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Nanna Ditzel (Danish 1923-2005) for Oddense Maskinsnedkeri Chair, designed 1969 model OD-5301-2, fibreglass(78cm high, 55cm wide, 48cm deep (30.7in high, 21.6in wide, 18.9in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-51 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Poul Henningsen (Danish 1894-1967) for Louis Poulsen 'PH Artichoke' Pendant Light, designed 1957/8 copper and aluminium, with circular metal manufacturer's '500 W max' tag(65cm high, 84cm diameter (25.2in high, 33in diameter))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-43 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Verner Panton (Danish 1926-1998) for Vitra 'Heart Cone' Chair, designed 1959 with 'Vitra' label (under the seat pad), stainless steel and wool(89.5cm high, 103cm wide, 60cm deep (35in high, 40.5in wide, 23.6in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-47 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Verner Panton (Danish 1926-1998) for Louis Poulsen Two 'Flowerpot' Pendant Lights, designed 1968 model VP2, enamelled steel, with manufacturer's paper labels(15cm high, 21.5cm diameter (5.9in high, 8.5in diameter))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-50 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Verner Panton (Danish 1926-1998) for Thonet Chair, designed 1965 model 271F, lacquered and moulded plywood, bears traces of paper label(74cm high, 64.5cm wide, 58cm deep (29.1in high, 25.4in wide, 22.8in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-48 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Per Lütken (Danish 1916-1998) for Holmegaard Glassworks Five 'Carnaby' Vases and Pitcher, designed yellow glass, one with paper manufacturer's label(the tallest vase 30.5 high (12in high))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 388b (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Per Lütken (Danish 1916-1998) for Holmegaard Glassworks Five 'Carnaby' Vases and Pitcher, designed red glass, two with paper manufacturer's labels(the tallest 26cm high (10.25in high))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 388a (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Herbert Krenchel (Danish 1922-2014) for Torben Ørskov co. A/S Five Krenit Bowls, designed 1954 enamelled metal, one stamped with 'KRENIT DENMARK' mark(the largest 12cm high, 38.5cm diameter (4.75in high, 15.1in diameter))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-90 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Poul Kjaerholm (Danish 1929-1980) for E. Kold Christensen Easy Chair, designed 1955 model EKC-22, steel and leather, stamp manufactuer's mark to frame, applied foil label(74.3cm high, 63.5cm wide, 45cm deep (29.2in high, 25in wide, 17.7in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-41 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Poul Kjaerholm (Danish 1929-1980) for E. Kold Christensen Table, designed 1956 model EKC-61, slate and chrome steel, the steel frame stamped with manufacturer's mark(33cm high, 84cm wide, 84cm deep (13in high, 33in wide, 33in deep))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, no. 3-42 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

§ Harold Knight (British 1874-1961) Clifftop View, Land's End signed (lower left), oil on canvas(74.5cm x 58.5cm (29.3in x 23in))Footnote: Knight was born in Nottingham. He trained at Nottingham School of Art - where he met Laura Johnson (1877-1970) - and in various Parisian ateliers. The couple spent time in the community of artists based at Staithes, a fishing village in Yorkshire before marrying in 1903; thereafter Laura established an international reputation under her married surname. After travelling in the Netherlands and exhibiting in London together, the Knights moved to Cornwall in 1907. They became key figures in the ‘Newlyn School’ and, despite moving to London in 1919, regularly returned to paint in Cornwall. Following the outbreak of World War One, Knight registered as a conscientious objector and worked as an agricultural labourer. After the war he became known for his portraits, interiors and landscapes, which he showed in group exhibitions including at the Royal Academy from 1896 until 1961; he was elected a member in 1937 and was President of the Nottingham Society of Artists between 1936 and 1945. The Knights were based in Malvern, Worcestershire during World War Two, with Knight dying nearby in 1961. Clifftop View, Land’s End is a beautiful example of the images Knight painted of the Cornish coast, in this case the most westerly part of mainland England. Knight’s high viewpoint does full justice to the dramatic granite cliffs, leading the eye from the detailed foreground to the high horizon in the distance. Waves follow the contours of invisible coves and bays on which bright sunshine and dense shadow play. Knight’s excellent draughtsmanship and sensitivity to colour and tone is clear. It bears witness to the declaration in a 1921 article in The Studio about Harold and Laura Knight’s work that the former ‘has devoted himself to the study of the effect of daylight, both in the open and indoors and he has mastered the difficulties created by the subtle variations of tone and colour due to the pervading light. This enables him to introduce into his pictures delicate and beautiful tone-gradations without sacrificing the brilliancy and freshness of his colour-schemes.’ (Ernest G. Halton, ‘Foreword’, Modern Paintings Number One: The Work of Laura and Harold Knight, The Studio Ltd, London, 1921, p. 5).

Danish Three Advertising Posters Danish Society of Arts and Crafts, 'Our Home - Nordic Exhibition', designed circa 1950, lithograph; Ib Antoni Jensen for Ministry of Foreign Affairs of Denmark, 'Denmark - Famous for Fine Furniture', designed 1964, lithograph; Paul Salomonsen for Carl Hansen & Søn, 'Y Chair', designed circa 1965, lithograph(the sheets 80.5cm x 57cm (31.75in x 22.5in); 99cm x 62cm (39in x 24.4in); 99cm x 61cm (39in x 24in))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-102, 3-105 and 3-106 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.Footnote: The Ib Antoni Jensen poster was used to represent Danish Furniture Design at the World Fair, New York in 1964-5.

