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Edvard Munch 1863 Loyten - 1944 Ekely bei Oslo Selbstbildnis. 1895. Lithografie. Woll 37 II (von IV). Schiefler 31. Signiert, datiert sowie von fremder Hand bezeichnet. In der Darstellung mit dem Namenszug und der Datierung. Auf chamoisfarbenem Velin. 45,6 x 32,2 cm (17,9 x 12,6 in). Papier: 57,3 x 42,6 cm (22,6 x 16,8 in). Gedruckt von Lassally, Berlin. [AM]. • Frühestes druckgrafisches Selbstbildnis Edvard Munchs. • Markantes Selbstporträt von einmaliger Präsenz. • Exemplare dieser charaktervollen Druckgrafik befinden sich in bedeutenden internationalen Museen wie u. a. dem Museum of Modern Art, New York, dem British Museum, London, und dem Museum Folkwang, Essen. PROVENIENZ: Privatsammlung Norddeutschland. Aufrufzeit: 10.12.2022 - ca. 17.23 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONEdvard Munch 1863 Loyten - 1944 Ekely bei Oslo Selbstbildnis. 1895. Lithograph. Woll 37 II (of IV). Schiefler 31. Signed, dated and inscribed by a hand other than that of the artist. With the name and the date in the image. On off-white wove paper. 45.6 x 32.2 cm (17.9 x 12.6 in). Sheet: 57,3 x 42,6 cm (22,6 x 16,8 in). Printed by Lassally, Berlin. [AM]. • This is the earliest printed self-portrait of Edvard Munch. • Striking self-portrait characterized by an inimitable presence. • Copies of this characterful work are in renowned international museums like the Museum of Modern Art, New York, the British Museum, London, and the Museum Folkwang, Essen. PROVENANCE: Private collection Northern Germany. Called up: December 10, 2022 - ca. 17.23 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Pablo Picasso 1881 Malaga - 1973 Mougins Scène bacchique au minotaure. 1933. Radierung. Geiser/Baer 351 III B d (von III B d). Bloch 192. Signiert. In der Platte datiert und bezeichnet. Aus einer Auflage von 260 Exemplaren auf diesem Papier. Auf Bütten von Montval (mit dem Wasserzeichen 'Vollard'). 29,8 x 36,7 cm (11,7 x 14,4 in). Papier: 34 x 44,5 cm (13,3 x 17,5 in). Blatt 85 der Folge 'Suite Vollard'. Gedruckt von Roger Lacourière, Paris 1939. Herausgegeben von der Edition Vollard. [AR]. • Zeugnis von Picassos virtuoser Handhabung der Radiertechnik. • Mit der 'Suite Vollard' schafft er in den Jahren 1930–1937 ein grafisches Meisterwerk. • Einzelne Arbeiten aus dem Grafikzyklus befinden sich in zahlreichen bedeutenden öffentlichen und privaten Sammlungen, das Museum of Modern Art in New York und das Museum Ludwig in Köln beherbergen je eine komplette Serie. PROVENIENZ: Privatsammlung Süddeutschland. Aufrufzeit: 10.12.2022 - ca. 19.31 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONPablo Picasso 1881 Malaga - 1973 Mougins Scène bacchique au minotaure. 1933. Etching. Geiser/Baer 351 III B d (of III B d). Bloch 192. Signed. Dated and inscribed in the plate. From an edition of 260 copies on thiy type of paper. On Montval laid paper (with the 'Vollard' watermark). 29.8 x 36.7 cm (11.7 x 14.4 in). Sheet: 34 x 44,5 cm (13,3 x 17,5 in). Sheet 85 from the series 'Suite Vollard'. Printed by Roger Lacourière, Paris 1939. Published by Edition Vollard. [AR]. • Document of Picasso's virtuoso mastery of the etching technique. • Made between 1930 and 1937, the 'Suite Vollard' is a print masterpiece. • Single works from the cycle are in many important public and private collections, the Museum of Modern Art in New York and the Museum Ludwig in Cologne both own a complete series. PROVENANCE: Private collection Southern Germany. Called up: December 10, 2022 - ca. 19.31 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Stehendes Paar (Corpsstudent). Um 1906/07. Farbige Kreidezeichnung. Auf Velin. 14,5 x 11,5 cm (5,7 x 4,5 in), blattgroß. [CH]. • Unmittelbar, unverfälscht und treffend festgehaltene, farbkräftige Figurenszene aus der frühen 'Brücke'-Zeit in Dresden. • Die kleinformatige Skizze erhält große Wertschätzung: Kirchner klebt sie ursprünglich wohl in eines seiner Skizzenbücher ein. • Ähnliche frontal gezeigte Figurenkompositionen finden sich u. a. auch in dem Gemälde 'Straße, Dresden' (1908/1919, Museum of Modern Art, New York) und in dem frühen Farbholzschnitt 'Spazierengehendes Paar' (Städel Museum, Frankfurt/Main) wieder. Wir danken Herrn Prof. Dr. Dr. Gerd Presler für die Hinweise und die Unterstützung bei der Bearbeitung dieses Werkes. PROVENIENZ: Sammlung Lise Gujer, Davos (bis 1956). Galerie Kornfeld und Klipstein, Bern (1956 von der Vorgenannten erworben, verso mit der Lagernummer). Privatsammlung (1956 vom Vorgenannten erworben). Sammlung Hermann Gerlinger, Würzburg (mit dem Sammlerstempel Lugt 6032). AUSSTELLUNG: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017). Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina Wien, 1.6.-26.8.2007, Kat.-Nr. 122 (m. Farbabb.). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 137, SHG-Nr. 108 (m. Abb.). Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 295, SHG-Nr. 664 (m. d. Titel 'Sitzende und Chorstudent', m. Abb.). Prof. Dr. Dr. Gerd Presler, Werkverzeichnisverfasser der Skizzenbücher Ernst Ludwig Kirchners Diese zur damaligen Zeit auf Bällen oder im Theater nicht ungewöhnliche Begegnung muss Kirchner zu dieser schnellen Skizze verführt haben: ein in Vollwichs stehender Corpsstudent neben seiner sitzenden Begleitung in langer schwarzer Robe und pompös ausladender Kopfbedeckung. Deutlich zu erkennen sind bei ihm die schwarzen Stiefel sowie die blaue Uniformjacke mit der rot-schwarzen Schärpe in den Verbindungsfarben Schwarz, Rot und Weiß (?), was auf das 1859 in Dresden gegründete Corps Teutonia hinweisen könnte. Es gibt keinen Hinweis darauf, dass Kirchner sich als Student der Architektur für Corps interessiert oder gar zum Beitritt aufgefordert wird. Studentische Verbindungen, Landsmannschaften und Corps gründen sich in den traditionsreichen Universitätsstädten seit Beginn des 19. Jahrhunderts, so auch in Dresden. Im Deutschen Kaiserreich erreichen die Corps größte Aufmerksamkeit und prägen mit dem Tragen ihrer Farben, Mütze und Schärpe bei Anlässen das gesellschaftliche Leben. Mitglieder der Corps fühlen sich verpflichtet, ihre Führungsrolle auch durch ein korrektes, äußeres Auftreten zu untermauern. [MvL] Aufrufzeit: 10.12.2022 - ca. 18.14 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Stehendes Paar (Corpsstudent). Um 1906/07. Colored chalk drawing. On wove paper. 14.5 x 11.5 cm (5.7 x 4.5 in), the full sheet. [CH]. • Immediate and unerring figure scene from the early Brücke days in Dresden, captured in strong colors. • The small sketch is highly acknowledged: Kirchner originally pasted it into one of his sketchbooks. • Similar frontal figure compositions can also be found in, among others, the painting 'Straße, Dresden' (1908/19, Museum of Modern Art, New York) and the early color woodcut 'Spazierengehendes Paar' (Städel Museum, Frankfurt/Main). We are grateful to Prof. Dr. Dr. Gerd Presler for his kind support in cataloging this lot. PROVENANCE: Collection Hermann Gerlinger, Würzburg (with the collector's stamp Lugt 6032). EXHIBITION: Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (permanent loan from the Collection Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, 2001-2017). Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina, Vienna, June 1 - August 26, 2007, cat. no. 122 (with color illu.). Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022). LITERATURE: Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 137, SHG no. 108 (with illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle (Saale) 2005, SHG no. 664, p. 295 (titled 'Sitzende und Chorstudent', with illu.). Prof. Dr. Dr. Gerd Presler, catalog raisonné of Ernst Ludwig Kirchner's sketchbooks This encounter, not uncommon at balls or in theaters at the time, must have enticed Kirchner to this quick sketch: A corps student in full attire standing next to an accompanying lady in long black robe and with pompous headdress. He is wearing black boots, a blue uniform jacket with the red and black sash in the fraternity colors black, red and white (?), which could refer to the Corps Teutonia founded in Dresden in 1859. There is no indication that Kirchner, as a student of architecture, was interested in student corps or even asked to join. Student fraternities and corps were founded in traditional university towns, including Dresden, in the early 19th century. In the German Empire, the corps saw the greatest popularity. Members wearing their colors, cap and sash were a vital part of social life on many occasions and felt obliged to underpin their leadership role by an appropriate appearance. [MvL] Called up: December 10, 2022 - ca. 18.14 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

