneous Accessions.” Bulletin of the Metropolitan Museum of Art, 24 (9): pp. 282-83, fig. 30. Oliver, Andrew Jr. 1966. “Greek, Roman, and Etruscan Jewellery.” Bulletine of the Metropolitan Museum of Art, 24 (9): pp. 282-83, fig. 30. The Metropolitan Museum, New York, accession number: 17.190.1649.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:215mm; 23.2gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 1600 ADA gold thin band with ridged shoulders, a large conical shaped bezel with sapphire, held by four gold planks holding the sapphire in place. The band rounded and modelled with incised moulded decoration.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D: 16.1mm / US: 5 1/2 / UK: L; 5.6gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 1300-1400 ADA gold ring with rounded hoop, flared and cusped shoulders, decorated by flower petal motifs, oval-shaped gold bezel setting, tapering down a curved wall, inlaid with spherical ruby and sapphire gemstones, separated by an incised panel. The thin, gold band decorated with an inscription. nd decorated with an inscription. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D: 17.35mm / US: 7 / UK: O; 1.8gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 200 ADA gold finger ring of a round hoop widening to the faceted shoulder bearing a raised oval bezel engraved with an inscription.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D: 15.4mm / US: 4 5/8 / UK: J; 8.2gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 900 ADA gold ring with a circular-shaped hoop and wrapped decoration with a central knot. This simple yet elegant ornament may have belonged to a Viking warrior.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D: 17.4mm / US: 7 / UK: O; 3.6gProvenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1990s on the UK / International art markets.

Ca. 300 BCA gold pendant plaque with granulated rim and applied opposing loops. The upper face intricately decorated with filigree coils and scrolls between central, round garnet and radiating piriform emerald stones and cabochons set in cells with serrated edges. Undecorated reverse.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: L:46mm / W:30mm ; 5.35gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 700-900 ADA beautiful gold pendant with an integral loop shaped like a bearded Viking axe head.For more information on Viking Jewellery, see:Arbman, H. (1940). Birka I Die Gräber.Uppsala & Hubbard, B. (2016) The Viking Warrior. Amber Books Ltd, London, 61-65.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: L:26mm / W:11mm ; 5gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1990s on the UK / International art markets.

Ca. 300-100 BCA finely rendered pair of gold earrings, each formed from a twisted circular wire hoop, which tapers towards one end and features an animal head terminal on the other. One earring displays head of the bull with mouth open and pair of horns, second one - head of the lion with large eyes and nicely defined mane.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: L:Set of 2: 23 - 28mm / W:19 - 25mm ; 9.36gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Modern Art Rooftops Original Painting, signd JW 87 - 41cm square

Signed Modern Art Countryside Landscape - 91x69cm inc frame

Women Rolling Dough 1972oil on canvas81 x 90 cm (32 x 35 1/2 in.)unframedsigned lower leftRELATED LITERATUREFor this subject, see Shahen Khachaturian, Minas Avetisian (Yerevan, 2004): In the Old Bakery , 1969, Private Collection, Moscow, p. 104; Baking Lavash , 1972, Collection of the Museum of Modern Art, Yerevan, p. 123 (illustrated)EXPERTISEAccompanied by a certificate of authenticity signed by Gayane Avetisian-Mamadzhayan and Arman Avetisian. (Copy of the original available upon request).CONDITIONThe painting is in good condition. Inspection under UV light shows no sign of restoration.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Spilled Oranges, Published by L'Estampe Modern, Paris 1921etching and aquatint with hand coloring38 x 28 cm (14 15/16 x 11 in) [plate]framed dimension: 59.5 x 47.3 cm (23 7/16 x 18 5/8 in)signed lower right and numbered 109 lower left in pencil with publishing house upper leftCONDITIONObserved in frame, the etching is in good condition. Minor toning to the perimeter and scattered fly specs.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