Danish Three Advertising Posters Arne Ungermann for Andreasen & Lachmann, 'Den Permanente 1931-1956' ‒ Danish Crafts & Industrial Art, designed 1956, lithograph; Viggo Vagnby for Jens Christian Sørensen / The Tourist Association of Copenhagen, 'Wonderful Copenhagen', designed 1953, lithograph; Per Arnoldi for Kai Svendsen, 'Copenhagen Jazz - Center of Europe', designed 1972, lithograph(the sheets 84cm x 61cm (33in x 24in); 98cm x 59cm (38.5in x 23.25in); 99cm x 61cm (39in x 24in))Literature: Denmark : Design (Exh. Cat.), co-curated by Design Museum Danmark, Brain Trust Inc., 2017, nos. 3-103, 3-104 and 3-107 (illustrated). Exhibited: Seoul Art Centre, Seoul, September – November 2016; Nagasaki Prefectural Art Museum, Nagasaki, December 2016 – February 2017; Yokosuka Museum of Art, Yokosuka, April – June 2017; Shizuoka City Museum of Art, Shizuoka, September – November 2017; Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art, Tokyo, November – December 2017; Yamaguchi Prefectural Art Museum, Yamaguchi, February - April 2018; Museum of Modern Ceramic Art, Gifu, April – June 2018; Gunma Museum of Art, Tatebayashi, July – August 2018; Akita Senshu Museum of Art, Akita, April – June 2019; Mie Prefectural Art Museum, Tsu, July – September 2019; Auckland Art Gallery -Toi O Tamaki, Auckland, October 2019 – February 2020; Tohoku History Museum, Tagajō, April – June 2021.

Collection of modern books on Art and Artists (2 shelves)

EMMANUEL COOPER (1938-2012); a porcelain conical bowl covered in turquoise glaze with gold and copper red highlights, impressed E mark, diameter 18cm. (D) Provenance: Purchased from Middlesbrough Institute of Modern Art, 2009.Additional InformationAppears good with no obvious signs of faults, damage or restoration.  Gold dots are decoration not chips. There is a tiny dent on the rim which is glazed over and therefore inherent to manufacture This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Ansel Adams (American, 1902-1984). Photograph titled "Winter Sunrise, The Sierra Nevada, from Lone Pine, California 1944," depicting the Sierra Nevadas lit with the rising sun. Silver gelatin print. With Ansel Adams Carmel inkstamp along the mount verso.Ansel Adams is one of the best known photographers of the American West, with his works increasing awareness of and the mystique of the National Parks. His stark, dramatic images capture the awe-inspiring nature of the landmarks he photographed. His photography was entwined with his interest in environmental activism, photographing nature with an eye for preservation.Adams was gifted his first camera on a family trip to Yosemite in 1916, which ignited his love for both photography and the park. By early adulthood, Adams had moved to Yosemite full time, and spent his time exploring and photographing the park. His first photographs were published in 1921, and by 1925 he had developed his signature style of a sharp focus and large contrast. He continued refining this style, going against the grain of the popular misty pictorialism of the time.He kept his dedication to the natural world in his photography throughout his career, and was involved in conservation efforts through the Sierra Club, among others. In addition, he played a major role in the recognition of photography by art museums and institutions, helping to establish the department of photography at the Museum of Modern Art (MoMA) in New York.Sight; Height: 18 3/4 in x width: 22 3/4 in. Framed; Height: 31 1/4 in x width: 34 3/4 in.