† A MARBLE HEAD OF BUDDHA, TANG DYNASTY 唐代漢白玉佛頭China, 618-907. Finely carved, the serene face depicted with a pair of heavy-lidded downcast eyes, an elongated nose flanked by long pendulous ears, and pursed lips forming a subtle smile, all below elegantly arched eyebrows, the hair arranged in dense rows of spiral curls rising to a domed ushnisha. Note the remarkably fine incision work on this piece as well as the subtle, elegant polish - both hallmarks of high Tang marble works.Provenance: Vallin Gallery, Wilton, Connecticut, USA. Karsten Tietz, acquired from the above during Asia Week New York in 2010. Michael Phillips, acquired from the above in 2016. A copy of the original invoice from Karsten Tietz, dated 23 March 2016, stating a purchase price of USD 15,000 or approximately EUR 18,200 converted and adjusted for inflation at the time of writing, signed by Karsten Tietz, accompanies this lot. Vallin Galleries, established in 1940, were dealers of fine Asian art. Owned and operated by Peter L. Rosenberg for nearly thirty years until his sudden death in December 2013, the gallery was widely regarded as an outstanding source for the best of Asian art. Karsten Tietz is a Berlin-based expert and dealer of selected masterpieces from Asia. Some of his pieces have been sold to important museums, including the Metropolitan Museum of Art. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme D'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, soil encrustations, few nicks and tiny cracks, shallow surface scratches, some losses, remnants of pigments. Good natural patina overall.Weight: 1,102 g Dimensions: Height 12.5 cm (excl. stand), 25.7 cm (incl. stand)With a modern acrylic stand. (2)Literature comparison: Compare a closely related marble head of Buddha, dated to the Tang dynasty, 17.8 cm high, in the collection of the Israel Museum, Jerusalem, accession number B88.0040.Auction result comparison:Type: Remotely relatedAuction: Christie's London, 15 May 2018, lot 158Price: GBP 18,750 or approx. EUR 26,200 converted and adjusted for inflation at the time of writingDescription: A Small Dark Grey Stone Head of Buddha, Tang Dynasty (618-907)Expert's remark: Note the similar size (11.5 cm)13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.唐代漢白玉佛頭中國，618-907年。佛頭頭上有螺髻，眼睛微閉，彎月眉，面露微笑，表情慈祥安寧，長耳垂。漢白玉整體瑩潤光滑。表面光滑瑩潤，雕工精美，這是唐朝漢白玉造像的特徵。 來源：美國康涅狄格州威爾頓Vallin Gallery藝廊；Karsten Tietz在2010年紐約亞洲藝術周購於上述藝廊；Michael Phillips 2016年購於Karsten Tietz處。隨附Karsten Tietz出具的原始發票副本，時間爲2016年3月23日，價格為 USD 15,000，相當於現在的 EUR 18,200 。Vallin Galleries成立於 1940 年，是亞洲精美藝術品的經銷商，由 Peter L. Rosenberg經營近 30 年，直到 2013年 年 12 月突然去世。該藝廊被認為是亞洲藝術品的最佳藝廊之一。Karsten Tietz是來自柏林的專家和亞洲藝術品的經銷商，他的很多藏品已出售給重要的博物館，包括大都會博物館。Michael Phillips (出生於1943年) 是一位電影製片人，曾獲得奧斯卡獎。他出生在紐約布魯克林，父母是Lawrence 與Shirley Phillips，他們是著名的紐約亞洲美術經銷商，向大都會博物館、洛杉磯美術館、芝加哥藝術學院和大英博物館等機構出售藝術品。Michael Phillips本人是亞洲藝術收藏家，尤其是印度、東南亞和喜馬拉雅地區造像。他最重要的電影包括《騙中騙》（1973 年獲得奧斯卡最佳影片獎）、《出租車司機》（1976 年戛納電影節金棕櫚獎）和史蒂文·斯皮爾伯格的《第三類接觸》。 品相：狀況良好。大面積磨損、風化和侵蝕、土壤結塊、少量刻痕和微小裂縫、表面淺劃痕、顏料殘留。整體良好的自然光澤。 重量：1,102 克 尺寸：高12.5 厘米 (不含底座)，25.7 厘米 (含底座) 現代樹脂支架。由於字數限制，完整中文敘述請至www.zacke.at查看。

A MAGNIFICENT LIMESTONE HEAD OF GUANYIN, YUAN TO MING DYNASTY 元明時期石灰石觀音頭像China, 14th century. The brown and gray stone with its distinct gray striations is deeply carved to depict Guanyin with a serene and benevolent expression, eyes downcast beneath elegantly arching brows centered by a circular urna, the neatly incised curled hair piled into a topknot and secured by a high-peaked Buddhist tiara with small images of the Amitabha Buddha seated in dhyanasana on a lotus pedestal.Provenance: From the collection of Karl Stirner, and thence by descent. Karl Stirner (1923-2016) was a German-born American sculptor known internationally for his metalwork. His art has been shown at the Museum of Modern Art in New York, the Pennsylvania Academy of Fine Arts, the Philadelphia Museum of Art, the Corcoran Gallery, the La Jolla Museum of Contemporary Art, the James A. Michener Art Museum, the Grounds for Sculpture in Hamilton, New Jersey, and the Delaware Art Museum, among other places. Condition: Good condition, commensurate with age, and exactly as expected of an authentic limestone sculpture from the 14th century. Extensive wear, weathering, encrustations and erosion. Losses, structural cracks, and minor nicks here and there. Remnants of multiple layers of lacquer and pigments from different periods.Weight: 18.2 kg (incl. stand) Dimensions: Height 34.5 cm (excl. stand), 56.5 cm (incl. stand) Mounted to a metal and wood stand. (2)Expert's note: The present sculpture bears the telltale signs of raised edges rubbed smooth, unequivocal testimonials of constant worshipping spanning many centuries, where beholders were gripped with the overt temptation to caress the cheekbones, forehead and nose.This remarkably beautiful and large head presents the bodhisattva of Compassion and Mercy. The iconography of the god was originally created on Indian soil and brought to China by monks at the beginning of the Christian era. In the early phase of Chinese Buddhism, stone and bronze examples of the god of Compassion followed these Indian iconographic treatises by depicting him as a male god. By the end of the Tang period (618-907) the depiction of Avalokiteshvara or (in Chinese) Guanyin had gradually become feminized to reach a climax during the Song dynasty (960-1279), when the majority had acquired a definite female appearance. During this period of transition, the mercy aspect of the god was emphasized, resulting in these stronger female features. The present, superbly sculpted head shows the pinnacle of this development, which had become the hallmark for all Guanyin representations from then onwards.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 13 June 2013, lot 261Price: EUR 39,900 or approx. EUR 46,000 converted and adjusted for inflation at the time of writingDescription: A limestone Guanyin head, China, 14th centuryExpert's remark: Note the height of 44 cm.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 10 May 2018, lot 986Price: USD 56,250 or approx. EUR 62,000 converted and adjusted for inflation at the time of writingDescription: A stone head of Guanyin, China, Ming dynasty (1368-1644)Expert's remark: Note the height of 25 cm.元明時期石灰石觀音頭像中國，十四世紀。灰褐色石料上刻有明顯的灰色條紋，觀音菩薩頭戴五葉冠，冠形繁複，上有阿彌陀佛坐像；臉型豐滿圓潤，雙目低垂，雙眉之間有白毫，表情莊嚴大氣。髮髻高聳。 來源： Karl Stirner私人收藏，保存至今。Karl Stirner (1923-2016年) 是一位出生於德國的美國雕塑家，以其金屬造像而聞名於世。他的藝術作品曾在紐約現代藝術博物館、賓夕法尼亞美術學院、費城藝術博物館、科科倫畫廊、拉霍亞當代美術館、James A. Michener美術館、新澤西州漢密爾頓The Grounds 雕塑舘和特拉華美術館等展出。 品相：品相良好，狀況與年代相符。大面積磨損、風化、結殼和侵蝕。很多缺損、結構裂縫和輕微的劃痕。不同時期的漆彩殘餘。 重量：18.2 公斤 (含底座) 尺寸：高34.5 厘米 (不含底座)，56.5 厘米 (含底座) 木底座，金屬支架。 專家注釋：這件造像帶有明顯的凸起邊緣因爲摩擦而變得光滑的跡象，明確證明了跨越多個世紀的膜拜與使用。觀者不由自主被吸引，想要撫摸顴骨、前額和鼻子。由於字數限制，完整中文敘述請至www.zacke.at查看。

† A WHITE MARBLE HEAD OF A BODHISATTVA, KINGDOM OF GANDHARA 犍陀羅白色大理石菩薩頭像Published: Stephen Little, Images of Buddha from the Michael Phillips Collection, Arts of Asia, January-February 2013, page 105, no. 8.Shahi period, 5th-7th century. The face, turned to one side, beautifully carved with a serene expression, downcast eyes, an aquiline nose, flanked by two elongated earlobes, the hair in neatly elaborated curls, a distinct spiral-form ushnisha above the forehead.Provenance: Art Ancient Ltd., United Kingdom, 2010. Michael Phillips, acquired from the above. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme D'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Good condition, commensurate with age. Extensive old wear, signs of weathering and erosion, some losses, small nicks and cracks, minor surface scratches, soil encrustations.Weight: 1,266 g (incl. stand) Dimensions: Height 12.7 cm (excl. stand) and 15.8 cm (incl. stand) Mounted to a modern metal stand. (2)Expert's note: Relatively few sculptures survived from the Shahi period, mostly those made from marble. Both the turned head and the large, spiral-shaped ushnisha above the forehead are notable features also found in the contemporaneous Greco-Buddhist stucco bodhisattvas from Hadda.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.犍陀羅白色大理石菩薩頭像沙希，五至七世紀。菩薩的臉偏向一側，雕刻精美，表情安祥平靜，眼睛微閉，鼻子高挺，長耳垂，頭髮捲曲分明，額前有一螺旋形髮髻。 出版： Stephen Little，〈Images of Buddha from the Michael Phillips Collection〉，《Arts of Asia》， 2013年1月至2月，頁105，編號8。 來源：英國Art Ancient Ltd.藝廊，2010年；Michael Phillips 購於上述藝廊。Michael Phillips (出生於1943年) 是一位電影製片人，曾獲得奧斯卡獎。他出生在紐約布魯克林，父母是Lawrence 與Shirley Phillips，他們是著名的紐約亞洲美術經銷商，向大都會博物館、洛杉磯美術館、芝加哥藝術學院和大英博物館等機構出售藝術品。Michael Phillips本人是亞洲藝術收藏家，尤其是印度、東南亞和喜馬拉雅地區造像。他最重要的電影包括《騙中騙》（1973 年獲得奧斯卡最佳影片獎）、《出租車司機》（1976 年戛納電影節金棕櫚獎）和史蒂文·斯皮爾伯格的《第三類接觸》。 品相：狀況良好，大面積磨損、風化和侵蝕，一些缺損、小刻痕和裂縫，輕微的表面劃痕。 重量：1,266 g (含底座) 尺寸：高12.7 厘米 (不含底座) and 15.8 厘米 (含底座) 現代金屬支架。 專家注釋：沙希時期倖存下來的造像相對較少，主要是大理石製成的。轉頭和額頭上方的螺旋形髮髻都是同時期的哈達希臘佛教灰泥菩薩的顯著特徵。