1990animation cel (color photo with acrylic layering on cardboard) and VHS tape (click here to view the digitized 3-minute clip)cel: 23 x 30 cm (9 x 30 in.)framed dimensions: 40 x 47.4 cm (15 3/4 x 18 5/8 in.)signed lower right, edition of 75PROVENANCEAcquired directly from BAM (Brooklyn Academy of Music)Private Brooklyn Heights collection since circa 1990LOT NOTESSuzan Pitt is an American artist born in Kansas City, Missouri. Upon graduating from the Cranbrook Academy of Art in 1965 with a BFA in painting, she has lived and worked in Europe, Mexico, New York, Los Angeles and now resides in Taos, New Mexico. In 1968 she began making animated films which drew inspiration from her paintings, and is quoted saying, "my painted images seem to have a past and future through animation I could imagine and dramatize their stories." In 1979 Pitt’s animated film Asparagus, premiered in an installation at the Whitney Museum and ran for two years alongside David Lynch’s Eraserhead in the midnight shows at the Waverly Theater and the NuArt Theater in Los Angeles. In 2017 a retrospective of Pitt’s prize-winning animated films was presented at the Museum of Modern Art in New York. This lot is representative of her work from the short twenty-four minute film, Joy Street, in which a cartoon mouse takes depressed and isolated woman on a journey of renewed awareness. For Joy Street, four years in the making, Pitt painted thousands of animations cels in Mexico and United States, drawing on her experience in the rainforest of Guatemala and Mexico. The film is entirely painted by hand and shot in 35mm on the Oxberry camera at Harvard University. Using photographs, paint on film, cut-outs and many other animation forms, the film was also a collaboration with other artists: Roy Nathanson and The Jazz Passengers with Debby Harry, Ben Zelkowitz, Laura Kraning, Becky High, with sound design by David Slusser (PIXAR studios) and many other animators, painters, and musicians.CONDITIONObserved in frame, matte and under glass, the still is in very good condition. The VHS tape is functional as of April 2022. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Ca. 386-534 AD A finely hollow-moulded terracotta horse statuette modeled standing foursquare on a rectangular base, the head drawn in towards the arched neck, the bridle modeled with a single plume. The head is crisply detailed with flared nostrils, an open mouth, and pricked ears. The beautiful red mane is in contrast with the cream-coloured body. The chest is adorned with a tassel-hung strap. The back is draped with a red cloth with gathered ends set atop a flared green mudguard.The Northern Wei dynasty ruled northern China from ca. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period of social and political turbulence. Craftsmen working under this dynasty were also responsible for beautiful works of art, as this object exemplifies.Stylistically, this horse is very similar to the one unearthed in Cizian, Heibei province in 1979 from the tomb of a Wei Princess, see:'Wenwu', 1984: 4, pl.5, fig. 2, for a line drawing of the horse on p. 6.A similarly caparisoned horse was included in ' Early Dynastic China: Works of Art from Shang to Song, J.J. Lally & Co., New York, 26 March-26 April 1996, no.5.For another similar Wei dynasty terracotta horse, see:Christie's Fine Chinese Furniture, Ceramics and Works of Art. Thursday 20 September 2001. London: Christie's International Media Division, p.150.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:405mm / W:345mm ; 3.15kg Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.

Ca. 618-906 AD A very attractive and dynamic figure of terracotta Chinese Polo Rider. The lady is depicted on a galloping horse with detailed facial features and a nicely arranged mane. She leans forward in loose, red clothing with full sleeves; hair carefully dressed, hands raised, cheeks and lips highlighted. Pair with Lot 475. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with the full report will also accompany this lot. Size: L:80mm / W:145mm ; 415g Provenance: Private London collection of Asian Art; formerly with Robert Ungar, Parthnon Gallery. Acquired in 2015. Formerly in 1990s UK collection.