Marcel BreuerEarly and rare 'Long Chair', designed 1935-1936, produced circa 1935Laminated birch plywood.69.5 x 62.5 x 137 cm Seat manufactured by Venesta, Estonia for Isokon Furniture CompanyLtd., London, United Kingdom. Front of seat stamped MADE IN/ESTONIA. Frame manufactured by Isokon Furniture Company Ltd., London, United Kingdom. Footnotes:ProvenancePrivate collection, LondonAcquired from the above by the present owner LiteratureChristopher Wilk, Marcel Breuer Furniture and Interiors, exh. cat., Museum of Modern Art, New York, 1981, pp. 127, 145Jack Pritchard, View from a Long Chair: the memoirs of Jack Pritchard, London, 1984, front cover, frontispiece, pp. 90, 113, 120, 179Martin Eidelberg, ed., Design 1935-1965: What Modern Was, New York, 1991, p. 35Magdalena Droste, Manfred Ludewig and Bauhaus Archiv, Marcel Breuer Design, Germany, 1994, pp. 29, 132-133James Peto and Donna Loveday, eds., Modern Britain: 1929-1939, exh. cat., Design Museum, London, 1999, pp. 90, 92Charlotte and Peter Fiell, eds., Decorative Art - 1930s & 1940s, Cologne, 2000, pp. 319, 384Alastair Grieve, For Ease For Ever, London, 2004, pp. 4, 28, 30, 33, 42Hugh Aldersey-Williams, British Design, New York, 2010, p. 70Christopher Wilk, Plywood A Material Story, London, 2017, front coverGive and Take: The Cosmopolitanism of British DesignBy Glenn AdamsonINDEPENDENT WRITER AND CURATOR, NEW YORKOn the second of June, 1961, the SS Canberra - billed as the 'ship of the future' - set sail from Southhampton, bound for far-off Australia. On board were over two thousand people, about half of them intending to emigrate permanently, and a wealth of art and design. There was a restaurant and pool by Sir Hugh Casson. Harry Bertoia's diamond chairs for Knoll, upholstered in canary yellow, graced the 'crow's nest.' And down in the cleverly titled Pop Inn – a jukebox lounge – an interior by John Wright was enlivened with pyrography murals by a 23-year-old artist by the name of David Hockney.Wright's armchairs from the SS Canberra are an obvious reminder of the internationalism of British design; they were literally sent on the high seas as emissaries of a newly energised nation. But many other objects in the present sale performed similar roles, or conversely, reflected global currents of influence. Marcel Breuer's prewar 'Long Chair,' a masterwork by the great German designer, was principally manufactured in Estonia of high-quality Baltic birch. Aluminium die-casting, which Ernest Race used to such effect in his iconic BA3 chair, was pioneered in America, and first applied to furniture by Otto Wagner in Austria. Race adopted it in 1945 to take advantage of British manufacturing capacity in the metal, which had dramatically increased during World War II. Lucie Rie, born and raised in Austria, is considered the most significant of all British potters, having emigrated in 1938 to find refuge from the Nazis. Though her flared bowl with its luminous gold rim was made many years later, it reflects the refined sensibility she imbibed in prewar Vienna. Today, when Britain's role in the world is hotly debated, it is salutary to remember how very cosmopolitan its design history has been, even (and perhaps especially) in the years when its empire was breaking apart. This is true of ideas just as much as technology. The potter Bernard Leach, despite his reputation for introverted traditionalism, was actually a marvelously syncretic thinker. The 'Tree of Life' that appears on the vase in the present sale was originally inspired by ancient cave paintings in China. Leach loved the motif above all, though, because it appears in the art and mythology of so many cultures. Meanwhile, at first glance, William Plunkett – who, as it happened, created designs for another ocean liner, the QE2 – would seem to be the most British of designers. Trained at Kingston School of Art, he operated his own small manufactory in Croydon and even liked to upholster his seating in Harris Tweed. Yet he was born in India, a child of empire, and while his Epsom chair may be named for a town in Sussex it takes its stylistic cues primarily from contemporaneous French designers like Pierre Paulin.At the other end of the aesthetic spectrum from Leach's earthy earnestness and Plunkett's finely calibrated modernism, there is the rough and tumble phenomenon known as Creative Salvage. This was the design equivalent of New Wave, the post-punk movement in music, and similarly combined sharp intellectualism with a freewheeling experimental spirit. Though the movement wasn't named until 1985 (by Mark Brazier-Jones, Nick Jones, and Tom Dixon), its progenitor was Ron Arad, who had relocated to London from Tel Aviv to study architecture. His shop One Off, founded in 1981, quickly became the engine room of avant garde British design – a space where the new was both made and shown. Arad's use of found objects and materials, as seen in his Rover Chair and Tree Light, were pragmatically expedient, but also indebted to the Duchampian Readymade – an import from France and the USA. As a final example, consider Deborah Thomas, who operated in the wider orbit of Creative Salvage. She made her way into design from the London theatre scene, and showed primarily at the Notting Hill gallery Theme and Variations. All very British, you might say. Yet it's impossible to look at her compositions of shattered glass without seeing the impact of Arad's work, or equally, her anticipation of sculptural lighting that followed in the succeeding decade, notably by the German designer Ingo Maurer (whose famous Porca Miseria! fixture, made of broken crockery, was designed in 1994). So far as I know, nobody ever decked out an ocean liner with Thomas' ferociously brilliant chandeliers and sent it around the world, bearing a message of Britain's deep connections to everywhere else. Maybe the time has come?This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Marcel BreuerEarly nesting table, designed 1936, produced circa 1936Laminated birch plywood.37.5 x 61 x 45.5 cm Manufactured by Venesta, Estonia for Isokon Furniture Company Ltd., London, United Kingdom. Underside impressed MADE IN/ESTONIA.Footnotes:ProvenancePrivate collection, ScotlandAcquired from the above by the present owner LiteratureChristopher Wilk, Marcel Breuer Furniture and Interiors, exh. cat., Museum of Modern Art, New York, 1981, pp. 134, 145Jack Pritchard, View from a Long Chair: the memoirs of Jack Pritchard, London, 1984, p. 114Magdalena Droste, Manfred Ludewig and Bauhaus Archiv, Marcel Breuer Design, Berlin, 1994, pp. 132, 135-136James Peto and Donna Loveday, eds., Modern Britain: 1929-1939, exh. cat., Design Museum, London, 1999, p. 94Charlotte and Peter Fiell, eds., Decorative Art - 1930s & 1940s, Cologne, 2000, p. 384Alastair Grieve, For Ease For Ever, London, 2004, pp. 28, 31, 34, 39This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Alvar AaltoPair of early chairs, model no. 21, 1930sKarelian birch plywood. Each: 77 x 64 x 48 cmManufactured by O.y. Huonekalu-ja Rakkenhustyötehdas A.b., Turku, Finland. Retailed by Bowman Brothers, London, United Kingdom. Reverse of each stamped BOWMAN BROS LTD/FURNISHERS/LONDON. N.W.1.Footnotes:ProvenanceBowman Brothers, LondonPrivate collection, CambridgeThence by descent to the present owner LiteratureFinmar Limited, Finland, 1936, n.p.Alvar Aalto: Architecture and Furniture, The Museum of Modern Art, exh. cat., New York, 1938, p. 26'Finmar: Furniture Of The Future For The Home Of To-day', Finmar, London, 1939, p. 7Mobilier et Décoration, March 1957, p. 39Charlotte and Peter Fiell, eds., Decorative Art - 1930s & 1940s, Cologne, 2000, p. 291Eva B Ottillinger, Alvar Aalto, Möbel: Die Sammlung Kossdorff, Wien, 2002, p. 33Pirkko Tuukkanen, ed., Alvar Aalto: Designer, Vammala, 2002, p. 168Thomas Kellein, Alvar & Aino Aalto; Collection Bischofberger, Zurich, 2005, p. 89This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Gerald Abramovitz'Cantilever' desk lamp, model no. 41555 mark 2, circa 1964Aluminium, anodised aluminium, painted steel.51 x 71 x 9.2 cm Manufactured by Best and Lloyd Ltd., Birmingham, United Kingdom. Footnotes:Literature'Duke of Edinburgh's Prize for Elegant Design and the Design Centre Awards 1966', Design Journal, no. 209, May 1966, p. 41Kathryn B. Hiesinger and George Marcus, Design Since 1945, exh. cat., Philadelphia Museum of Art, 1983, p. 143The present model won the Design Centre Award in 1966 and is held in the collections of the Victoria and Albert Museum, London and the Museum of Modern Art, New York.For further information on this lot please visit Bonhams.com