A PAINTED 'HUNDRED BUDDHAS' MANUSCRIPT FRONT PAGE 《百佛圖》經書封面Tibet, 14th century. Ink and gold on paper. The central Buddha seated in dhyanasana on a lotus throne backed by a mandorla, his hands lowered in dhyana mudra and supporting a lotus blossom, wearing a pleated monastic robe draped over his left shoulder, his serene face with heavy-lidded eyes and full lips, flanked by long pendulous pierced earlobes, the curled hair with an ushnisha surmounted by a jewel. Surrounded by 100 smaller images of seated Buddhas, all in dhyanasana and showing various mudras.Provenance: Italian private collection, acquired in Tibet during the early 1990s. Collection of Leonardo Vigorelli, Bergamo, acquired from the above. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons.Condition: Good condition, commensurate with age. Some wear, soiling, creases, tears, and small losses.Dimensions: Size 35.5 x 11.4, Size incl. frame 56.5 x 80.5 cmWith a modern frame. (2)Auction result comparison: Type: Related Auction: Christie's New York, 17 September 1999, lot 120 Price: USD 4,600 or approx. EUR 8,000 converted and adjusted for inflation at the time of writing Description: A painted manuscript cover, Tibet, 14th century Expert remark: Compare the closely related motif. Note that the lot comprises a painted wood manuscript cover of larger size (22.8 x 70.3 cm).《百佛圖》經書封面西藏，十四世紀。紙本水墨金彩。畫面中央的阿彌佛陀結珈趺坐坐於蓮座上，後有光背。雙手捧著一朵蓮花，身著敞右肩袈裟，面目慈祥，雙眉之間有白毫。四周圍繞著一百個小坐佛，手結不同手印，結珈趺坐。 來源：義大利私人收藏，上世紀九十年代購於西藏。貝加莫 Leonardo Vigorelli收藏，購於上述收藏。Leonardo Vigorelli是一位退休的義大利藝術品經銷商和著名收藏家，專門研究非洲和古代印度佛教藝術。在學習人類學和數十年的旅行以及在印度、喜馬拉雅地區、東南亞和非洲的廣泛實地研究之後，他在義大利米蘭創立了 Dalton Somare 藝廊，如今由他的兩個兒子經營。品相：品相良好，與年代相符。一些磨損、污漬、摺痕、撕裂和小缺損。 尺寸：35.5 x 11.4，含框 56.5 x 80.5 厘米 現代木框。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，1999年9月17日，lot 120 價格：USD 4,600 （相當於今日EUR 8,000） 描述：十四世紀西藏經書封面 專家評論：比較非常相近的主題。請注意此經書封面為木質，以及尺寸較大(22.8 x 70.3 厘米)。

A PINK SANDSTONE BUST OF VISHNU, MADHYA PRADESHIndia, 8th-9th century or slightly earlier. The round face finely carved with almond shaped eyes below gently arched eyebrows, flanked by two ears with elongated earlobes, surmounted by a tall crown with a lion head at the center, and bejeweled with beaded pendants, round earrings, and an armlet, backed by a halo. Note the subtle yet distinct Gupta influence on the sculptural composition overall.Provenance: Old Dutch private collection, by repute acquired no later than 2002. A French private collection, acquired from the above in 2018. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, minor losses, encrustations, nicks, scratches, few structural cracks.Weight: 12 kg (incl. stand) Dimensions: Height 38.5 cm (excl. stand), 49 cm (incl. stand)Mounted to a modern wood stand. (2) Literature comparison: Compare a related Gupta terracotta bust of Vishnu, dated to the 5th-6th century, in the collection of the Metropolitan Museum of Art, accession number 2000.82.

Francis, Julian: Tom Chadwick and the Grosvenor School of Modern Art, Fleece Press, 2012, colour and monochrome plates and illustrations, including many tipped in, and a few folding, with an original wood engraving frontspiece entitled Wayside Laundry, original quarter orange cloth over patterned boards, paper label to spine, with slipcase, large square 4to. (1)

MODERN COMICS #49 (1946 - QUALITY) - Includes the first appearance of Fear, Miss Ranarr - Al Bryant cover art - Flat/Unfolded - a photographic condition report is available on request

SANDMAN: MASTER OF DREAMS #1 - (1989 - DC) - KEY Modern Book - Pre-Vertigo - First appearance of Morpheus + appearance by Wesley Dodds, the original Golden Age-era Sandman + HOT comic as a result of the recent Netflix TV series - Neil Gaiman story, Dave McKean cover with Sam Kieth interior art - Flat/Unfolded - a photographic condition report is available on request

SANDMAN: MASTER OF DREAMS #2 & 3 (2 in Lot) - (1989 - DC) - KEY Modern Title - John Constantine, Cain, Abel, Mildred and Mordred appearances - Neil Gaiman story, Dave McKean cover with Sam Kieth, Mike Dringenberg interior art - Flat/Unfolded - a photographic condition report is available on request

A pair of 1920s plaster cast seated boy and girl figure bookends, a/f, distressed, (17cm x 13cm), a modern china foreign porcelain figure (15cm), a faience miniature modern chair and an Art Deco ashtray stand with bakelite top on treen stepped base, missing ashtray

A contemporary armchair, graffiti street art upholstery, raised on spayed legs, H73cm, D64cm, together with a modern ottomans footstool. (2)

A pair of Art Deco glass shell wall lights, together with a modern futuristic ceiling light, art glass bowls, vases and other cabinet pieces. (2)

Johannes Grützke (1937 Berlin - 2017 ebenda) (F)'Komposition geheimer menschlicher Beziehungen', Tempera und Öl auf Leinwand, 120 cm x 85 cm Leinwandmaß, monogrammiert, 66 datiert, verso signiert, datiert, partiell berieben, kleines Loch in der Leinwand, Literatur: Wvz. Sydow, S. 105Johannes Grützke (1937 Berlin - 2017 ebenda) (F)'Komposition geheimer menschlicher Beziehungen', tempera and oil on panel, 120 cm x 85 cm, monogrammed, dated 66, additionally signed and dated 1966 on the reverse, with some minor abrasions, a small hole in the canvas, literature: Cat. rais. Sydow, p. 105 ''Art isn't modern, art is eternal!'' (Johannes Grützke) In a dark room, a man in a suit stands before a naked older woman with her hair piled up who seems to emerge from a box. A third, shadowy figure can be seen standing in a doorway. The work may depict one of the artists dreams, one that conjures up a meeting from the past. Johannes Grützke was born on 30th September 1937 in Berlin and studied at the Berlin Hochschule der Bildenden Künste from 1957 to 1964. The painter, draughtsman, printmaker and medal caster participated in Oskar Kokoschka's summer academy in Salzburg in 1962. From 1976 to 1977 he held a position as a visiting professor at the Hochschule für Bildende Künste in Hamburg and later took over from his former teacher Oskar Kokoschka at the summer academy in Salzburg. He was also among the founding members of the Künstlersonderbund in Germany, an organisation founded to support artistic proponents of realism. In the 1970s his style of representational art, which he mastered with an exceptionally high level of craftsmanship, went against the international trend towards abstraction, which was directed above all against the prescribed art form of Socialist Realism. His most important works include the monumental figural frieze of German parliamentarians in St. Paul's Church in Frankfurt from 1991.

§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) MARGUERITES IN A BLUE AND WHITE VASE Signed, oil on boardDimensions:57cm x 46cm (22.5in x 18in)Note: Of all the genres of fine art, Redpath is most closely associated with that of the still life. Her love for this theme stretches back to her student days at Edinburgh College of Art, as she recalled:When I was at college I was very fond of still life. People said I wasn’t actually painting what was in front of me, that it was a vision of still life. Those were more impressionistic than I have ever done since, because I was terribly keen on light, high pitched light and shadow, and I used more of an accidental quality than I have ever done since.[1] Indeed, the first work which Redpath exhibited in public was titled Still Life and was displayed at the Royal Scottish Academy (RSA) in 1919. Following her marriage in 1920 and fourteen years spent living in France, Redpath returned to Scotland in 1934. She resumed painting in earnest and emerged as an artist of importance. This was recognised by the first acquisition of one of her works for a public collection, when the RSA purchased the still life The Lace Cloth for £50 in 1944 (acc.no.2006.37). Admiration for her still lifes soon spread to England; when the Sunday Times art critic Eric Newton reviewed the Royal Academy of Arts (RA) exhibition of 1948, he exclaimed ‘Anne Redpath’s still lifes stand out like patches of blue sky on a grey day.’[2] The following year, Redpath moved to Edinburgh where she set about decorating her new home with the objects she loved to collect and which were often the subject matter of her work. The striking patterned vessel in Marguerites provided one such prop. The bright blue which covers most of its surface is the perfect complement to the variously coloured titular flowers which spill out of and over its neck. The arrangement is set upon a square of fabric, itself placed on an enigmatic surface, with hints of the surrounding space provided in the background. Redpath’s relish in the application of paint is clear from the precise detailing of petals, to the broader brushstrokes with which expressive swathes of the support are covered.Redpath’s professional success continued unabated and on 13 February 1952 she was elected a full member of the RSA, the first female painter to achieve that rank. In the same year she moved to 7 London Street in Edinburgh’s Georgian New Town, which was to be her home for the rest of her life. Redpath discussed the objects she collected and lived amongst, explaining in 1961:With my awful magpie tendency to collect things I have collected so many objects around me that are paintable. I buy them because I like them…any artist really becomes very aware in a visual way…and therefore you surround yourself with these things which are ready to be painted and ask to be painted. Sometimes for months you’re not really aware of them then suddenly a light changes or you feel different and suddenly you see those things as you would in a picture and you either help their arrangement or it just so happens that an artist almost sub-consciously does arranging all the time.[3] [1] As quoted in George Bruce, Modern Scottish Painters: Anne Redpath, University Press, Edinburgh 1974, p.3.[2] As quoted by Patrick Bourne, Anne Redpath 1895-1965, Edinburgh 2004, p.46.[3] LM AR interviews[I think this comes from BBC Scotland Counterpoint 1961 by George Bruce]