Ca. 618-906 AD A breathtakingly beautiful terracotta polo rider depicted sitting on a galloping horse. The figure's face is sensitively painted with elaborate details, elongated eyes, pointed nose, and crisply carved mouths painted in red. The figure is depicted wearing an elaborate coiffure which is drawn into a loose loop that hangs slightly forwards. The hands raised to grasp the polo stick that it would have held. The hollow-molded horse features well-defined ears, eyes, nose, and nostrils. The eyes, saddles, and trappings have been added in black pigment. The horse extends his legs in a dynamic pose in mid-air to give the illusion of the action of a polo game. The original pigmentation survives largely intact. Decorated in a red pigment, the terracotta-coloured saddle and cloth are still prominent. Pair with Lot 474. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:84mm / W:110mm ; 415g Provenance: Private London collection of Asian Art; formerly with Robert Ungar, Parthnon Gallery. Acquired in 2015. Formerly in 1990s UK collection.

Ca. 618-906 AD A beautiful terracotta free-standing horse with a long neck artistically turned up. The animal has a white-coloured body, short mane and docked tail. A cloth is draped over the saddle, which shows traces of the original pigments. Warhorses were the pride of the Tang, a dynasty of prosperity, military expansion, and artistic achievement. For more information on the importance of horses in China, see: Cooke, B. (ed.) (2000). Imperial China - The Art of the Horse in Chinese History: Exhibition Catalogue. Kentucky Horse Park, Lexington. For more general information on the Tang Dynasty, see: Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200-750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:610mm / W:580mm ; 9.8kg Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.

Ca. 202BC - 220AD A hollow-formed terracotta rabbit figurine with black pelt and coral-pink pigmentation on the nose. The rabbit is depicted sitting on its haunches with its forelegs raised as if about to groom itself.In the Chinese tradition, the rabbit is the luckiest of animals and symbolises elegance, beauty and mercy.This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Size: L:270mm / W:200mm ; 2.8kg Provenance: Private Collection; acquired from a central London Ancient Art Gallery. ex. 1980s-90s collection.

Ca. 202BC - 220AD A hollow-formed terracotta rabbit figurine with a white pelt and coral-pink pigmentation on the nose and in the inner ears. The rabbit is depicted sitting back slightly on its back legs in an alert posture.For more information about the Han Dynasty, see:Milleker, Elizabeth J. (ed.) (2000). The Year One: Art of the Ancient World East and West. Exhibition catalogue. New York: Metropolitan Museum of Art.This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Size: L:230mm / W:230mm ; 2.4kg Provenance: Private Collection; acquired from a central London Ancient Art Gallery. ex. 1980s-90s collection.

Ca. 618-906 AD A delicate Tang Dynasty female dancer wearing a long flowing gown with draped, winged sleeves. The long dress uncovers her up-turned shoes. Her both arms are up in the air, indicating motion. The dancer herself is carefully modelled, with her hair done up, red pursed lips, delicate brows and smiling eyes. Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time The Great Music Bureau was created as a means through with to train musicians and dancers for the imperial court. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:330mm / W:265mm ; 1.4kg Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.

Ca. 202BC - 220AD An earthenware rooster with many traces of the original polychromy. The colourful bird is standing on its original bronze legs. Rendered in an alert, standing pose with an erect neck, the animal looks straight ahead with delineated wings folded to its abdomen with stylized feathers and presents an overall bold silhouette. This rooster is mingqi, 'spirit goods' belonging to the burial rituals in the Chinese Han Dynasty.H.C. Clydesdale, "The Vibrant Role of Mingqi in Early Chinese Burials", Heilbrunn Timeline of Art History, The Metropolitan Museum of Art, New York 2000.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:140mm / W:147mm ; 320g Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.

Ca. 202BC - 220AD An earthenware hen with colourful original polychromy. The bird standing on its bronze legs and is in a position of searching for seed.This hen is a mingqi, 'spirit goods' belonging to the burial rituals in the Chinese Han Dynasty. High-ranking persons were buried with various everyday objects; it was believed that life after death was a continuation of the present life, and therefore the deceased was provided with all the objects necessary to continue living after death. H.C. Clydesdale, "The Vibrant Role of Mingqi in Early Chinese Burials", Heilbrunn Timeline of Art History, The Metropolitan Museum of Art, New York 2000.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:130mm / W:200mm ; 430g Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.

