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A MODERN TIFFANY & CO. STYLE STAINED GLASS 'PEONY' FLOOR LAMPleaded glass and bronze, on a base with feet imitating flower petals, stamped Tiffany Studios with serial number 1574 on interior rim of shade; overall height: 203 cm (79 7/8 in.), diameter of shade: 61 cm (24 in.) CONDITION The floor lamp appears in good condition. Visible patina to the shade and stand. The lamp is in working condition. With no significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

A MODERN TIFFANY STYLE MOSAIC 'DANDELION' TABLE LAMP the base with a mosaic of dandelions, with brass detailed feet, the shade matching in design, with dandelions and brass detailing; height of base: 63 cm (24 3/4 in.), diameter of shade: 45 cm (17 3/4 in.) CONDITION The table lamp appears in age-appropriate condition. A visible chip to the base. Fine splitting in the glass visible throughout the shade and base. Visible patina to both the base and shade. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

MODERN TIFFANY STYLE 'WATER LILY' TABLE LAMPleaded glass and bronze, on a tiffany base with conforming feet, stamped TIFFANY STUDIOS NEW YORK with numerals 537 under base; height: 64 cm (25 1/4 in.) , diameter of shade: 52 cm (20 1/2 in.) CONDITION The lamp appears in age-appropriate condition. Patina visible to the shade. Very fine splitting in the glass visible throughout, visible bubbling to the glass as well. The base is in age-appropriate condition, patina visible to the shade rest. The lamp is in working condition. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

A quantity of contemporary Silhouettes,water colour of Continental church,Art Nouveau stained gass panel Kingfisher and Dragonfly together with two Cyril J Ross exibition bokklets and a Stanley Spencer Penguin Modern Painters.

Avantgarde - Fluxus - - Joseph Beuys. Zeige deine Wunde. Raum mit Doppelobjekten. Mit 1 beiligenden zeitgenössischen Originalphotographie und 24 blattgroßen photographischen Abbildungen. München, Schellmann & Klüser, 1976. 15 Bll. 4°. Illustr. OBroschur (etwas gebräunt). Dabei: Joseph Beuys, The secret block for a secret person in Ireland. Mit zahlreichen Abbildungen. 10 Bll., 255 S., 1 Bl. 29,5 x 21 cm. Illustr. OKt. Oxford, Museum of Modern Art, 1974.

Sammlung Künstlerbücher - - Leonid Tishkov. "Verschiedene Fische" (russ.). Mit Bemalungen, Applikationen und handgeschriebenen Texten. Moskau, 1992. Folio. 17 nn. S. Handbemalter Pappband. Unikales Künstlerbuch des russ. Buchkünstlers. Jede Seite unterschiedlich bemalt und mit verschiedensten handgeschriebenen Texten versehen, dazu jede Seite mit aquarellierter, montierter Malerei auf Papieren in verschied. Größen. - Leonid Tishkov wurde 1953 in eine Lehrerfamilie in der russischen Kleinstadt Ural geboren und lebt und arbeitet heute in Moskau. Er nahm an zahlreichen wichtigen Gruppenausstellungen und Einzelausstellungen teil, darunter Berlin-Moskau Moskau-Berlin 1950-Berlin 1950-2000, Berlin, Martin Gropius Bau (2002), Eye on Europe, 1960 to Now - MoMA - Museum of Modern Art, NY (2006) u.v.m.

A collection of books to include, The Studio, Modern Publicity 1933, 1938-1939, 1955-1956, 1958-1959, 1949, together with Decorative Art 1920's-1950's and Magazine of Fine and Applied Arts (c.42) 2 boxes. 

London.- Jackson (Edith) Annals of Ealing, original green cloth with gilt Art Nouveau design to upper cover, uncut, 1898 § Howitt (W.) The Northern Heights of London...Hampstead, Highgate..., 1869 § Tomlins (T.E.) Yseldon. A Perambulation of Islington, 1858 § Robins (William) Paddington: Past and Present, for the author, [c.1853] § Fitzgerald (P.) London City Suburbs as they are to-day, 1893 § Prickett (Frederick) The History and Antiquities of Highgate, folding maps, lithographed plates (the number of maps and plates varies from copy to copy), some spotting, modern half roan, 1842, plates and illustrations, all but the last original cloth, rubbed, the fourth faded and stained; and c.20 others on north and west London including the 1851 sale particulars (with folding hand-coloured plan) of the site of Brandenburgh House, Fulham, 4to & 8vo (c.25)⁂ The site of Brandenburgh House was at various times owned by Prince Rupert (for his mistress), George Bubb Doddington, and the Margrave of Brandenburgh. The latter's widow retired to Naples in 1819 and the house was lent to George IV's estranged wife Queen Caroline until she died in 1821. The house was then demolished and the land developed for industry, notably the Hammesmith (Haig) Distillery built in 1857 and the Manbré Saccharine Works in 1872.