§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) DISH OF FRUIT Signed, oil on boardDimensions:44.5cm x 74cm (17.5in x 29in)Provenance:Exhibited: Nottingham University, Nottingham, Scottish Committee, Arts Council of Great Britian: Six Scottish Painters, 1959Note: Of all the genres of fine art, Redpath is most closely associated with that of the still life. Her love for this theme stretches back to her student days at Edinburgh College of Art, as she recalled:When I was at college I was very fond of still life. People said I wasn’t actually painting what was in front of me, that it was a vision of still life. Those were more impressionistic than I have ever done since, because I was terribly keen on light, high pitched light and shadow, and I used more of an accidental quality than I have ever done since.[1] Indeed, the first work which Redpath exhibited in public was titled Still Life and was displayed at the Royal Scottish Academy (RSA) in 1919. Following her marriage in 1920 and fourteen years spent living in France, Redpath returned to Scotland in 1934. She resumed painting in earnest and emerged as an artist of importance. This was recognised by the first acquisition of one of her works for a public collection, when the RSA purchased the still life The Lace Cloth for £50 in 1944 (acc.no.2006.37). Admiration for her still lifes soon spread to England; when the Sunday Times art critic Eric Newton reviewed the Royal Academy of Arts (RA) exhibition of 1948, he exclaimed ‘Anne Redpath’s still lifes stand out like patches of blue sky on a grey day.’[ii] The following year, Redpath moved to Edinburgh where she set about decorating her new home with the objects she loved to collect and which were often the subject matter of her work. Redpath’s professional success continued unabated and on 13 February 1952 she was elected a full member of the RSA, the first female painter to achieve that rank. In the same year she moved to 7 London Street in Edinburgh’s Georgian New Town, which was to be her home for the rest of her life. Redpath discussed the objects she collected and lived amongst, explaining in 1961:With my awful magpie tendency to collect things I have collected so many objects around me that are paintable. I buy them because I like them…any artist really becomes very aware in a visual way…and therefore you surround yourself with these things which are ready to be painted and ask to be painted. Sometimes for months you’re not really aware of them then suddenly a light changes or you feel different and suddenly you see those things as you would in a picture and you either help their arrangement or it just so happens that an artist almost sub-consciously does arranging all the time.[1] Redpath’s mature career settled into a pattern of regular travel abroad as well as solo and group exhibitions in Edinburgh and elsewhere, accompanied by an ever-growing professional standing. In 1960 she became the first Scottish woman to be elected an Associate of the RA. Her death in Edinburgh in 1965 was marked with multiple memorial exhibitions, including those mounted by the RSA and the Scottish Committee of the Arts Council of Great Britain; still lifes featured prominently in all of them. [1] LM AR interviews[I think this comes from BBC Scotland Counterpoint 1961 by George Bruce] [1] As quoted in George Bruce, Modern Scottish Painters: Anne Redpath, University Press, Edinburgh 1974, p.3.[2] As quoted by Patrick Bourne, Anne Redpath 1895-1965, Edinburgh 2004, p.46.

§ ◆ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) THE PERSECUTED Signed and inscribed, signed, inscribed and dated 1968 to stretcher verso, oil on boardDimensions:185.5cm x 185.5cm (73in x 73in)Provenance:Exhibited: Walker Art Gallery, Liverpool, John Moores Exhibition 7, 1969Literature: John McEwen, John Bellany, Edinburgh 2013, p.72Note: ‘I believe that it’s imperative that one is really excited and overwhelmed by the things one paints and writes about.’– John BellanyThe late 1960s were a crucial point in Bellany’s evolution as an artist. Following a degree at Edinburgh College of Art he continued his studies at the Royal College of Art in London, graduating in 1968. More significantly, in the previous year, he had visited East Germany on a cultural scholarship, discovering a range of German artists and attending the site of the Buchenwald concentration camp. Unsurprisingly this had a significant impact on the young artist, and in the ensuing years he produced paintings that helped process the emotional distress he experienced subsequently. Artist and writer Janet McKenzie remembers ‘When I interviewed him in 2010, he recalled that, following the visit to Buchenwald, it took him many years to reconcile the experience of the Holocaust, and he was only able to do so through the creative process, through the visualisation of the sense of the dichotomous – horror and beauty – that constitutes the human condition . . . Bellany’s relentless struggle to make sense of the split between the love found in family bonds, in nature, in the human spirit in many instances, and the abject terror and evil that humans are capable of. These polar opposites drove him on a daily basis.’In ‘The Persecuted,’ Bellany centres the people that were sent to camps such as Buchenwald: the sick; the disabled; the homeless; political prisoners; those convicted of crimes, to name but a few. Bellany does not baulk at their suffering, choosing instead to portray his subjects as emaciated and huddled together. We can sense the cold, their discomfort, their hunger but there is also a vitality and vibrancy here, a defiance. The approach is confronting, with the intimidating scale and imposing dark green frame crowding the figures while also compelling our gaze towards them, as they stare directly back at us. Thus, Bellany forbids the viewer to shy away from their grim reality and committed endurance in the face of adversity.Bellany raises these dispossessed figures to an elevated position normally reserved for those hung on the hallowed walls of galleries or museums. He subverts our expectations, showcasing suffering rather than the dashingly heroic, framing and naming this group so that they cannot be erased or forgotten. The distinctive presentation also suggests Bellany’s acknowledgement of traditional trompe l’oeil framing devices. There is a sense, in the works of this period, of the inspiration Bellany found in the Old Masters, with his interest in classical works informing the committed realism that went against the grain of modern art in 1960s London.Large-scale paintings like this from the mid-1960s cemented Bellany’s reputation as a contemporary artist of significance. A masterful work from a key moment in the artist’s career, we see this formidable talent utilising his superb artistic abilities to interrogate key matters at the very heart of the human condition: our capacity for good and evil, our suffering and our perseverance, our enduring hope.

Gérard Deschamps. (1937 Lyon). 2 Arbeiten. 1963 - 1973. Je Multiple aus rostfreiem Edelstahlblech, mit Feuer bearbeitet. Maße je 50 x 50 cm. Jeweils mit eingeritzter Signatur und Datierung. Je in der Original-Kartonverpackung. - Punktuell mit leichten Oberflächenbereibungen und leichteren Kratzern. Insgesamt in gutem Zustand. Durch die Behandlung mit Hitze verformen und verfärben sich die Edelstahlbleche individuell und besitzen unikatären Charakter. Je aus der Edition "Les Nouveaux Réalistes. Moderne Kunst-Auflagen". 1973 hg. von Ars Viva Edition NR von Attilio Codognato. Dort in einer Auflage von jeweils 600 Exemplaren erschienen. 2 works. Multiple each made of stainless steel sheet, worked with fire. Each with incised signature and date. - In places with slight surface rubbing and minor scratches. Overall in good condition. Due to the treatment with heat, the stainless steel sheets deform and discolour individually and have a unique character. - Each from the edition "Les Nouveaux Réalistes. Modern Art Editions". Published in 1973 by Ars Viva Edition NR by Attilio Codognato in an edition of 600 copies each.

Fluxus Joseph Beuys (1921 Krefeld - 1986 Düsseldorf)Joseph Beuys - The secret block. For a secret person in Ireland. Serigraphie auf chamoisfarbenem Vélin. 49 x 63,5 cm (49 x 63,5 cm). Signiert. - In zwei Ecken schwach bestoßen, verso leicht unregelmäßig gebräunt. Ausgezeichneter, gut satter Druck der nahezu formatfüllenden Darstellung. Weiss/ Britsch, 33. - Als Plakat anlässlich der Ausstellung im Museum of Modern Art in Oxford vom 7. April bis 12. Mai 1974 erschienen. In der Ausstellung wurde ein Zyklus von Joseph Beuys Zeichnungen, die er unter dem Titel "The secret block for a secret person in Ireland" zusammen gestellt hatte, erstmals öffentlich gezeigt. Silkscreen on buff wove paper. Signed. - Slightly bumped in two corners, on the verso irregularly browned. Excellent, rich print of the almost format-filling depiction. - Published as a poster for the exhibiton back in 1974 in the Museum of Modern Art, Oxford.

Transavantguardia Francesco Clemente (1952 Neapel - lebt in New York)3 Lithographien aus: The Departure of the Argonaut. 1986. 3 einzelne Blätter, je auf feinem Japanpapier. Blattmaße von 65,5 x 50,5 cm bis 65,5 x 100 cm. 1 Arbeit signiert und datiert. Durchweg jeweils verso nummeriert. - Mit wenigen, kaum merklichen, blassen Braunfleckchen und einer kleineren Knickspur. Insgesamt in wirklich gutem Zustand. Prachtvolle und sehr kräftige Drucke mit formatfüllenden Darstellungen. - Die Arbeiten sind als Triptychon bestimmt. Jeweils eines von 100 Exemplaren. - Beigegeben: - Francesco Clemente. The Departure of the Argonaut. Von Alberto Savinio, mit Illustrationen von Francesco Clemente. Hg. Petersburg Press, New York und London anlässlich der gleichnamigen Ausstellung im Museum of Modern Art, New York 1986. Die Lithographien dort abgebildet bzw. reproduziert. 3 lithographs from: The Departure of the Argonaut. 3 single sheets, each on fine Japanese paper. 1 work signed and dated. Numbered throughout on verso. - With a few, hardly noticeable, pale brown spots and a smaller crease. Overall in really good condition. Splendid and very strong prints with format-filling images. - The works are intended as a triptych. - One of 100 copies of each. - Added: - Francesco Clemente. The Departure of the Argonaut. By Alberto Savinio, with illustrations by Francesco Clemente. Ed. Petersburg Press, New York and London on the occasion of the exhibition of the same name at the Museum of Modern Art, New York 1986. The lithographs illustrated or reproduced there.