Ca. 3000-2000 BC A large ceramic vessel with a round-bodied bowl, with a narrow, round mouth and a raised rim. The exterior central register is painted with polychrome zebu bulls with its characteristic humps and curving horns. The shoulder is decorated with a band of fish and a collar is adorned with geometric patterns.This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with the full report will also accompany this lot. Size: L:395mm / W:392mm ; 6.1Kg Provenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1990s on the UK art market.

Less than 1,000 miles from new and celebrity ownership.The CB400F was the very first production Japanese motorcycle with the hardware and aesthetics of a truly modern sporting machineThis lovely example is offered from a private collection. Mostly original and unrestoredSome replacement parts fitted however originals are suppliedShowing less than 1,000 recorded miles, believed to be correctNotable first owner, the late Peter Curtis Lamont, Art Director on 18 James Bond  filmsDescribed by the vendor as in good running orderSpecificationMake: HONDAModel: CB400FYear: 1975Registration Number: LLL 59PEngine Number: CB400F-E-1043710Click here for more details and images

A pair of Art Nouveau style silver clad easel photograph frames, each repoussee decorated with flowers and butterflies, stamped 925, 20.5cm highEach very modern and in excellent original condition overall.

A walking stick in Art Nouveau style (modern)

A modern Art Nouveau style stoneware sculpture of a classical-style maiden (46cm high),  a stoneware model of an Egyptian-style cat (58cm) and an Egyptian-style bust (3)

KAMISAKA SEKKA (1866-1942)Mount Horai Meiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryKakejiku (hanging scroll), ink, mineral colours and gold on silk in silk mounts; signed Sekka hitsu and sealed Sekka; with a plain wood storage box. Overall: 198cm x 55.4cm (78in x 21 7/8in); image: 110.5cm x 41cm (43½in x 16 1/8in). (2).Footnotes:Kamisaka Sekka was both a painter and craftsman who continued the Rinpa School painting tradition into the 20th century. He travelled twice to Europe to study Western-style painting. While his feet were planted firmly in the Rinpa tradition, Sekka was also keenly aware of the artistic movements going on in the West. Like several of his Rinpa predecessors, Sekka was involved in the design and production of textiles, which may account for the bold swaths of colour in stylised form combined with a heightened sense of flatness seen in his work. In this painting, the three peaks of Mount Horai are rendered in classic Rinpa tarashikomi (dripping and pooling) and are delineated by a light ink wash. Mount Horai is one of three legendary mountains where immortals are said to live.For similar examples of the same subject by Sekka, see Kamisakka Sekka: Rimpa Master-Pioneer of Modern Design, exh. cat., Kyoto, The National Museum of Modern Art, 2003, no.122.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