Painted binding.- Colles (Dorothy Margaret Tyas, 1917-2003) Her Anthology, manuscript poetry, contemporary vellum, hand painted and highly decorated, limp leather ties, c.1932-37 § [untitled], manuscript poetry, pencil and ink sketches, contemporary limp vellum, monogram 'T.M.' to upper cover, limp leather ties, one snapped and reattached, c.1913 (2).⁂ The first with the note "This book was Aunt Dorothy's: Granny gave it to me in 1931. Mummy had it made for her in Florence. I was called after her."Dorothy Colles was born in Cairo in 1917, where her father worked as a forensic scientist and medical school professor for the Egyptian government. When he retired to England in the 1930s Dorothy began her art training at the Central Westminster, Epsom and St Martin's schools of art. She exhibited at the R.A. and R.S.P.P. She co-authored a book entitled "Christian Symbols, ancient and modern: a handbook for students" with Heather Child, and also wrote and illustrated "Portraying Children" (The Studio, 1956).

NO RESERVE Annotated.- Gadbury (John) Genethlialogia. Or, The doctrine of nativities, containing the whole art of directions and annual revolutions, first f. blank, engraved diagrams in text, tables, woodcut head-pieces and decorative initials, lacking portrait frontispiece, title, 2 preliminary ff., and all after p.294 at end, ink diagrams and calculations to front free endpaper, and some margins and blank pages, 3T1 torn and with large repair with loss of text, repairs, especially to preliminaries, a few margins trimmed, tears, spotting and staining, browning, modern calf-backed marbled boards, gilt spine in compartments, [Wing G84], folio, [printed by Ja: Cottrel, for Giles Calvert], 1658. sold not subject to return.⁂ Provenance: John Allason, 1686; Wm. Brown, 1781; Wm. Janes, 1797; Frederic Shearing, 1872 (ink inscriptions).

NO RESERVE British Art.- Pierce (Helen) Unseemly Pictures: Graphic Satire and Politics in Early Modern England, New Haven & London, 2008 § Raines (R.) Marcellus Laroon, London & New York, 1966 § Lambourne (L.) & Jean Hamilton. British Watercolours in the Victoria and Albert Museum, 1980 § Croft-Murray (E.) & Paul Hulton. [British Museum] Catalogue of British Drawings Vol.I: XVI & XVII Centuries, 2 vol., 1960 § Farington (Joseph) The Diary..., edited by Kenneth Garlick and Angus Macintyre, vol.1-6: 1793-1804, New Haven & London, 1978-79, illustrations, original cloth or boards, the first two and last with dust-jackets, some a little rubbed, some spines faded; and c.40 others, British art and miscellaneous, 4to & 8vo (c.50)

NO RESERVE Modern & Contemporary Art.- Burgard (Timothy Anglin) & others. Richard Diebenkorn: The Berkeley Years 1953-1966, San Francisco & New Haven, 2013 § Gooding (Mel) & David Elliott. Sylvia Edwards, with 4 colour lithographs, one signed and numbered 197/500, 2002 §Glimcher (A.) Mark Rothko: The Exhibitions at Pace, 2019 § Anderson-Spivy (A.) Robert Kushner: Gardens of Earthly Delight, New York, 1997 § Laura Owens, Zurich, 2006 § April Gornik: Drawings, New York, 2014 § Taaffe (Philip) Anima Mundi, Dublin, 2011 § Crone (R.) & David Moos. Jonathan Lasker: Telling the Tales of Painting..., Stuttgart, 1993 § Moeglin-Delcroix (A.) & others. Herman de Vries, Lyons, 2009 § Cullinan (Nicholas) Michael Jackson on the Wall, 2018, illustrations, many colour, original cloth or boards, the first four with dust-jackets; and a quantity of others on modern and contemporary art, many catalogues, v.s. (c.100)