Sonja LandweerLidded pot, 1976Earthenware, nickel glaze, stained wood. 10.5 cm high, 13.5 cm diameter Underside with paper labels signed and handwritten 1976.Footnotes:ProvenanceSonja Landweer, Kilkenny, Republic of IrelandThence by descent to the present ownerSonja Landweer (1933 – 2019)Internationally acclaimed Dutch artist, Sonja Landweer was born in Amsterdam in 1933. She first studied ceramics at the Gerrit Rietveld Academie, before establishing her own ceramics studio in 1954. As a young artist she was selected to exhibit at the Museum Boijmans Van Beuningen in Rotterdam – an exhibition that showcased the revival of artisan ceramics in the Netherlands. Although trained as a ceramicist, a discipline in which she excelled and where she ceaselessly pushed the boundaries far beyond the limits of traditional function, her restless creativity and innovative practice was not limited to this medium, and throughout her life, she also explored the creative potential of drawing, printmaking, jewellery, and sculpture.Her connection to Ireland came about as a result of a 1961 Irish Export Board report on the state of Irish design which concluded that it was a wholly neglected area, badly in need of revitalisation. As a result of this report the Irish government of the day established a series of residencies for international artists and Sonja came to Ireland to teach ceramics at the Kilkenny Design Workshops. Her work came to the attention of Irish gallerist David Hendricks, and she held many successful solo exhibitions of her unique ceramics in his Dublin gallery from the 1960's to the 1980's.It was also in Ireland that she met and fell in love with the English artist, Barrie Cooke who had moved to Ireland in the 1950's. Together with Cooke, she founded the Kilkenny Arts Festival (formerly the Kilkenny Arts Week) and hosted many Irish and international writers, poets, and artists, including Seamus Heaney. In 1995 when accepting the Nobel Prize for Literature, Heaney read his poem To a Dutch Potter in Ireland, inspired by his friendship with Sonja. As an artist, Sonja developed a very personal and experimental artistic vocabulary in a variety of mediums, and her work often incorporated found objects, slate, bone, beads, wood, paper, and other fibres. Her fearlessness in her creative expression and her desire to explore and push creative boundaries is perfectly captured by the Irish Times art critic, Aidan Dunne, in his review of her retrospective exhibition at Visual Carlow in when he said that 'she is not afraid to harness wild, almost uncontrollable processes and materials in pursuit of elegantly poised forms and surfaces'.Her work is held in many public collections including the Stedelijk Museum Amsterdam, the Frans Hals Museum in Haarlem, the Princessehof Ceramics Museum in Leeuwarden, the Hildesheim Städtisches Museum in Germany, the Museum of Decorative Arts in Copenhagen, the Irish Museum of Modern Art, Dublin and the Ulster Museum, Belfast. She was awarded the prix artistique at the Biennale Internationale de Ceramique d'Art at Vallauris, France in 1974, an honorary award from the National College of Art & Design in Dublin in 1992 and invited to become a member of Aosdana, the prestigious Irish association of artists in 1981.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Kitty van der Mijll DekkerRug, 1940sWool.164 x 164 x 3.5 cmFootnotes:ProvenanceChristie's, Amsterdam, 'The Estate of Kitty Fischer', 22 October 1996Christie's, South Kensington, 'Modern Design', 12 November 1997, lot 17Following studying at the Hornsea School of Art, London and the Institute of Decorative and Applied Art, The Hague, the Dutch textile artist Kitty van der Mijll Dekker enrolled at the Bauhaus, Dessau. At the Bauhaus, Kitty van der Mijll Dekker (later known as Kitty Fischer) completed the preliminary course under Josef Albers before joining the weaving workshop, where she studied under Gunta Stölzl. Having received her Bauhaus certificate in 1932, Kitty returned to The Netherlands where she opened her own weaving workshop. She exhibited her work internationally throughout the 1930s, winning medals at the Milan Triennale, Brussels International Exposition and San Francisco World's Fair, in addition to teaching from 1934-1970 at the Kunstnijverheidsschool Quellinus in Amsterdam.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Ernest Race'BD1' cabinet, circa 1946Mahogany-laminated aluminium, mahogany-laminated Holoplast, aluminium, beech. 84.7 x 121.5 x 40 cmManufactured by Ernest Race Ltd., London, United Kingdom.Footnotes:LiteraturePeter Ray, ed., Designers in Britain, Society of Industrial Artists, London, 1947, p. 230Hazel Conway, Ernest Race, London, 1982, p. 28Alan Peat et al., Austerity to Affluence: British Art & Design 1945-1962, exh. cat., Fine Art Society, London, 1997, p. 17Charlotte and Peter Fiell, eds., Decorative Art - 1930s & 1940s, Cologne, 2000, p. 394Lesley Jackson, Modern British Furniture: Design Since 1945, London, 2013, p. 103This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Isamu KenmochiSet of five stackable stools,Stained Japanese elm, leather upholstery.Each: 46 x 40 x 33.5 cm Manufactured by Akita Mokkō, Japan. Stretcher of each with manufacturer's paper label printed AKITA MOKKO.Footnotes:LiteratureIsamu Kenmochi et. al., Japanese Modern: Retrospective Kenmochi Isamu, exh. cat., Akita Senshū Museum of Art, 2005, p. 183This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Isamu KenmochiPair of 'Haco' occasional tables, circa 1966Zelkova-veneeredplywood.Each: 45 x 60 x 60 cmManufactured by Tendo Mokko, Tendo, Yamagata Prefecture, Japan.Footnotes:BibliographyIsamu Kenmochi et. al., Japanese Modern: Retrospective Kenmochi Isamu, exh. cat., Akita Senshū Museum of Art, 2005, pp. 102, 195Tendo Classics, Tendo Mokko, pp. 3, 32, 38This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988)."Lounge Chair & Ottoman", design 1956.Edition 1990s.Cherry wood frame with black leather upholstery.Incision in the back of the chair (visible in photo). Scratches and marks to the wood. Signs of wear and tear.Measurements: 75 x 81 x 90 cm (armchair); 43 x 54 x 56 cm (Ottoman).The "Lounge" armchair and footstool set, made of moulded wood, with leather upholstery, was designed by Charles and Ray Eames. An icon of 20th century design, this furniture is part of important collections such as that of the MoMA in New York. Vitra has manufactured the Charles and Ray Eames Lounge Chair using the same manufacturing methods since the 1950s.Charles and Ray Ames, a husband and wife artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Kate Cledwyn (British, contemporary). 'Echoes'. A diptych depicting a modern glass building, limited edition print on canvas on board. Numbered 1/25. Each panel 110.5 x 34.5cm. With Certificate of Authentication verso on both panels signed by the artist. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.