SHIBATA ZESHIN (1807-1891)An Important Gold, Silver, and Black Lacquer Panel Gakumen (Panel) Meiji era (1868-1912), dated 1887A rectangular panel constructed from a single piece of wood reinforced with textile and two crosspieces applied to the reverse, depicting a lone crow on a pond or river bank, to the right a rocky outcrop, below and on the outcrop snow-laden grasses, a few snow crystals on the ground and flying away to the left, the design executed over the highly polished black lacquer roiro ground in a range of Zeshin's most idiosyncratic techniques in addition to traditional hiramaki-e, togidashi maki-e and takamaki-e, including gold and silver sabiage made from a mixture of raw lacquer with powder from grindstone powder and crushed charcoal, here worked in high relief and embellished with crushed shell, mist rising from the bank and water indicated by very finely sprinkled silver powder, the crow's tongue in dark-red lacquer; signed in gold hiramaki-e at lower right Hachijuichi-o Zeshin (Zeshin, aged 81), followed by a version of the character nuno (cloth) much used in his signatures at this period; with a modern wood storage box. 36cm x 71.5cm (14 1/8in x 28 1/8in). (2).Footnotes:Provenance:Sakamoto Goro Collection, Kyoto.A Royal Collection.Published:Goke Tadaomi, Shibata Zeshin meihinshu: Bakumatsu kaikaki no shikko kaiga (Lacquer and Painting in Late Edo and Early Meiji: A Collection of Masterworks by Shibata Zeshin), Tokyo, Gakushu Kenkyusha, 1981, cat. no.118.This is one of several celebrated works demonstrating the artist's masterful depiction of crows, those characteristic Edo/Tokyo birds that fascinated both Zeshin and his contemporary Kawanabe Kyosai (as seen in the current exhibition of the latter at the Royal Academy, London). Other examples, in a range of media, include a maki-e box in Tokyo National Museum with an Escher-esque design of crows and egrets (bunka.nii.ac.jp/heritages/detail/558743); an urushi-e painting of two crows in the Misumi Collection, published in Nezu Bijutsukan, Shibata Zeshin no shippo, urushi, kaiga (Shibata Zeshin: From Lacquer Arts to Painting), exh. cat., Tokyo, 2012, cat. no.120; and in lacquer on wood, as with the present lot, a panel of a crow on a fruiting branch of biwa (loquat) in the same catalogue as the urushi-e painting, cat. no.54, preserved in the Ako City Tabuchi Museum of Art, Hyogo Prefecture. The 1880s were a period of peak production for Zeshin's pictorial lacquer panels that seek to emulate the format of framed Western oils, including, for example one that depicts vegetables mourning the death of the Buddha, executed in 1888 and purchased by industrial titan Iwasaki Yanosuke and now in the Museum of Fine Arts, Boston: accession number 2008.1413.For further information on this lot please visit Bonhams.com

QUANTITY OF BOOKS ON CHINESE ART. Fifteen total to include Ancient Chinese Bronzes in the Shanghai Museum by Chen Peifen. Chinese Jades Archaic and Modern from The Minneapolis Institute of Arts. The Arts of China to AD 900 by William Watson etc. (15)From the private Essex collection (Lots 201-250)

CHEN QIKUAN (CHEN CHI-KWAN) (1921-2007)PeaceInk and colour on paper, hanging scroll, with one seal and signature of the artist. 120cm (47 1/4in) long x 23cm (9in) wide.Footnotes:陳其寬 共存 設色紙本 立軸Provenance: acquired from HanArt Gallery, Hong Kong in the early 1990sAn English private collection 來源：二十世紀九十年代初，購自香港漢雅軒英國私人收藏鈐印：陳其寬印Chen Qikuan (1921-2007) was a Taiwanese artist, architect and educator. He collaborated with I.M.Pei to design the Luce Memorial Chapel on the Tunghai University campus in 1963, which became a hallmark of mid-century Modernist architecture. He also often painted in watercolour and would borrow some aspects from traditional Chinese painting but apply it to modern themes or Western style line work. Many of his works were abstract or referencing small landscapes. His paintings are in the permanent collection at various museums including Smithsonian American Art Museum, Harvard Art Museums, and the British Museum, among others. To commemorate the 90th anniversary of his birth, a selection of Chen's paintings were displayed at the National Palace Museum in Taipei.See a related long hanging painted scroll of a sunrise by Chen Qikuan which was sold at Sotheby's London, 16 May 2018, lot 53.For further information on this lot please visit Bonhams.com

Large Modern Art Polished Fossil Designer's Piece, 11'' tall approx.