Africa.- Middle East.- Butler (Alfred J.) The Ancient Coptic Churches of Egypt, 2 vol., first edition, wood-engraved frontispieces, illustrations, publisher's advertisements at end vol. 1, ex-library with ink-stamps and accession number to title and title verso, bookplate, modern buckram, Oxford, 1884 § Curzon (Hon. Robert) Visits to Monasteries in the Levant, frontispiece, additional vignette title, plates, scattered faint spotting, bookplate, later half-morocco, 1851 § Trimingham (J. Spencer) Christianity Among the Arabs in Pre-Islamic Times, first edition, illustrations, tiny stains to pp.88-89, bookplate, original cloth, dust-jacket, 1979 § Gerster (Georg) Churches in Rock: Early Christian Art in Ethiopia, first edition, illustrations, bookplate to front free endpaper verso, original cloth, price-clipped dust-jacket, fractional creasing to edges, housed in original slipcase, a little rubbed, 1970 § Budge (Sir E. A., introduction), The Queen of Sheba & her only Son Menyelek, frontispiece, plates, previous owner's ink inscription, bookplate, original cloth, slight bumping to corners and extremities, April, 1922; 8vo & folio (6)

A Greek bronze and terracotta diadem Circa 4th-3rd Century B.C.The diadem formed from bronze with gilding remaining on the bronze ivy leaves, interspersed with white gesso-painted terracotta berries attached with fine bronze strands, 24cm longFootnotes:Provenance: Private collection, Germany.With Royal-Athena Galleries, New York. Ian Colverson (1940-2022) Collection, UK, acquired from the above on the 4 May 2009.Ian Colverson was a Postwar & Contemporary printmaker whose works are held in many museums and galleries worldwide, including the Tate Gallery, London and the Museum of Modern Art, New York.There is a wreath with clay berries and gilt ivy leaves in the Museum of Fine Arts Boston, cf. M. Constock and C. Vermeule Greek, Etruscan and Roman bronzes in the Museum of Fine Arts Boston, 1972, pp.199-200.For further information on this lot please visit Bonhams.com

A Roman gilded glass, gold and faience bead necklace Circa 1st Century B.C. - 1st Century A.D.Formed of thirty-nine gilded glass cylindrical beads of varying sizes interspersed with eighteen collared spherical gold beads and fifty-six blue and red Egyptian faience disc beads, with a central larger gilded glass bead, all restrung with a modern S-hook closure, 40cm longFootnotes:Provenance:With Fortuna Fine Art, New York. Private collection, Europe, acquired from the above 1990.Gilded glass was an especially popular choice for jewellery from the mid 1st Century B.C. to the mid 1st Century A.D.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

A pair of Roman gold and emerald earrings and a Roman gold and emerald pendant Circa 3rd-4th Century A.D.Each earring an openwork disc forming a rosette centred by an emerald bead, one not ancient, a foliate cross-bar backed by three loops from which the pendants hang, composed of a red stone within a lozenge-shaped box settings, above a beaded wire and each terminating in an emerald bead; the square openwork gold pendant with central emerald bead, with two small pendants below composed of a red stone within a circular box setting, an emerald bead hanging pendant below from a gold foliate scroll, the pendant with a modern gold chain, earrings 4.5cm long, 6.5 grams; pendant 4cm long, 9.2g (3)Footnotes:Provenance:With Charles Ede Ltd, London.Private collection, London, acquired from the above at the Grosvenor House Antiques Fair, 2000.For another pair of similar earrings see D. von Bothmer, Glories of the Past. Ancient Art from the Shelby White and Leon Levy Collection, The Metropolitan Museum of Art, New York, 1990, p.253, no.187.For further information on this lot please visit Bonhams.com

Sandra Blow RA, British 1925–2006 - Summer (Ridgeway), 2005; acrylic and hessian collage on canvas, signed and dated lower right 'Blow 05', further signed, titled, dated and inscribed on the reverse 'Blow 05 Title: Ridgeway', 59 x 59 cm (ARR) Note: together with exhibition catalogue: New Millennium Gallery, St Ives Provenance: with Caroline Weissman Modern Art, London (according to the label on the reverse); private collection Note: Blow is considered to be one of the pioneering abstract artists of the 1950s who introduced a new form of expressive painting to Britain, often using everyday discarded materials such as sawdust, sackcloth and plaster, as well as paint. Although considerably younger than many of her contemporaries of this early period, she was at the forefront of the abstract movement. The present work is an exemplary piece of her later period, showing her skillful techniques towards creating abstract form, light, space, texture and rhythm.

Mary Newcomb, British 1992-2008 -Parakeet with Fresh Cherries, 1991;oil on canvas, signed and dated lower right 'Mary Newcomb 91', also signed, titled and dated on the reverse 'Mary Newcomb Parakeet with fresh cherries 91', 61 x 38 cm (ARR)Provenance: the Artist, with Crane Kalman Gallery, London (according to the label on the reverse), purchased from the aboveExhibited: Crane Kalman Gallery, 'The Rural Poetry of 3 Modern English Women', 1992, LondonNote: Newcomb is celebrated for her everyday observations of nature in her own poetic style. Here, the bright red and orange of the parrot is balanced with the plump cherries below.Last year a major retrospective for the artist was held at Compton Verney near Warwick. The museum holds a large collection of British Folk Art, which was originally gifted by Andreas Kalman, the director of Crane Kalman Gallery which exhibited her work since the 1970s. Her work is also held by the Tate, the Ingram Collection and the Sainsbury Centre for Visual Arts.

Thérèse Oulton, British b.1963 - Psalm II, 1983; oil on canvas, signed and titled on the reverse 'Therese Oulton Psalm II;, 62 x 52 cm (unframed) (ARR) Provenance: with Gimpel Fils, London, no. GF4600 (according to the label on the reverse) Exhibited: Museum of Modern Art Oxford (according to the label on the reverse) Note: Oulton had her first solo show at Gimpel Fils Gallery, London, in 1984. The show resulted in positive criticism towards her approach to her work, and she became known for her sombre, richly worked abstract or semi-abstract paintings. Her early work often resembles rocky landscapes, with thickly applied impasto paint.

Ken Howard OBE RA, British 1932–2022 - Tuileries; oil on canvas board, signed lower right 'Ken Howard', bears title to the label verso, 25.2 x 30.5 cm (ARR) Provenance: Bonhams, London, Modern British and Irish Art, 15th March 2016, lot 34, purchased from the above

John Kirby, British b.1949 - Man with a White Cat, 1995; oil on board, signed, titled and dated on the reverse 'J. Kirby "Man with a White Cat" May, ‘95' Rosscarbery', 91.5 x 76 cm (ARR) Provenance: with Koplin Gallery, Santa Monica, CA; with Flowers East, London (according to the labels on the reverse); The Geoffrey and Fay Elliott Collection, purchased from the above on 23rd April 1996 and thence by descent Note: Kirby had a major retrospective exhibition at the Walker Art Gallery, Liverpool in 2012. Trained at Central St Martins and the Royal College of Art, he cites French Modern artist Balthus and American realist Edward Hopper as his influences. His works are imbued with a haunting quality, addressing issues of gender, and sexual and social norms, and often depict solitary figures in a surrealist landscape. His works are held in many collections including the Tate, VIctoria & Albert Museum and the Royal College of Art.

Sir Claude Francis Barry RBA, British 1883-1970 - Carcassonne; oil on canvas, signed lower right 'F Barry', signed and titled to stretcher 'Barry Carcassonne', 100 x 113 cm (ARR) Provenance: Bonhams, London, Modern Pictures, 20th March 2007, lot 201 Exhibited: The United Society of Artists, 1955 Literature: Katie Campbell, Moon Behind Clouds, Fine Art Productions Ltd., 1999, no.843, illus.p.222. Note: Barry lived in France and Italy in the 1920s and was well travelled around Europe. Influenced by Pointillism and the bright colour of the Fauves, his work evolved into a unique style. Chateaus, castles and fortresses were common subject matter for Barry no matter where he lived. He made a later brightly coloured version of this scene using the secondary colours. He worked alongside Newlyn School greats like Stanhope Forbes, Henry Scott Tuke and Norman Garstin, spending many years in St Ives. He exhibited at the Royal Academy, the Royal Scottish Academy and the Royal Society of Painter-Etchers and Engravers.

Grandma Moses, American 1860-1961 -Kenyon Old House;oil on canvas, signed 'Moses', 20.5 x 25.76 cm (unframed)Provenance: the artist; Sidney Janis c.1940; private collection and thence by descent; Sotheby's, Arcade Sale, 15th March 1986, sale no.157, lot 267; The Geoffrey and Fay Elliott Collection, purchased from the above and thence by descentImages: Copyright Grandma Moses Properties Co., New YorkNote: catalogue raisonne number Kallir 1572A self-taught painter, Grandma Moses is one of America's most beloved folk artists. This work was originally handled by legendary dealer, Sidney Janis, whose gallery was an early exhibitor of the Abstract Expressionists, as well as Modern European masters. Janis included her work in the show ‘Contemporary Unknown American Painters’ at the Museum of Modern Art in 1939, which brought her work to national attention.The bucolic landscapes of Grandma Moses were inspired by the landscape and villages of rural East Coast America, idealised through her own imagination - “What’s the use of painting a picture if it isn’t something nice?” she asked.After spending most of her life working in rural New York and Virginia on farms, she started painting New England landscapes only at the age of 77.