BOOKS: THREE VOLS - FISHERS NORTHUMBERLAND, THREE VOLS GALLERY PICTURES 1892/3/6; TWO VOLS ENGLISH ARTISTS; THE ARAT JOURNAL 1896; MODERN ENGLISH ART WITH DESCRIPTIVE NOTES BY A G TEMPLE 1895 (9)

Art and artists. Collection of mainly modern references, including works on Degas, Picasso, etc., also to include architecture and design (quantity)

A good quality modern Art Deco-style female full-size seated display dummy/mannequin

Charles Berbeck Design. 'The Windle Chair'. Modern design chair in wood. Height 177cm. Height to seat 43.5cm. Width at widest point 53.5cm. Sold with original invoice dated 1992. From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017.

A Finely Detailed Prisoner-Of-War Bone Model of a British Second-Rate Ship of the Line, French, early 19th century,the three-masted model with standing and running rigging, pinned and planked hull with galleries stern, red painted gun ports, horn strakes and carved and polychromed warrior figurehead, deck details include metal guns on bone carriages, capstan, stove pipes, water barrels, companionway and deck house, mounted on octagonal straw-work marquetry case with bone balustrades, surround and raised on four squat feet, the model 19cm x 21.5cm x 6.5cm, in modern glazed display case, 10in x 11in x 5in (25.5cm x 28cm x 13cm) cased Footnotes:Provenance:Ex-Lot 100, Collection Claude Vérité, Christie's, Paris, 24 June 2014.One possible identification for the present model is the HMS Northumberland, the vessel launched in 1798 which transported the Emperor Napoleon to his final Exile on St Helena in August 1815. The Northumberland had a similar figurehead and two and a half decks, as with the present model. The Northumberland also held up to 84 cannons (as does this model) despite being classified as a 74 gun ship, thanks to the guns attached to the upper deck handrails. Such firepower was less than that of a First-Rate, but within the capabilities of an elongated Second-Rate. In 2014 the model had a label to the base identifying the ship as the Northumberland.Prisoner of War pontoon models were made by French prisoners of war during the First Coalition and the Napoleonic Wars (1792-1815). The models were mainly made from the leftover bones of their food ration, constructed from memory rather than formal ship plans. The prisoners were interned on de-rigged war ships, so-called 'Hulks', which were anchored off the south coast of England. The small works of art were used as exchange objects, Later English Captains also ordered models of their ships. The execution of the models was carried out with a lot of imagination because it was not possible to work according to shipyard plans. Usually several prisoners got together and each specialized in certain tasks. Estimates are based on a total of about 300 manufactured models, half of which have been preserved today. Among the finely carved details of the present model is the figurehead of a warrior clutching his shield. Similar figureheads could be found on the French ships of the line 'Apollon' and 'Achille'.The Ship of the line was among the most prominent naval warship designs in use from the 17th century onwards. Such ships were particularly suited to the popular ship-of-the-line tactic, which comprised a column of ships firing their broadside cannons against their foe. The tactic favoured ships with the most cannons, culminating with the 19th century HMS Victoria which had over 120 guns. With the application of steam power in the mid-19th century, use of the Ship of the line declined sharply.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

WILLIAM PRATT (SCOTTISH 1855 -1936),CARRADALE PIERoil on canvas, signed, titled label versoimage size 50cm x 75cm, overall size 78cm x 104cm Framed and under glass.Handwritten label verso.Label verso: Daniel Miller, Glasgow.Note: William Pratt was born in Glasgow in 1854 and studied at the Glasgow School of Art. A painter of country subjects, landscapes, marines, portraits and genre scenes, he furthered his studies at the Academie Julian in Paris. William Pratt was influenced by the Scottish painter Sir David Wilkie RA and the Irish artist William Mulready RA. William Pratt enjoyed considerable success during his career, exhibiting at the Royal Academy in London and in Paris at the Salon, where he won an 'honourable mention' in 1902. He exhibited seventy paintings at The Royal Scottish Academy between 1877 and 1929. His work is represented in the Gallery of Modern Art in Venice, and his paintings can be found in the Dumbarton, Crail, Glasgow and Paisley Museums in his native Scotland, as well as the National Museum in Northern Ireland. Auction appearances of Pratt's larger paintings are becoming rarer but in 2005 "Burning the Shaws" was sold by Sotheby's for £21,600 (premium) and in 2019 Lyon & Turnbull achieved £4000 for "Study of a Head" (a 36cm x 25.5cm oil). Most recently (May 2021), Woolley & Wallis (Salisbury, Wiltshire) sold "Girl Driving Cattle" (a 57.3 x 76.4cm oil) for £3800 (hammer).

GEORGE HENRY RA RSA RSW (SCOTTISH 1858 - 1943),THE LOCKEToil on canvas, signed, titled label versoimage size 101cm x 79cm, overall size 121cm x 100cm Framed.Exhibition label verso: Irish International Exhibition, Dublin 1907. Label verso: Thomas Agnew & Sons, London.Note: The model for “The Locket” was Alice Perry. Alice posed for several works by George Henry in his studio at Glebe Place, Chelsea (London) between 1904 and 1906. These include “The Poinsettia” (1904) , “The Blue Gown” (1906) both exhibited at the Glasgow Institute of Fine arts, “Ready for the Theatre” (1905) and "The Tortoiseshell Mirror" (Paisley Museum & Art Gallery). Many of the works of this period show the strong influence of the works of Whistler. Whistler had several iconic works with the model seated in a similar manner. Ninety-six of George Henry's paintings are held in UK public collections including at Glasgow Museums, Kelvingrove, The Hunterian, The Laing, The Guildhall Art Gallery (London), Kirkcaldy Galleries, Manchester Art Gallery, The National Galleries of Scotland and The City Art Centre (Edinburgh) and numerous others in National collections outside the UK. His fabulous work of an elegant Edwardian “The Black Hat” (1910) is considered to be one of his finest works in the genre and was most recently exhibited to the public in "Modern Britain 1900 - 1960 Masterworks from Australian and New Zealand Collections" a major exhibition organised by the National Gallery of Victoria, Melbourne (15th November 2007 - 24th February 2008).Note 2: A leading member of the Glasgow School (Glasgow Boys), the most progressive artists in Britain during the latter part of the 19th c., George Henry moved to 26 Glebe Place, Chelsea (London) and established a hugely successful society portrait practice. He showed annually at the Royal Academy from 1904. Aside from formal figure work, he produced a number of elegant exhibition pieces around this time which were, in part, influenced by his lengthy visit to Japan with E. A. Hornel 1893-94.