NO RESERVE Modern & Contemporary Art.- Innes (Callum) I'll Close My Eyes, Berlin, 2016 § Scully (Sean) Prints from the Garner Tullis Workshop, New York, 1991 § Balmer (Derek) A Singular Vision, second edition, Bristol, 2020 § Taylor (Kendall) Philip Evergood: Never Separate from the Heart, London & Toronto, 1987 § Binyon (Helen) Eric Ravilious: Memoir of an Artist, Guildford & London, 1983 § Applin (Jo) & others, editors. London Art Worlds: Mobile, Contingent, and Ephemeral Networks, 1960-1980, University Park, Pa., 2018, illustrations, some colour, original cloth or boards, the last four with dust-jackets; and c.40 others on modern & contemporary British art, several catalogues, 4to & 8vo (c.45)

NO RESERVE Modern Art.- Mössinger (Ingrid, editor) Karl Schmidt-Rottluff. Catalogue of the Collection, Wienand, 2015 § Szech (Anna) Paul Klee: The Abstract Dimension, Basel, 2017 § McShine (Kynaston, editor) Joseph Cornell, New York, 1980 § Langa (Helen) Radical Art: Printmaking and the Left in 1930s New York, Berkeley, 2004 § Srp (Karel) & others. New Formations: Czech Avant-Garde Art and Modern Glass from the Roy and Mary Cullen Collection, one leaf creased and torn, New Haven & London, 2011 § MOMA. First Loan Exhibition: Cézanne, Gauguin, Seurat, Van Gogh, limited edition, front free endpaper loose and torn (repaired with tape), original cloth-backed printed wrappers, worn, upper cover detached, New York, 1929, illustrations, many colour, all but the last original cloth or boards, the fourth and fifth with dust-jackets; and c.40 others on modern art, 4to & 8vo (c.45)

Hindley (Charles) The Life and Times of James Catnach..., first edition, presentation copy from the author inscribed to George Skelly of Alnwick with 2 mounted photographic portraits, illustrations, some hand-coloured, some by Bewick, extra-illustrated with numerous additional plates including engravings, lithographs, portraits, letters, advertisements and a mock-up of a chapbook 'The Golden Pippin, mostly mounted on blank leaves and bound in, modern buckram, morocco label, 1878; The History of the Catnach Press, 1887; The True History of Tom and Jerry, one of 250 copies, hand-coloured plates, [1883] § Tuer (Andrew W.) The Book of Delightful and Strange Designs...of the Art of the Japanese Stencil-Cutter, limited edition [?one of 100 copies], text in English & French, with original stencil mounted on stub as frontispiece, double-page textile stencil designs, title browned and slightly frayed at edges, original cloth-backed boards, paper label on upper cover and spine, Leadenhall Press, [1893], plates and illustrations, rubbed; and 7 others, Leadenhall Press, chapbooks etc., 8vo & 4to (11)

An Art Deco bronzed lamp of a dancer, set on onyx base, 39cm tall. Together with a similar modern resin example. (2)

After Pierre Le Faguays, 1892-62. A modern reproduction bronze Art Deco style figure of a loosely draped nubile girl firing aloft a bow, circular marble base, 47cms high, 50cms including base.

A modern Chinese vase - sold with an Art Deco shaped vase

Eichholtz pair of contemporary gold coloured metal swivel tub chairs, in a modern Art Deco style, upholstered in black velour-type fabric, h70cm, w76cmCondition Report: Do not appear brand new but relatively unused. Scratches to gilt frame and minor marks to metal. Very minor marks to upholstery, otherwise in good condition.