Dame Elisabeth Frink RA, British 1930-1993 - Assassins I, 1963; bronze with brown patina, signed and numbered 'Frink 5/8', H55 x W17.8 x D17 cm (ARR) Provenance: Sotheby's, London, 11th March 1992, lot 188, illus.pg.60; The Geoffrey and Fay Elliott collection, purchased from the above and thence by descent Exhibited: Waddington Galleries, London, Elisabeth Frink, 11th October-4th November 1972 (another cast) Royal Academy of Arts, London, 'Elisabeth Frink: Sculpture and Drawings 1952-1984', 8th February-24th March 1985 (another cast) Literature: Edwin Mullins, 'The Art of Elisabeth Frink', 1972, Lund Humphries, p.49 (another cast illus.) Bryan Robertson, 'Elisabeth Frink Sculpture', 1984, Harpvale, pp.158-9, cat. no.104 (another cast illus.) Sarah Kent, 'Elisabeth Frink: Sculpture and Drawing 1952-1984', Royal Academy, 1985, p.16, (another cast illus.) Annette Ratuszniak, ed., 'Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93', 2013, Lund Humphries, cat. no.FCR128, p.90 (another cast illus.) Note: This powerful early work displays one of the artists most characteristic and unique themes, armoured male figures. Central to Frink's work is a sense of energy and physical presence and she was one of very few artists who focused on the male figure in her work, setting her apart from her contemporaries. Depicted here half-naked yet wearing uniform, her figures evoke both power and vulnerability, combined with a timeless quality, that is at once ancient and modern. Frink created two works focusing on the theme of Assassins, which were influenced by the assassination of JFK. This event and the ongoing threat of the Cold War, influenced how Frink depicted her figures, in particular in their helmeted heads, making them simultaneously remote yet scrutinising of the viewer. This is a rare sculpture of multiple figures in the artist's oeuvre and the treatment of the figure's faces points to the artist's seminal 'Goggle Heads'. Other casts of this work are in the Arts Council Collection.

Ronald Ossory Dunlop NEAC RBA RA, Irish 1894-1973 - The Ferry, Weybridge, 1969; oil on canvas, signed lower right 'Dunlop', 25 x 30.5 cm (ARR) Provenance: with Cork Street Gallery, London (according to the label on the reverse); Robert A. Lillie Collection, cat. no. 465; Christie's, Scotland, Decorative Arts; Scottish Contemporary and Modern Art, 23rd Sept 1997, lot 289, illus.pg.41; Sotheby's, London, Modern British and Irish Paintings, Drawings and Sculptures, 4th March 1998, lot 137, illus.pg.56

Rowland Suddaby, British 1912-1972 - The Lonely Tree; watercolour and pastel on paper, 38 x 56 cm (ARR) Exhibited: Sally Hunter Fine Art, London, Modern British Paintings and Works on Paper VII, Summer 2011, no.53 (according to the label on the reverse)

Basil Rákóczi, British/French 1908-1979 - Fleurs Artificielles II, 1957; oil on canvas, signed lower left 'Rákóczi', signed, titled, dated and numbered on the reverse 'Rákóczi, '57 Fleurs Artificielles II No. 2279, 47 x 19 cm (ARR) Provenance: the Estate of the Artist Note: Basil Rákóczi (1908–1979) and his partner, Kenneth Hall (1913–1946), founded The White Stag Group of modernist artists in 1935. Influenced by Surrealism and founded in London, they moved to Ireland in late 1939, following the start of the Second World War. There the Group flourished, gaining both local and continental members, including Nano Reid and Patrick Scott. Rakoczi and Hall’s work brought a modernism to Dublin and they gained a sizeable and positive reputation for their work, which focused on psychological states and esoteric myth and symbols. Instrumental to both artist’s careers, was the influential dealer Lucy Wertheim, who ran a celebrated gallery in Mayfair during the 1930s, one of the spaces focused on young artists working in a Modern idiom. Wertheim promoted major figures such as Barbara Hepworth, Christopher Wood, Frances Hodgkins and Henry Moore at an early age, but she is perhaps most known for her support of a diverse group of lesser known artists, many of whom worked in either expressionistic or faux-naïve styles. An exhibition of Wertheim’s legacy 'A Life in Art & Reuniting the Twenties Group' has recently been on display at Towner Eastbourne, UK, including works by both Hall and Rákóczi.

Basil Rákóczi, British/French 1908-1979 - Atlantide, 1950; watercolour on paper, signed lower right 'Rákóczi', titled and dated on the reverse of the frame 'Atlantide 1950', 52.5 x 72.5 cm (ARR) Provenance: with Molton Gallery, London, cat. no. 12 (according to the label on the reverse); the Estate of the Artist Note: ‘Atlantide’ explores the legendary sunken city of Atlantis. Basil Rákóczi (1908–1979) and his partner, Kenneth Hall (1913–1946), founded The White Stag Group of modernist artists in 1935. Influenced by Surrealism and founded in London, they moved to Ireland in late 1939, following the start of the Second World War. There the Group flourished, gaining both local and continental members, including Nano Reid and Patrick Scott. Rakoczi and Hall’s work brought a modernism to Dublin and they gained a sizeable and positive reputation for their work, which focused on psychological states and esoteric myth and symbols. Instrumental to both artist’s careers, was the influential dealer Lucy Wertheim, who ran a celebrated gallery in Mayfair during the 1930s, one of the spaces focused on young artists working in a Modern idiom. Wertheim promoted major figures such as Barbara Hepworth, Christopher Wood, Frances Hodgkins and Henry Moore at an early age, but she is perhaps most known for her support of a diverse group of lesser known artists, many of whom worked in either expressionistic or faux-naïve styles. An exhibition of Wertheim’s legacy 'A Life in Art & Reuniting the Twenties Group' has recently been on display at Towner Eastbourne, UK, including works by both Hall and Rákóczi.

Kenneth Hall, British 1913-1946 - The Blue House, 1937; oil on canvas, signed, titled and dated on the reverse 'Hall The Blue House April 5th 1937', 50.6 x 60.7 cm Provenance: the Estate of Basil Rakoczi Note: Basil Rákóczi (1908–1979) and his partner, Kenneth Hall (1913–1946), founded The White Stag Group of modernist artists in 1935. Influenced by Surrealism and founded in London, they moved to Ireland in late 1939, following the start of the Second World War. There the Group flourished, gaining both local and continental members, including Nano Reid and Patrick Scott. Rakoczi and Hall’s work brought a modernism to Dublin and they gained a sizeable and positive reputation for their work, which focused on psychological states and esoteric myth and symbols. Instrumental to both artist’s careers, was the influential dealer Lucy Wertheim, who ran a celebrated gallery in Mayfair during the 1930s, one of the spaces focused on young artists working in a Modern idiom. Wertheim promoted major figures such as Barbara Hepworth, Christopher Wood, Frances Hodgkins and Henry Moore at an early age, but she is perhaps most known for her support of a diverse group of lesser known artists, many of whom worked in either expressionistic or faux-naïve styles. An exhibition of Wertheim’s legacy 'A Life in Art & Reuniting the Twenties Group' has recently been on display at Towner Eastbourne, UK, including works by both Hall and Rákóczi.

Kenneth Hall, British 1913-1946 - Aran landscape, c.1940s; watercolour on paper, signed lower right 'Hall', 17.3 x 24 cm Provenance: the Estate of Basil Rakoczi Note: Basil Rákóczi (1908–1979) and his partner, Kenneth Hall (1913–1946), founded The White Stag Group of modernist artists in 1935. Influenced by Surrealism and founded in London, they moved to Ireland in late 1939, following the start of the Second World War. There the Group flourished, gaining both local and continental members, including Nano Reid and Patrick Scott. Rakoczi and Hall’s work brought a modernism to Dublin and they gained a sizeable and positive reputation for their work, which focused on psychological states and esoteric myth and symbols. Instrumental to both artist’s careers, was the influential dealer Lucy Wertheim, who ran a celebrated gallery in Mayfair during the 1930s, one of the spaces focused on young artists working in a Modern idiom. Wertheim promoted major figures such as Barbara Hepworth, Christopher Wood, Frances Hodgkins and Henry Moore at an early age, but she is perhaps most known for her support of a diverse group of lesser known artists, many of whom worked in either expressionistic or faux-naïve styles. An exhibition of Wertheim’s legacy 'A Life in Art & Reuniting the Twenties Group' has recently been on display at Towner Eastbourne, UK, including works by both Hall and Rákóczi.

Charles Higgins ('PIC'), Scottish 1893-1980 -Jalousie de Leda, 1947;oil on panel, signed, dated and titled on the reverse 'Pic 1947 Jalousie de Leda', 19.2 x 23 cm (unframed)Provenance: the Estate of the ArtistNote: writer and painter Charles Higgins painted under the pseudonym of PIC and created some of the most extraordinary and enigmatic British paintings of the 20th century. Setting mythological and fantastical imagery within imagined landscapes, PIC's work transports the viewing through time and the imagination, demonstrating the same visionary zeal as figures such as Marc Chagall and Leonora Carrington. His work was exhibited in some of the most important British galleries of the 20th century, including, the Wertheim Gallery during the 1930s and Gimpel Fils during the 1940s and 50s and Jack Bilbo's celebrated The Modern Art Gallery in the 1940s.

AMENDMENT: this work is unframed Charles Higgins ('PIC'), Scottish 1893-1980 -Untitled;ink on board, signed lower right 'Pic' and numbered on the reverse '21-', 20.2 x 42.8 cm (unframed)Provenance: the Estate of the ArtistNote: writer and painter Charles Higgins painted under the pseudonym of PIC and created some of the most extraordinary and enigmatic British paintings of the 20th century. Setting mythological and fantastical imagery within imagined landscapes, PIC's work transports the viewing through time and the imagination, demonstrating the same visionary zeal as figures such as Marc Chagall and Leonora Carrington. His work was exhibited in some of the most important British galleries of the 20th century, including, the Wertheim Gallery during the 1930s and Gimpel Fils during the 1940s and 50s and Jack Bilbo's celebrated The Modern Art Gallery in the 1940s.