* WILLIAM CROZIER HRHA (SCOTTISH/IRISH 1930 - 2011),VINE FALLoil on panel, signed and inscribed verso with the title overall size 102cm x 100.5cmUnframed. Provenance: Compass Gallery label verso.Note 1: Undated but from the "Vine & Pit" series circa 1963.Note 2: Painter and teacher, born at Yoker, Glasgow to Irish parents. William Crozier grew up in the quiet seaside town of Troon, Ayrshire and regularly visited Ireland. He studied at The Glasgow School of Art, 1949–53. From the mid-1950s he travelled widely in Europe. He then taught at Bath Academy of Art, the Central School of Arts and Crafts and Winchester School of Art. He retired as head of fine art there in 1987 to devote all his time to painting. From 1957 Crozier had a series of solo exhibitions at Drian Galleries (London), abstracts with landscape references. He was influenced at this time by American Abstract Expressionism. His later work employed more obvious landscape references, but vibrant colour and vitality continued to be key elements. He typically painted with rapid, expressive brushstrokes, in bright, contrasting colours, often disregarding traditional rules of perspective and structure. Solo exhibitions included Arthur Tooth & Sons, London (1959, 62, 63, 64); Drian Galleries, London (1958, 60, 61, 62, 65, 68, 70); The Scottish Gallery, Edinburgh and London (1985, 89, 90); Compass Gallery, Glasgow (1969, 75); Richard Demarco Gallery, Edinburgh (1968, 83), Madeleine Gallery, Paris (1960); National Museum, Gdansk (1990); Taylor Galleries, Dublin (1991); and career retrospectives at the Royal Hibernian Academy’s Gallagher Gallery and the Crawford Municipal Gallery in Cork (1990). The Scottish National Gallery of Modern Art gave him an important show in 1995, with another at Fenton Gallery, Cork, Ireland, 2002. In the 1980s he started living part-time in West Cork. He celebrated his 80th year with a large exhibition of his current work at the Flowers Gallery (London) while a concurrent exhibition of his paintings of the 1950s and 60s at the Pyms Gallery, also in London, triggered a reappraisal of his early painting. Acquisitions of his work by the Tate Gallery and the National Gallery of Ireland quickly followed. William Crozier's work is held in public collections in Ireland, the UK, around Europe and in the US.

* DAVID ALISON RSA RP (SCOTTISH 1882 - 1955),EWER OF MIXED TULIPSoil on canvas, signedimage size 75cm x 63cm, overall size 86cm x 73cm Framed. Note: David Alison was a teacher and painter, born in Dysart, Fifeshire. Studied at Kirkcaldy High School and Glasgow School of Art as well as on the continent. He became head of the drawing and painting school of Edinburgh College of Art, where he was nicknamed Bouff, being a gritty, strict traditionalist, an admirer of Raeburn, Velasquez, Ingres and Goya, but out of sympathy with modern art trends. His portraits of his many distinguished students were fine and he was elected RP and RSA. Showed widely in Scotland and abroad and is represented in many public collections.

A modern 18ct white gold black diamond and diamond band ring, in Art Deco style, setting height 8.5mm, size N, 6.3gNo damage or repairs, all stones present, settings lightly abraded, marks clear, laser engraved 750

JANESICH: ART DECO EMERALD AND DIAMOND RING, CIRCA 1920The sugarloaf cabochon emerald, weighing 3.52 carats, between pentagonal-shaped diamond shoulders, signed Janesich, French assay mark, ring size K1/2Footnotes:Accompanied by a report from The Gem & Pearl Laboratory stating that the emerald is of Colombian origin, with negligible clarity enhancement. Report number 18746, dated 21 July 2020.Accompanied by a report from GCS stating that the emerald is of Colombian origin, with minor clarity enhancement. Report number 80259-24, dated 4 March 2020.Italian jeweller Leopoldo Janesich opened his first shop in Trieste in 1835, however the firm is renowned for the Art Deco jewellery it produced nearly one hundred years later. As the firm's reputation grew, its business thrived, with international clients from aristocratic and Royal families. The firm opened a London office 179 New Bond Street and by 1913, Janesich opened a new boutique in the fashionable Rue de la Paix in Paris. This was soon followed by outlets in the popular resort towns of Biarritz, Monte Carlo and Vichy. By the 1920s and 1930s the firm was prosperous, sourcing gems of the highest quality for an established clientele. It was a fruitful period for the firm. Its designers captured the new modern Art Deco style with sophistication, often using gemstones with unusual cuts in progressive ways. Janesich is still run today in Trieste by Francesco, the sixth generation of the family to head up the firm.For further information on this lot please visit Bonhams.com

PHILLIPS BROTHERS: GOLD, ENAMEL AND HARDSTONE CAMEO BROOCH/PENDANT CIRCA 1860Oval, depicting the head of an idealised Roman empress facing right, within a ropetwist and beaded frame decorated with black and blue enamel, maker's mark, length 6.8cmFootnotes:Phillips Brothers, founded by Robert Phillips (1810-1881), was one of the most prominent and inventive British jewellers working in the fashionable revivalist style. The firm produced jewels in ancient Greek, Roman, Scandinavian, Byzantine, Renaissance, Assyrian, Indian and Egyptian taste as well as mounting engraved gems for customers in the tradition of 19th century Italian jewellers. Mrs Haweis in the chapter 'Modern Jewellery' in her book 'The Art of Beauty' (1878), described the 'artistic appreciation of good forms and good work' by Messrs Phillips of Cockspur Street, going on to say: 'The most perfect models are sought for the ornaments they furnish. Museums and picture galleries are ransacked for devices..'Craftsmen employed by the firm included Carlo Giuliano and Carlo Doria and the Castellani workshops in Rome and Naples were visited. Robert Phillips was the only English jeweller to be awarded a gold medal at the Paris Universal Exhibition in 1867. The firm, once located at 31 Cockspur Street, moved to 23 Cockspur Street in 1855 and became known as Phillips Brothers & Son in 1869. The firm bears a distinctive mark of backed Ps with the Prince of Wales's feathers, acknowledging the patronage of the Prince and Princess.For further information on this lot please visit Bonhams.com