A collection of approximately fifty records, mainly jazz LPs, including albums by Art Blakey, Ella Fitzgerald, Dexter Gordon and The Modern Jazz Quartet.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Müller,(F.)M.: Lectures on the science of language. Delivered at the Royal Institution of Great Britain in April, May & June 1861 (and) in February, March, April & May 1863 (second series). Fifth edition, revised (and) second edition. 2 Bände. London, Longmans, Green and Co. 1866-1868. 8°. XIV, 459 S.; VIII, 600 S. mit 31 Text-Holzschnitten. Nachtblaue Maroquinbände mit goldgepr. Rückentitel, reicher Rückenverg., ornamentalen Deckel-, Stehkantenfiletten u. Innenkantenverg., goldgepr. Deckelvignetten u. Goldschnitt. Mit zusammen 21 Vorlesungen zur Sprachwissenschaft und Mythologie (The physiological alphabet, Grimm's law, On the principles of ethymology, on the powers of roots, Metaphor, Jupiter, the supreme Aryan God, Myths of the dawn, Modern mythology, The morphological classification on languages etc.). - Der Indologe, Sprach- und Religionswissenschaftler Friedrich Max Müller (1823-1900) war ein Sohn des Dichters Wilhelm Müller. Seit 1850 hielt Müller Vorlesungen über Literaturgeschichte und vergleichende Grammatik an der Universität in Oxford und seit 1872 in Straßburg. 1868 gründete die Universität Oxford eine Professur für vergleichende Religionswissenschaft und ernannte Müller zum ersten Professor dieses Lehrstuhls. - "Müller analysierte Mythologien und Mythen als Bewusstwerdung natürlicher Phänomene, einer Art primitive Vorwissenschaft innerhalb der kulturellen Entwicklung der Menschheit. Er vertrat eine darwinistische Auffassung von der Entwicklung der Kulturen. Nach der Auffassung Müllers begannen die "Götter" zunächst als abstrakte Begriffe zu wirken, mit denen man Ideen austauschte oder ausdrückte. Erst später wurden sie personifiziert. So seien für den indogermanischen "Vatergott" viele verschiedene Namen entstanden: Zeus, Jupiter, Dyaus Pita. Doch könne man alle diese Formen auf das Wort dyaus zurückführen, das er als "Erscheinung" oder "Strahlung" auffasste. Dieses Wort führe auf deva, deus und theos als Begriffe für Gott und zu den Eigennamen Zeus und Jupiter (als deus-pater). Diese Vorstellung beeinflusste später Friedrich Nietzsche" (Wikipedia). - Mit Theodor Fontane verband ihn eine lebenslange Freundschaft. Zu Müller vgl. auch NDB XVIII, 322 f. - Gelenke u. Kapitale etwas berieben, schönes Exemplar in prachtvollen Preis-Einbänden der Edward VIths Grammar School, Norwich für den schottischen Sinologen, Philologen und Philosophen James Legge Goodwin (1815-1897).

Household ornaments, gilt candle stands, The Locky figure, two modern art glass goblets, and an art glass bowl. (6)