Charles Higgins ('PIC'), Scottish 1893-1980 - French Railway Carriage, 1930; oil on paper, signed lower right 'Pic', 16.3 x 22.4 cm Provenance: with The Modern Art Gallery, London according to the label attached to the reverse of the frame); the Estate of the Artist Note: with Robert Sielle, Exhibitions Agents, London (according to the label attached to the reverse of the frame) Writer and painter Charles Higgins painted under the pseudonym of PIC and created some of the most extraordinary and enigmatic British paintings of the 20th century. Setting mythological and fantastical imagery within imagined landscapes, PIC's work transports the viewing through time and the imagination, demonstrating the same visionary zeal as figures such as Marc Chagall and Leonora Carrington. His work was exhibited in some of the most important British galleries of the 20th century, including, the Wertheim Gallery during the 1930s and Gimpel Fils during the 1940s and 50s and Jack Bilbo's celebrated The Modern Art Gallery in the 1940s.

Henryk Gotlib, Polish/British 1890-1966 - Standing woman, 1948; oil on canvas, signed lower left 'Gotlib', 76 x 51 cm (ARR) Provenance: with Grant Fine Art, Newcastle, Northern Ireland Exhibited: Scottish National Gallery of Modern Art, Edinburgh, 'Henrky Gotlib: Paintings and Drawings', 11th July - 17th August 1970, cat. no. 12

John Randall Bratby RA, British 1928-1992 - Self-portrait with two Jeans; oil on canvas, signed lower left 'BRATBY', 121.5 x 91 cm (ARR) Provenance: Bonhams, London, Modern British, Irish and East Anglian Art, 17th November 2015, lot 155, illus.p.80

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002),UNTITLEDpastel on paper, signed and dated '79image size 64cm x 50cm, overall size 85cm x 69cm Mounted, framed and under glass.Provenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),RONDA (SPAIN)oil on boardimage size 48cm x 48cm, overall size 67cm x 67cm Framed and under glass.Titled and dated (2000) verso in the artist's hand but obscured by the backboard.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),HUTS & HENHOUSES ABOVE MONTEJAQUEoil on board, signed and dated 2000image size 39cm x 48cm, overall size 57cm x 66cm Framed and under glass.Titled and dated verso in the artist's hand but obscured by the backboard.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).

* PAUL RITCHIE (SCOTTISH b. 1948),UNTITLEDoil on board, signedimage size 30cm x 38cm, overall size 40cm x 49cmFramed and under glass.Collections include: Arts Council of Great Britain, Scottish Arts Council, Victoria and Albert Museum, Johnsonian Museum (New York), Scottish National Gallery of Modern Art, Elf Oil UK, The Hunterian, Aberdeen Art Gallery, University College Wales, Grampian TV, Bradford Art Gallery, Bolton Art Gallery, Inverness Art Gallery, Livingstone Development Corporation, Tayside Regional Council, Salford Art Gallery, Oldham Art Gallery, Provident, Eastern Airlines and The Hunting Group.

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002),UNTITLED pastel on paper, signed and dated '87image size 84cm x 60cm, overall size 106cm x 82cm Mounted, framed and under glass.Provenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

A Modern Hallmarked Silver Mounted Rectangular Photograph Frame, Art Norman, Sheffield 1997, detailed in relief with a golfer, on dark blue plush easel back, overall height 17.8cm.

A modern Art Deco design silver cocktail ring. Set with an oval cut central green stone with 4 rows of channel set clear stones to either side. Silver marks to inside of band. Size N½.

A modern silver plated replica of a Christopher Dresser style teapot of Art Deco design. Tubular form, raised on 4 small legs and with wooden handle of abstract design. Approx. 13cm tall.

Vinyl - Sex Pistols God Save The Queen on A&M AMS 7284.  A super clean copy of the rare withdrawn A&M release housed in A&M company sleeve.  The vinyl appears in unplayed near mint condition with just a few very light marks when viewed under UV light.  A stunning example.  Provenance: Comes with a letter of authenticity from world renowned punk collector and urban/modern art and memorabilia curator Eddie Lock confirming the record came from his own personal collection.

Vinyl - Approx 70 Jazz LPs to include Roland Kirk, Charles Mingus, Modern Jazz Quarter, Chico Hamilton, Mose Allison, Art Blakey, Thelonious Monk, Shorty Roger, Nat Adderley, Lionel Hampton and more. Condition varies but at least Vg overall

Meister von Guebwiller, tätig um 1490, Oberrheinischer MeisterJesus am ÖlbergÖl/ Tempera auf Holz.39,1 x 28,2 cm.In grünem Rahmen mit goldfarbenem Innenrand.Beigegeben sind Gutachten von Prof. Otto Fischer, Kunstmuseum Basel, 7. Dezember 1936, sowie vom Archiv Ludwig Meyer, München, 2012, und René Millet, Paris 2019.Die Szene illustriert eine Station des Leidensweges Christi, nach dem Evangelium des Lukas (22,39-46). Jesus ist hier im Gebet kniend nach rechts dargestellt, vor einem Felsen, über dem eine Engelsgestalt erscheint, die ihm einen Kelch reicht. Dieses Detail bezieht sich auf den Text, demgemäß Jesus spricht „Lass den Kelch an mir vorübergehen“. Die Jesusgestalt ist im Bild erhöht gezeigt, nicht nur im Sinne einer Bedeutungsbetonung, sondern auch, um die schlafenden Jünger dem Betrachter näher zu bringen. Am rechten Bildrand erscheinen aus dem Hintergrund bereits die Häscher, angeführt von Judas.Wie häufig in der Tafelmalerei der Zeit, hat sich auch dieser Meister an einem damals im Kupferstich verbreitetem Motiv orientiert. Es findet sich im Stichwerk des Martin Schongauer (Colmar 1445/50-1491 Breisach am Rhein) mit demselben Titel. Das von Schongauer gemalte Tafelbild war dem Meister des vorliegenden Werkes sicher noch nicht bekannt, weswegen er sich nach einem Stich bei der Farbwahl auf sich selbst stellen musste. Für das Kleid Jesu hat er ein Violett-Braun gewählt, bei den Jüngern dominieren die Farben Rot und Grün, allerdings hat er diese Kleiderfarben dem liegenden Petrus gegeben, anstatt dem mit einem Buch sitzenden Evangelisten Johannes. Auch die Detailformen, vor allem die Gesichter unterscheiden sich von der Stichvorlage erheblich. Die liegende Petrusgestalt hält kein Schwert, die Gesichter sind weit rundlicher gezeigt, wie ebenso die Felsen weniger gratige Kanten aufweisen, was dem Gemälde einen einheitlichen, für eine Künstlerhandschrift typischen Ausdruck verleiht. So präsentiert sich das Tafelbild als typisches Werk der Elsässer Kunst des ausgehenden 15. Jahrhunderts. Gemälde des genannten oberrheinischen Meisters, der vermutlich bei dem „Meister der Passion von Karlsruhe“ gelernt hat, sind äußerst selten. Der Einfluss dieses Straßburger Meisters, der um 1430/50 tätig war, ist jedenfalls spürbar. Gegenüber der Stichvorlage von Schongauer zeigt sich das Tafelbild bereits in modernerer Erscheinung. A.R. (†)Provenienz:Sammlung Fritz Stöcklin, Kunsthandel, Basel 1936-1946.Sammlung Dr. Georg Heinrich Thommen, Bern. (13414517) (11)Maître de Guebwiller,active ca. 1490, master from the Upper Rhine regionCHRIST ON THE MOUNT OF OLIVESOil/tempera on panel.39.1 x 28.2 cm.In green frame with gilt inner edge.Accompanied by expert‘s reports by Professor Otto Fischer, Kunstmuseum Basel, 7 December 1936 as well as by Archiv Ludwig Meyer, Munich, 2012 and by René Millet, Paris 2019.This scene illustrates one of the stations of the Passion of Christ after the Gospel according to Luke (22:39-46). Christ is depicted kneeling in prayer to the right, in front of a rock surmounted by an angel handing him a chalice. This is a typical example of late 15th century Alsatian art. Paintings by the above mentioned master from the Upper Rhine region are very rare. He was a student of the “Master of the Karlruhe Passion”, a master painter from Strasbourg, active ca. 1430/50 and his influence is noticeable here. In comparison with the engraving template by Schongauer, the panel painting already shows a more modern appearance. (†)Provenance:Fritz Stöcklin collection, art trade, Basel 1936-1946.Dr Georg Heinrich Thommen collection, Bern.