PHILLIPS BROTHERS: GOLD ARCHAEOLOGICAL REVIVAL BRACELET, CIRCA 1860Of hemispherical linking decorated with ropetwist and beaded decoration, with a baton clasp, maker's mark, length 18.7cmFootnotes:Phillips Brothers, founded by Robert Phillips (1810-1881), was one of the most prominent and inventive British jewellers working in the fashionable revivalist style. The firm produced jewels in ancient Greek, Roman, Scandinavian, Byzantine, Renaissance, Assyrian, Indian and Egyptian taste as well as mounting engraved gems for customers in the tradition of 19th century Italian jewellers. Mrs Haweis in the chapter on 'Modern Jewellery' in her book 'The Art of Beauty' (1878), described the 'artistic appreciation of good forms and good work' by Messrs Phillips of Cockspur Street, going on to say: 'The most perfect models are sought for the ornaments they furnish. Museums and picture galleries are ransacked for devices..'Craftsmen employed by the firm included Carlo Giuliano and Carlo Doria and the Castellani workshops in Rome and Naples were visited. Robert Phillips was the only English jeweller to be awarded a gold medal at the Paris Universal Exhibition in 1867. The firm, once located at 31 Cockspur Street, moved to 23 Cockspur Street in 1855 and became known as Phillips Brothers & Son in 1869. The firm bears a distinctive mark of backed Ps with the Prince of Wales's feathers, acknowledging the patronage of the Prince and Princess.For further information on this lot please visit Bonhams.com

Vintage enamelled costume jewellery to include two Art Nouveau necklaces together with buttons, badges, a ladies cocktail watch and other items housed in a modern sequinned jewellery boxLocation: RWB

A MODERN METAL ART MODEL OF AN ANTELOPE

MODERN BRITISH ART, including various works on, Freud, Bacon, Hockney and Wood, etc (1 box)

KLEINE JUGENDSTIL SCHALE, um 1900, USA, Art Nouveau / Modern Style, 925er Sterlingsilber, 36 Gramm. Manufaktur "Meriden Britannia Company" - . Gemarkt mit Manufakturpunze, "Sterling" und Modellnummer "332". Kleine Schale in passig-geschweifter Form: Fahne dekoriert mit stilisiertem Blütendekor. H. 1,4 x L. 12 x B. 7 cm. (Gebrauchsspuren; Rand mehrfach gedellt und 1 x mit Riss / kleiner Fehlstelle).

ART DECO GLASS ETC. An Art Deco decanter, an Art Deco scent bottle with applied decoration & a modern atomiser scent bottle.  Please note that all items in this auction are previously owned & are offered on behalf of a private vendor. 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.

GUSTAV KLIMT print of a poster for The Museum of Modern Art, New York, 1986, framed, 73 x 83cms

Archibald Campbell Mellon (1876-1955) oil on panel, A Windmill in Norfolk, 22cm x 30cm, in gilt frameProvenance: Louise Kosman Modern British Art

Modern leather three piece suite, with Art Deco outlines and close stud upholstery on square tapered legs

Ladi Kwali, MBE, (Nigerian 1925-1984) large pottery water pot with incised designs of birds, insects and fish in a sgraffito style, the base rim marked 'LK', for a very similar pot see Bonhams Modern & Contemporary African Art, October 2021 Lot 52, and also a very similar example in the V&A Collection. 34cm highA light crack around the outside near the bottom, possibly a firing crack. Otherwise in good condition. From a local private client.

A collection of art reference books,to include Emma Rutherford's 'Silhouette', 'Modigliani' (Great Modern Masters), The Thames and Hudson 'Dictionary of Art and Artists', John Barnicoat's 'Posters', Judith von D.Miller's 'Art in East Africa', etc. (7)All with some signs of use, some pages and corners dog eared.

19th Century turned bone white and red stained chess set, and a modern Art Nouveau style brass photograph frame

Collection of various items of modern Art glass, together with a Royal Crown Derby Imari pattern cup and saucer

Two modern Art glass dishes, pair of antique opalescent shades and various other glassware

Modern Art glass charger and five other items of miscellaneous Art glass including a Peter Layton vaseDark brown vase is Peter Layton. All vases in good condition

Group of four various small modern silver mounted photograph frames and a silver mounted desk clockMinor dents to the silver Art Nouveau frame, all have the glasses and the easels

TWELVE ITEMS OF MODERN GLASSWARE, including a Mdina blue and yellow carafe, a Tutbury Crystal swan, a Bohemian Art Deco style candlestick, two Mats Jonasson intaglio animal and bird ornaments, a Selkirk Glass 1999 paperweight with buttercup inclusion, a Mtarfa purple and white swirl paperweight and a Millrace Glass of Holmfirth paperweight, etc (12) (Condition report: in good condition overall but paperweights would benefit from a clean)

Large Murano Art Glass Vase with Applied Decoration 30cm High. A superb mid century modern hand blown Murano Amber to clear art glass vase with black and white applied decoration. It is 30cm high and 17cm wide and is in very coog condition with no chips or cracks.