Cream framed example of modern art by Dina Southwell

Cohausen (Johann Heinrich). Dissertatio satyrica physico-medico-moralis de pica nasi, sive tabaci sternutatorii moderno abusu, et noxa, Amsterdam: Jan Oosterwyk, 1716. 8vo (146 x 85 mm), modern quarter calf, engraved frontispiece (trimmed and mounted), title-page tipped in - Armstrong (John). The Art of Preserving Health. To which is prefixed a Critical Essay on the Poem, by J. Aikin, London: T. Cadell, Jun. and W. Davies, 1795. 8vo (156 x 95 mm), contemporary tree calf gilt, rebacked, half-title, engraved portrait frontispiece, advertisement leaf, 4 engraved plates after Stothard, engraved ownership of Joseph John Alley (1840-1912), architect, dated Manchester [18]63 - Taylor (Joseph). Annals of Health and Long Life; with Observations on Regimen and Diet, so Necessary to the Preservation of Life: including the Records of One Hundred and Forty Remarkable Persons, who attained Extreme Old Age, London: Effingham Wilson, 1818. 12mo (176 x 100 mm), modern half calf retaining contemporary marbled boards, engraved frontispiece - Goldsmith (Oliver). A History of the Earth and Animated Nature, London: A. Fullarton and Co., 1850. Large 8vo (250 x 160 mm), contemporary half calf, rebacked retaining original title-labels, hand-coloured additional vignette title-pages, engraved portrait frontispiece to volume 1, 71 hand-coloured engraved plates (of 72: lacking plate 27), a few plates finger-soiled - and 3 others (qty: 8) ESTC T60014 (Armstrong). Dissertatio ... de pica nasi is the author's best-known work, a Latin parody on snuff in which Apollo orders Mercury to confiscate the noses of snuff-users.

Gilbey (Sir Walter). Life of George Stubbs R.A, 1st edition, number 42 of 150 copies only, London: Vinton & Co., 1898. 4to (248 x 186 mm), original dark red morocco rebacked with original spine laid down, sporting vignettes gilt to front cover, all plates as called for, bookplate of Thomas Guy Paget (1886-1952), soldier, Conservative politician and author of Sporting Pictures of England (1945) - ibid. Farm Stock 100 Years Ago, 1st edition, London: Vinton & Co., 1910. 8vo, original pictorial orange cloth gilt, inscribed by the author 'T B Wood, with compliments, 5th May 1910, Walter Gilbey' on the title-page, a little wear to extremities - Nevill (Ralph). Old English Sporting Books, 1st edition, number 508 of 1500 copies only, London: The Studio Limited, 1924. 4to, original red pictorial cloth over bevelled boards, dust jacket, all plates as called for, spine sunned, dust jacket with a few chips and nicks - [Apperley, Charles James]. Nimrod's Hunting Tours ... A New Edition with an Introduction by W. Shaw Sparrow, London: John Lane The Bodley Head, 1926. 4to (251 x 182 mm), modern red half morocco, top edge dyed red, others untrimmed, all plates as called for (including folding map of Leicestershire) - and 11 others on field sports and sporting art, including another copy of Gilbey, Life of George Stubbs, 1898, number 76 of 150 copies only (lacking plate facing p. 142) (qty: 15)

THREE ASIAN ITEMS 18TH CENTURY AND EARLIER Comprising: a Chinese Han dynasty pottery model of a horse's head, a Tibetan bronze model of a hand, together with a modern stand, and an Indian bronze head of Lakshmi, 19.5cm max, the hand 608g, the head 640g. (4) Provenance: from the collection of Mr Richard Nathanson (d.2018). The pottery horse purchased from Nicholas Pitcher on 11th July 2013. The bronze hand purchased from Brandt Asian Art on 24th October 2006. The bronze head purchased from Peter Sloane c.2010.

A KUSHAN SANDSTONE FRAGMENT OF A SEATED BUDDHA AND AN INDIAN SANDSTONE FRAGMENT OF PARVATI C.2ND AND C.11TH CENTURY Both carved from red sandstone, the seated Buddha with crossed legs, the torso Rajasthan, wearing elaborate necklaces and with a piece of fabric tied around her bust, each raised on a modern stand, 57cm and 33cm. (2) Provenance: from the collection of Mr Richard Nathanson (d.2018), London. The seated Buddha purchased from Jeremy J Mason Oriental Works of Art on 2nd July 2013. A copy of the invoice is available.

A JAPANESE HANIWA POTTERY FIGURE KOFUN PERIOD, 5TH/6TH CENTURY Modelled as the head and torso of a male warrior with his arm outstretched, his mouth slightly open and with almond-shaped eyes, his hair tied up into two buns, the earthenware surface with flecks of mica and vertical striations to the lower part of the body, raised on a modern wood stand, the figure 43.5cm. (2) Provenance: from an English private collection, London. Purchased from Christie's, London, Fine Japanese Ceramics, Prints & Works of Art, 12th March 1985, lot 376. A copy of the original invoice is available. See Bonhams, New York, Fine Japanese and Korean art, lot 6203 for the Haniwa head of a warrior with comparable hair and facial features from Mayuyama & Co.