Full title: Bui Xuan Phai (Vietnam, 1920-1988): 'War planes above old Hanoi houses', oil on paper, ca. 1972Description:Dim.: 40 x 30 cm (the outer size)Dim.: 19 x 14 cm (the work)Ê We date the work to ca. 1972, the period of the US bombing of Hanoi.Ê Provenance:- The collection of Thomas Ulbrich, Studio Tho, Hanoi-Berlin.Ê Bui Xuan Phai was born in Hanoi on 1 Sepember 1920 into an intellectual family. Against his father's wishes, he decided to pursue fine art. He enrolled in the ecole des Beaux-Arts de l'Indochine in 1941, where he studied alongside Nguy_n T_ Nghiem, under the guidance of Joseph Inguimberty and To Ng_c Van. Phai's studies took place during the Japanese World War II occupation of Vietnam and were ended abruptly in March 1945 when the Japanese forces ousted the French colonial administration, causing the college to close. Phai was unable to graduate. As the resistance movement against the French began, Phai moved to Thanh Hoa province, together with fellow artists. On his return to Hanoi with his new wife in 1952, he pursued painting passionately and was invited to teach at the Fine Art College when it reopened in 1955. Soon after, in October 1957, Phai lost his teaching position for supporting the Nhan V_n-Giai Ph_m affair, a movement by intellectuals demanding political and cultural freedom, and was unable to show his work in public until 1984.Ê Phai became known as one of the "four pillars" of modern Vietnamese art, alongside artists D__ng BIch Lien, Nguy_n T_ Nghiem and Nguy_n Sang. He is best known for his haunting street scenes of Hanoi and his many portraits and caricatures, though numerous copies of his work have flooded the art market since the 1990s. Phai's portrayal of deserted and melancholy Hanoi streets did not make him popular with officials and it was often difficult for him to obtain suitable art supplies. Many of his drawings are made on reused cardboard, newspaper or similar supports. Phai made an extensive number of portraits of friends and family, as well as theatre actors. In particular, his friendship with young woman artist V_n D__ng Thanh from 1968 until his death in 1988 resulted in many simple yet evocative sketches. Phai was finally acknowledged late in life by the government, and was posthumously awarded the H_ ChI Minh Prize in 1996, the highest award in Vietnam, for his achievements in art. (source: witnesscollection.org) The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com

Full title: Yan Wenliang (1893-1988): An album of landscape paintings, watercolour on paperDescription:Dim.: 27,5 x 19,5 cm (closed)Dim.: 38,5 X 19,5 cm (opened)Ê The album with colophons by:- Fang Junbi ___ (1898 - 1986), one of the most important Chinese artists of the modern era.- Wen Yiduo ___ (1899 - 1946), one of the most famous Chinese poets and scholars.Ê The colophon by Fang Junbi:Han mu chun hua ____, which translates to: 'each has his own merits'Ê The colophon by Wen Yiduo_Translates to: 'Mr. Wu's paintings incorporate autumn trees, poetic clouds and smoke, bright moons and shadows and leaves... What an exceptional work!'Ê Ref.: Christie's, Hong Kong, Nov. 27, 2010, lot 1016, for a magnificent landscape painting from his hand. (link available on our website rm-auctions.com)Ê Yan Wenliang (Chinese: ___; 20 July 1893 – 1 May 1988) was a Chinese painter and educator, who is regarded as one of the fathers of Chinese oil painting and an important art educator of his time. Born in Suzhou, Jiangsu province, Yan began studying painting in 1909, founded the Suzhou Art Academy along with Zhu Shijie in 1922 and went to Paris in 1929, enrolling in the Ecole Superieure Nationale des Beaux Arts, making him, along with Xu Beihong and Sanyu, one of the earliest Chinese artists to study abroad in France. He was one of the four pioneers of Chinese modern art who earned the title of 'The Four Great Academy Presidents'.Ê _____________________________________________________________"____"________________________1927_____________1928____________________1932__________________________________________________________________________________________________________________________________Ê The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com

Full title: Fang Junbi (1898-1986): ÔBlossoming branches', ink and colour on paperDescription:Dim.: 140 x 67 cm (the scroll)Dim.: 51 x 53,5 cm (the work)Ê Fan Tchunpi or Fang Junbi (Chinese: ___; 1898–1986), was a Chinese artist known for her brush-and-ink paintings in the traditional guohua style. Trained in Western painting techniques while living in France, her work is known for its combination of European and Chinese formal elements. Called 'one of the most important and prolific Chinese artists of the modern era', her work has been the subject of retrospective exhibitions at the Hood Museum of Art, the Musee Cernuschi, and the Fung Ping Shan Museum.Ê Ref.:- Christie's, Hong Kong, Nov. 24, 2019, lot 357. (link available on our website rm-auctions.com)- Christie's, Hong Kong, Nov. 28, 2010, lot 1150. (link available on our website rm-auctions.com)The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com