Maurice Utrillo, 1883 Paris – 1955 DaxLA PLACE DU TERTRE À MONTMARTRE, 1920 – 1922Öl auf Leinwand.46 x 61 cm.Rechts unten signiert „Maurice. Utrillo, V.“.In vergoldetem barockisierendem Rahmen.Beigegeben ein Zertifikat des Wildenstein Institute.Ein Platz der trapezförmig nach rechts zuläuft ist von mehreren Bäumen bestanden, deren Grün den Passanten, die sich dorthin vor der senkrecht stehenden Sonne geflüchtet haben, Schutz bietet. Die Vertikalen der Baumstämme und die dazwischen gesetzten stehenden Staffagefiguren kontrastieren mit den Horizontalen, die durch die Etagenbegrenzungen der umstehenden Häuser gebildet werden. Diese architektonischen Gebilde gehören zu Utrillos Lieblingswerkzeugen, werden in diesem Gemälde jedoch von der domestizierten Natur beherrscht. (†)Provenienz:Kurt Sponagel-Hirzel, Zürich, 1955.Schweizer Privatsammlung.Sotheby’s, London, 25. März 1992, Lot 62.Anmerkung:Der Platz ist einer der Lieblingsmotive Utrillos am Montmartre.Das Gemälde kann nur im Vorfeld auf Anfrage besichtigt werden.Literatur:Pierre Courthion, Montmartre, Lausanne 1956, S. 118 und 142 (abgebildet auf S. 118).Paul Pétridès, L’oeuvre complet de Maurice Utrillo, Bd. II, Paris 1962, Nr. 901, S. 320 (abgebildet auf S. 321 mit nicht korrekten Maßen).Ausstellungen:Basel, Kunsthalle, Maurice Utrillo. Graphische Blätter von Corot und Daumier, Juni-Juli 1942, Nr. 205.Vevey, Musée Jenisch, Maurice Utrillo, Valadon, Modigliani, Utter, Juli-September 1955, Nr. 50, S. 24 (mit inkorrekten Maßen).München, Haus der Kunst, Maurice Utrillo V., Suzanne Valadon, Juni-September 1960, Nr. 77, S. 12 (abgebildet Tafel 39).Bern, Kunstmuseum, Utrillo, Januar-März 1963, Nr. 69.Tokyo, Seiji Togo Memorial Sompo Japan Museum of Art, Maurice Utrillo, April-Juni 2010, Nr. 23, S. 55 (abgebildet), Wanderausstellung.Nigata, The Nigata Prefectural Museum of Modern Art, Juli-August 2010.Kyoto, Museum Eki Kyoto, September-Oktober 2010.Aichi, Toyohashi City Museum of Art & History, Oktober-Dezember 2010. (13414523) (13)Maurice Utrillo,1883 Paris – 1955 DaxLA PLACE DU TERTRE À MONTMARTRE, 1920 – 1922Oil on canvas.46 x 61 cm.Signed “Maurice. Utrillo, V.“ lower right.Accompanied by certificate by Wildenstein Institute. (†)Provenance:Kurt Sponagel-Hirzel, Zurich, 1955.Private collection, Switzerland.Sotheby’s, London, 25 March 1992, lot 62.Notes:The square is one of Utrillo’s favourite subjects at Montmartre.The painting can be viewed only in advance on request.Literature:Pierre Courthion, Montmartre, Lausanne, 1956, pp. 118 & 142 (ill. on p. 118).Paul Pétridès, L’oeuvre complet de Maurice Utrillo, vol. II, Paris 1962, no. 901, p. 320 (ill. on p. 321 with incorrect dimensions).Exhibitions:Basel, Kunsthalle, Maurice Utrillo. Graphische Blätter von Corot und Daumier, June-July 1942, no. 205.Vevey, Musée Jenisch, Maurice Utrillo, Valadon, Modigliani, Utter, July-September 1955, no. 50, p. 24 (with incorrect dimensions).Munich, Haus der Kunst, Maurice Utrillo V., Suzanne Valadon, June-September 1960, no. 77, p. 12 (ill. panel 39).Bern, Kunstmuseum, Utrillo, January-March 1963, no. 69.Tokyo, Seiji Togo Memorial Sompo Japan Museum of Art, Maurice Utrillo, April-June 2010, no. 23, p. 55 (ill.), touring exhibition.Nigata, The Nigata Prefectural Museum of Modern Art, July-August 2010.Kyoto, Museum Eki Kyoto, September-October 2010.Aichi, Toyohashi City Museum of Art & History, October-December 2010.

Auguste Rodin, 1840 Paris – 1917 MeudonTête de Balzac, dernier état, version au col coupé derrière l’oreille(Haupt des Balzac, in fortgeschrittenem Alter, Version mit Hals hinter dem Ohr abgetrennt)18 x 19,6 x 16,5 cm.Signiert „A. Rodin 1958“ im Haar rechts mit der Gießereimarke „Georges Rudier / Fondeur Paris“ am linken Rand, mit dem „© by musée Rodin 1958“ und innen gestempelt „A. Rodin“.Beigegeben ein Echtheitszertifikat des Comité Auguste Rodin, 12. Januar 2011.Bronze, dunkelbraun patiniert. Auf würfelförmigem Sockel aus schwarzem brüniertem Metall. Schwarz patinierte Bronze mit leichtem Patinaabrieb. Eindrucksvolles Portrait des französischen Schriftstellers mit frei um das Haupt geführten Haaren. Für die Augen eine starke Vertiefung, in die der Schatten fällt. Das Monument für Honoré de Balzac zählt zu den Hauptwerken Rodins. Abgüsse des Monuments von 1891 und Studien befinden sich in bedeutenden internationalen Sammlungen, wie dem Hirshhorn Sculpture Garden in Washington D.C. und dem Museum of Modern Art in New York.Um 1897 entworfen, wurde dieser Bronzeabzug 1958 gegossen.Provenienz: Musée Rodin, ParisPrivatsammlung, Frankreich Literatur:Wie bereits erwähnt, wird dieses Werk in den Catalogue Critique de l‘oeuvre Sculpté d‘Auguste Rodin aufgenommen, der bei der Galerie Brame & Lorenceau unter der Leitung von Jérôme Le Blay in Vorbereitung ist, unter der Nummer 2010-3326B. Aufnahmebestätigung vom 12. Januar 2011. (13401120) (13)Auguste Rodin, 1840 Paris – 1917 MeudonTÊTE DE BALZAC, DERNIER ÉTAT, VERSION AU COL COUPÉ DERRIÈRE L‘OREILLE (HEAD OF BALZAC, AGED, VERSION WITH NECK SEVERED BEHIND EAR)18 x 19.6 x 16.5 cmSigned “A. Rodin 1958”. Reverse right foundry mark „Georges Rudier/ Fondeur, Paris“ on the left “© by musée Rodin 1958”, stamped “A. Rodin” on the inside.Accompanied by a certificate of authenticity from the Comité Auguste Rodin, 12 January 2011.Mounted on a cube-shaped base made of black burnished metal. Black patinated bronze with slightly wear to patina. Impressive portrait of the French writer with his hair loose around his head. A deep depression into which the shadow falls for the eyes.The monument to Honoré de Balzac is one of Rodin‘s major works. Casts of the 1891 monument and studies are held in important international collections such as the Hirshhorn Sculpture Garden in Washington D.C. and the Museum of Modern Art in New York.Provenance :Musée Rodin, Paris.Privat Collection, France.Literature:As mentioned, this work will be included in the Catalogue Critique de l‘oeuvre Sculpté d‘Auguste Rodin in preparation at the gallery Brame & Lorenceau under the direction of Jérôme Le Blay under no. 2010-3326B. Attestation of inclusion dated January 12th 2011.

Willem Danielsz. van Tetrode um 1530 Delft– 1588, Nachfolge desBOGENSCHÜTZEHöhe: 66 cm.Gesamthöhe mit neuzeitlichem Sockel: 74 cm.Die Körpergestaltung bewegt, der schlanke Athlet steht mit kämpferisch weit gestellten Beinen und mit in Spannung zurückgeneigtem Oberkörper auf dem Sockel. Der linke Arm nach vorne gestreckt, hält er das Mittelstück eines Bogens, die linke Hand die hier ebenfalls nicht gezeigte Bogensehne. Auffallend ist die Oberflächenbehandlung des Körpers, die sämtliche Muskelpartien anatomisch vorführt. Dies ist bereits in einigen Werken des Künstlers zum Ausdruck gekommen, später wohl auch von dessen Werkstatt weitergeführt, insbesondere im Interesse der Darstellung der Anatomie des Menschen in der Zeit der beginnenden Aufklärung.Wie auch immer, so ist die Bronze eng mit dem genannten Bildhauer im Zusammenhang zu sehen. Am Hof von Francois I. wurde ihm jung schon geraten, nach Florenz zu gehen. Er zog nach Italien und arbeitete im Bildhaueratelier des berühmten Benvenuto Cellini in Florenz. Hier zählt er zu dessen Werkstattmitarbeitern, die am Marmorsockel des berühmten “Perseus” arbeiteten. Um 1549 restaurierte er im Auftrag Cosimos I. dé Medici den antiken Torso eines Ganymeds. In Rom wirkte er unter der Leitung des Guglielmo della Porta, um Antiken für den Cortile del Belvedere zu restaurieren, wie den Farnese Hercules, den Apollo oder die Venus de Medici. Später wurde oft die Frage gestellt, wieweit die künstlerische Wirkung auf den Restaurator zurückgeht. Alle diese Erfahrungen nützte er später bei seinen eigenen Werken. Es wird allgemein angenommen, dass er, zurück in Delft, Lehrer des jüngeren Adriaen de Vries war und diesen Schüler ermutigt hat, ebenfalls nach Florenz zu gehen. Das Modell zur vorliegenden Bronze ist bislang nicht bekannt geworden. Auffallend ist die schöne Lackpatina, die möglicherweise auf einen Guss des 18. Jahrhunderts in Frankreich weist. Seine Werke und die seiner Werkstatt finden sich in zahlreichen Museen und Sammlungen, wie etwa der „Merkur“ (1549/50) Los Angeles County Museum of Art. (1340752)Willem Danielsz. van Tetrode,Ca. 1530 Delft – 1588, follower ofArcherHeight: 66 cm. Total height with modern base: 74 cm.

Endless (British), 'Bronze Chapel Worship', 2020, mixed media, hand embellished with acrylic and spraypaint on 300gsm Art Paper, signed and numbered from an edition of 25 unique works in black ink; 141 x 99cm inc frameARR141 x 99cm inc frameEndless is a London-based contemporary, street artist, whose artworks tell a visual story and observation of the world he sees around him. Starting out using the walls of our nation’s capital as his canvas, a bold, street-art aesthetic is still prevalent throughout his works – infused with a mix of contemporary techniques. His work often comments on society’s reaction to the media, the influence of the advertising industry and the shift in modern priorities from religious worship, to the ‘new era’ religion, where the shops are our chapels, the magazines our bibles and the fashion icons are our gods. His career exploded in 2016 when he was asked to work with the legendary Gilbert and George and was followed by historic collaborations with brands such as Karl Lagerfeld, Fiorucci (FI-O-RU-CHY) and Liberty London.