A modern blue and white Urn and cover, with figure surmounted, 26'' (66cms); a square Portuguese Dish, a circular ditto, an Art glass Plate, a glass Dish, and a copper coloured Planter. (6)

A pair of heavy Art Glass multi gourd Candle Stands, 17'' (43cms); together with a pair of smaller matching ditto 13'' (33cms) and a modern glass Candle Lantern on wooden base, 15'' (38cms) h. (5)

A modern bronzed resin Figure of Cú Chulainn and Irish Wolfhound, 24'' (61cms), a bog oak natural Sculpture, an Art Slate Mantle Clock, and a bronzed Spelter figural Table Lamp, 36'' (91cms). (4)

A large slate Art Mirror, with coiled copper roundels, 50'' x 24'' (127cms x 61cms), together with a smaller similar ditto, 19 1/2'' x 10'' (47cms x 27cms), and a modern basket weave two handled Vase 24'' (61cms), and a large two handled Pottery Vase, 20'' (51cms). (4)

A collection of modern glazed Pottery, some Art style, jugs, bowls, mugs, dishes etc., some dam., as a lot, w.a.f. (on top of stainless steel trolley). 

A modern Chinese Canton Vase, with monochrome all over decoration, 24'' (61cms); two Art stoneware Ewers, a vase Lamp and an unusual rust ground Art Pottery Wine Ewer. (5)

A large quantity of Books, (in bookcase), mostly modern fiction, biography, history and Irish Art, as a collection, w.a.f. (1)

A Modern Reproduction Art Deco Style Radio

A Composition Modern Art Sculpture, 35cm high

A Modern Art Deco Style Study of a Maiden Head Set on Green Onyx Plinth, 28cm high

A Modern Ellis and Lloyd Mantle Clock Movement In the Art Deco Style, 33cm Wide

Quantity of modern first editions, mainly biography and history, to include Mary Beard, Dan Snow, Anthony Beevor, art, dog painting, Alan Laondes and a leather-bound bible in Swedish (3 boxes) 

Large quantity of modern art catalogues, ephemera, postcards, The Little Library of Art published by Methuen, art books to include Jeremy Maas "Victorian Painters", Northrop Moor "The Green Fuse ...", signed, John Pope Hennessy, Sienese Quattrocento Painting, Arthur Segal (1875-1944), etc (3 boxes) 

Assorted books on modern art to include Hamish Fulton, Marlene Dumas, Mary Kelly, Apocalypse, Rainer Fetting, Philip Pearlstein, Pop Art 'The Royal Academy of Arts 1991', Robert Mangold and assorted other books including Roy Strong, Sowerby's Book of Shells, Art and Industry by Herbert Reid, etc (2 boxes) 

Modern and Pop-Art to include "Elvis and Marilyn", Rizzoli, published 1994, limp covers, Snowden a Personal View, Susan Sontag and Howard Hodgkin "The Way We Live Now", published Jonathan Cape 1991, limp covers, Radio Times Graphic Art Covers 1927-1988, A Kelly Book's Colour Catalogue, Cover Art by New Music Graphics, New British Artists from the Saatchi Collection 'Sensation',  Small Time Live by Andre Stitt, Alan Jones 'Sheer Magic', Paul McCartney 'Paintings', The Face of Rock and Roll, Matthew Collings 'Blimey from Bohemia to Brit Pop ...', limp covers, Danny Moynahan 'Boogy Woogy', Duck Editions 2000, limp cover, The Multitude Diaries, Chris Orr, numerous catalogues from the Saatchi Gallery, Royal Academy Illustrated, etc and 'The Fashion Book', published Phaidon 1998

Modern Art, - Georgia O'Keefe, The Art of Gilber and George, Contemporary Painting in Germany, Grosse, Francis Bacon etc ( 2 boxes)

Quantity of children's books to include Edward M Crystie, C B Rutley, Agnes Furlong, Christine Pullein-Thompson, Ruby Ferguson, Linda Peters, Pat Smyth and various books on children's literature to include The Illustrated Treasury of Modern Literature for Children, James Reeves "A Golden Land", The Art of the Hobby Horse, The Faber Story Book, etc (2 boxes) 

Modern Art catalogues and ephemera to include the Portland Gallery Michael Scott, The Tate Gallery Roy Lichtenstein, Annely Juda Fine Art The Non- Objective World 1973, Magazine of Contemporary Visual Arts etc. ( 2 boxes)

Modern Art and Design - Luc Tuymans, Francis Bacon, Katharina Fritch, Walters, Robert Hughes etc. ( 2 boxes)