Modern Art Figural Group Ornament on Polished Stone Base, signed Nelsonn - likely Scandivanian - 62h x 23cm at the plinth

Set of ten original vintage art exhibition advertising posters. 1. Eugene Atget (b. 1857) exhibition Photographs of Old France in Serpentine Gallery, Kensington Gardens W2, 25 February - 25 March 1984, open daily 10-5.30, admission free, from Museum of Modern Art New York, Art Council of Great Britain. The poster features the photograph of a town square at Pontoise, Place du Grand-Martroy, France, 1902. Eugène Atget was a French photographer documenting the architecture and street scenes. Good condition, creasing, folds, minor staining. Country of issue: UK, , size (cm): 76x51, year of printing: 1984.; 2. What's new at the Victoria & Albert Museum? Summer 1987 featuring announcements of various art exhibitions - Wally Gilbert and Thomas Gentile Jewellery Gallery, Alvar Aalto in association with the Museum of Modern Art MOMA New York, Judaica from the V&A, Susie Cooper Productions, Francis Williams Exhibition Contemporary book and magazine illustration, Zika Ascher - Fabric Art Fashion. Good condition, creasing, folds, pinholes. Country of issue: UK, designer: Unknown, size (cm): 76x51, year of printing: 1987.; 3. Step Into Summer 1985 Victoria & Albert Museum, featuring photographs of three centuries of shoes in the Dress collection, a yellow silk shirt with caption - Explore the decorative riches of the East, One of our 15000 plates most are in the ceramics Galleries, Take tea in the Restaurant or strawberries and cream in the Garden - with a couple seated under a red umbrella. Good condition, creasing, folds, pinholes, minor staining. Country of issue: UK, size (cm): 76x51, year of printing: 1985. 4. Spring Events Calendar 1985 by Victoria & Albert Museum, featuring artwork inviting to visit various exhibitions - The People and Places of Constantinople Watercolours by Amadeo, Count Preziosi; William Staite Murray and His Pupils Studio Pottery of the 1920s and 1930s; From Manet to Hockney Modern Artists' Illustrated Books; Frances Bendixson Contemporary Jewellery; Mouton Rothschild Paintings for the Labels; Handel in St. Martin's Lane Theatre Museum in association with English National Opera. Good condition, creasing, folds. Country of issue: UK, size (cm): 76x51, year of printing: 1985.; 5. What's New at the Victoria & Albert Museum? Spring 1986, inviting to visit the museum for various exhibitions - Designs for British Dress and Furnishing Fabrics 18th Century to the Present; Photographs by Roger Mayne; Characters in Cloth Textile Portraits; Chess in Art and Society - French 18 Century Drawings - Swiss Stained Glass Designs of the Formation; American Dolls The Lawrence Scripps Wilkinson Collection; and The New Restaurant reviewed by The Guardian. Good condition, creasing, folds. Country of issue: UK, size (cm): 76x51, year of printing: 1986.; 6. What's New at the Victoria & Albert Museum? Summer 1986, inviting to visit the museum for various exhibitions - Characters in Cloth Textile Portraits; American Dolls The Lawrence Scripps Wilkinson Collection; Knit One Purl One; 17th Century Tapestries; American Potters Today. Good condition, creasing, folds, pinholes. Country of issue: UK, size (cm): 76x51, year of printing: 1986.; 7. Edward Middleditch (b. 1923) exhibition in Serpentine Gallery, Kensington Gardens W2, A South Bank Centre touring exhibition, 9 April to 15 May 1988, open daily 10am to 6pm, admission free, supported by City of Westminster and funded by Art Council. The poster features the painting Flowers, Chairs and Bedsprings, 1956 and travel information: Underground: South Kensington or Lancaster Gate, buses: 9 52 73 12 88. The poster is designed by Trilokesh Mukherjee, printed by Expression Printers Ltd. London N7. Good condition, creasing, folds, minor staining, tears on edges. Country of issue: UK, designer: Trilokesh Mukherjee, size (cm): 76x51, year of printing: 1988.; 8. Lights at the Crafts Council. An Exhibition of Innovative Lighting 17 November 1982 - 30 January 1983 in Crafts Council Gallery 12 Waterloo Place Regent Street London SW1 4AU. The poster features a collage of a photo of a lamp and its scheme and another advertisement of The Well Dressed Christmas Tree. Nine Craftspeople Decorate Christmas Trees 17 November 1982 - 9 January 1983. Trees provided by the British Christmas Tree Growers Association. Crafts Council is the organisation for contemporary craft in the UK. Good condition, creasing, folds. Country of issue: UK, size (cm): 76x51, year of printing: 1982.; 9. What’s New In the Arts Council Collection in Wolverhampton Art Gallery, Lichfield Street Wolverhampton, 9 February - 16 March 1985, Monday to Saturday 10am - 6pm, Arts Council of Great Britain. The poster features artworks Toy by Richard Wentworth (b.1947), Bingo Bango Bongo by Bruce McLean (b. 1944), Head of Miss DeianTaylor by John Clinch (b. 1934), Study for Massacre of the Innocents by Jacqueline Morreau (b. 1929). The Arts Council Collection is a collection of modern and contemporary British art. Good condition, creasing, folds. Country of issue: UK, size (cm): 59x42, year of printing: 1985.; 10. David Drew Baskets, A Crafts Council touring exhibition with documentary photographs of Chris Chapman Provision for blind and partially sighted and exhibition by Vanessa Robertson Woven ikat Rugs 22 January - 30 March 1986 in Crafts Council Gallery 12 Waterloo Place, Lower Regent Street, London SW1. The poster features two photographs of artists with baskets and a loom by Chris Chapman. Good condition, creasing, folds. Country of issue: UK, size (cm): 76x51, year of printing: 1986.

Original vintage advertising midcentury modern poster Johannesburg Festival Ballet Music Theatre Art and African Life Sept 16 - Oct 27. Johannesburg Festival Overture is a composition for orchestra by the English composer William Walton, composed for the 70th anniversary of Johannesburg in 1956. In January 1956, Walton received a commission from Ernest Fleischmann, musical director of the Johannesburg Festival Committee, to celebrate the seventieth anniversary of the city. Fleischmann included in his request to “include some African themes”.Fair condition, big tears on margins, paper losses on top margin, rough edges, few stains on the image. Country: South Africa. Year: 1956. Designer: Unknown. Size (cm): 76 x 51.