 Architecture  - Nicholson, Emrich " Contemporary Shops in the Unites States" Jackson " Semi-Detached in London"  " Eastern European Modernism" Dean, David " The 30's The English Architectural Scene",  Yorke F.R.S. and Gibbard " The Modern Flat" vols relating to Art Deco  and other vols ( 3 boxes)

Hockney, David "The Blue Guitar", etchings by David Hockney who is inspired by Wallace Stephens who was inspired by Pablo Picasso, Petersburg Press (1977), boards with pastedown to front cover, dj a little chipped and worn "Six Fairytales from the Brothers Grimm ..., Original Etchings", Petersburg Press, small 16mo"Paul Nash a Memorial Exhibition 1948", The Tate Gallery 17th March to May 2nd 1948 catalogue "Bridget Riley Paintings and Drawings 1951 to 71", The Haywood Gallery, bkpl from the Glasgow School of Art LibraryBlake, William "Visions of the Daughters of Albion", reproduced in facsimile by J M Dent & Sons 1932, beige cloth, gilt titles to front board, dj and other related artists to include Paul Klee, Braque, Stanley Spencer, Etrog, Ben Nicholson and Penguin Modern Painters (8) (23)

λ A CHINESE ARCHAISTIC RHINOCEROS HORN 'CHILONG' LIBATION CUP 17TH/18TH CENTURY The flared body decorated with stylised taotie masks reserved on a leiwen ground, carved in relief to one side with a curved handle, with two cat-like chilong clinging to the rim, their bifurcated tails trailing over the exterior, with key fret encircling the rim, all reserved on a short oval base, 17cm, 219g. Please note that an export licence will only be granted for rhinoceros horn pieces should the hammer price meet or exceed the value of 100 USD per gram of the item's weight. Provenance: from the collection of George and Cornelia Wingfield Digby and thence by descent. George and Cornelia Wingfield Digby started buying Chinese and Japanese art, notably porcelain, in the early 1950s, and they continued to build their collection over the next 40 years. George Wingfield Digby (1911-1989) joined the Victoria & Albert Museum's textile department in 1934 and later served as keeper between 1947 and 1972. He expanded the V & A's textile collection considerably during his time there and wrote three books on the subject. He also released three further publications on different fields of art, including The Work of the Modern Potter in England (1952), which his wife Cornelia played a large part in assisting him write. In addition to their extensive Asian art collection, they also acquired a significant number of pieces of studio pottery which were lent to Tate, St Ives in 1993. George and Cornelia lived in Palace Gardens Terrace, London, and they regularly bought from art dealers on Kensington Church Street as well as those outside London. After retiring, they settled in Dorset and part of their Chinese and Japanese art collection was exhibited at Sherborne Castle for 25 years. Cf. T Fok, Connoisseurship of Rhinoceros Horn Carving in China, p.49, no.2 for a related example.十七/十八世紀 犀角雕螭龍紋杯來源：George and Cornelia Wingfield Digby收藏。他們從1950年代初就開始收藏中國及日本藝術品，對瓷器尤為熱愛，之後的40年裏他們陸續購入他們的藏品。George Wingfield Digby （1911-1989）在1934年加入了維多利亞及艾爾伯特博物館（簡稱V&A博物館）的織品部門之後又分別在1947年至1972年擔任管理員。在職期間，George使得V&A博物館織品收藏體系得到質的飛躍，並以此為基礎出了三本書。之後在1952年又和他妻子共同出版了一本關於英國現代製瓷的書。他們的英國瓷器收藏曾在1993年出借給St Ives的Tate博物館。他們曾住在倫敦Palace Gardens Terrace，所以大部分亞洲藝術藏品購於肯辛頓教堂街的古董店。退休之後搬去了多塞特郡，一部分的亞洲藏品曾出借給Sherborne城堡展覽了25年。 注：只有落槌價格每克超過100美金的犀角雕拍品才能申請出口證書。

Kiko Modern Art PENDANT / BROOCH . 29g 8cm diameter

PAIR OF MODERN BROWN GLAZED CERAMIC ART POTTERY VASES

MODERN ART PICTURE

MODERN PRINT AFTER CHARLES RENNIE MACINTOSH, TOGETHER WITH A FURTHER MODERN GLASGOW SCHOOL OF ART PRINT (2)

Ca. 664-332 BC. Late Period. A pale blue-glazed faience shabti on a modern stand. The head wears a lappet wig and a false beard, with detailed facial features modelled on the front. The figure is mummiform, and two hands emerge on the chest in raised relief, holding a modelled adze and hoe (farming/irrigation implements). On the back, an incised rendering of a seed bag is slung over the left shoulder, and a dorsal column runs down the rear. The front of the bound and mummiform legs and stomach is incised with a hieroglyphic inscription written across seven horizontal rows. The Egyptian idea of Paradise ('Sekhet Aaru' - 'the Field of Reeds') was an idealised reflection of Egypt itself, and this meant bountiful agriculture - something that required servants and farmhands to be taken to the afterlife. Shabti like this one were buried as grave goods, sometimes in groups of hundreds, to be brought to life for that very purpose. From the reign of Thutmose IV they were typically depicted with an adze, a hoe, and a seed bag to fulfil this function, taking the chores of Paradise off the deceased's hands. During this period, they were called upon using the Book of the Dead (chapter 6). Size: L:160mm / W:50mm ; 157g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.

Ca. 664-332 BC. Late Period. A pale blue-glazed faience shabti on a modern stand. The head wears a lappet wig and a false beard, with detailed facial features modelled on the front. The figure is mummiform, and two hands emerge at the sides of the chest, holding an adze and hoe (farming/irrigation implements) vertically. On the back, an incised rendering of a seed bag is slung over the left shoulder, and a dorsal column runs down the rear. The front of the body is incised with a column of hieroglyphs. The Egyptian idea of Paradise ('Sekhet Aaru' - 'the Field of Reeds') was an idealised reflection of Egypt itself, and this meant bountiful agriculture - something that required servants and farmhands to be taken to the afterlife. Shabti like this one were buried as grave goods, sometimes in groups of hundreds, to be brought to life for that very purpose. From the reign of Thutmose IV they were typically depicted with an adze, a hoe, and a seed bag to fulfil this function, taking the chores of Paradise off the deceased's hands. During this period, they were called upon using the Book of the Dead (chapter 6). Size: L:170mm / W:40mm ; 99g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.

Ca. 1069-720 BC. Third Intermediate Period. A blue-glazed faience shabti of the priest Pa-Di-Khonsu on a modern stand. A short, black-glazed wig rests on the moulded face, while the mummiform body is adorned with a broad collar formed of concentric circles in raised relief, above a pair of arms crossed over the chest. The legs column is inscribed on the front with black-glazed hieroglyphs saying, 'The Osiris, the god's father of Amun, Pa-Di-Khonsu, justified'. The term 'the Osiris' is often attached to the deceased individual in Egyptian funerary literature, as part of a human's journey to the next life included merging with the god Osiris; similarly, the term 'justified' (or, more literally, 'true of voice') was a title used exclusively for the dead. That Pa-Di-Khonsu is given the title 'god's father of Amun' shows he was a high-ranking priest; the Third Intermediate Period began with a period of national divide in which the priesthood of Amun effectively ruled southern Egypt, having wrestled a great deal of power from the Crown. Even after the country was reunited, this priesthood continued in power and prestige. The Egyptian idea of Paradise ('Sekhet Aaru' - 'the Field of Reeds') was an idealised reflection of Egypt itself, and this meant bountiful agriculture - something that required servants and farmhands to be taken to the afterlife. Shabti like this one were buried as grave goods, sometimes in groups of hundreds, to be brought to life for that very purpose. During this period, they were called upon using the Book of the Dead (chapter 6). Size: L:120mm / W:35mm ; 78g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.

Ca. 300 BC-100 AD. Celtic. Western European. A rare and superbly preserved Celtic iron and bronze helmet. The helmet has a hemispherical one-piece bowl of cast, hammered, chased, and engraved iron, which is surmounted by a bronze low crest that bifurcates at the rear and front in two crescents that used to extend around the whole bowl. The bowl is decorated with further bronze double crescents, flanked by two circular inserts. The rim is also made of bronze and displays a perforation at each side to secure cheek pieces. Good condition; the item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Helmets like this one are found in small numbers throughout the Celtic world. Neither the Britons nor the Germans had helmets, writes Tacitus, but the Cimbri had helmets like the maws of frightful beasts or the heads of animals, with crests that made them look larger than they were (Plutarch, Marius XXV.2). Only in Italy, in the region of the Senones, have helmets similar to this one been found in great numbers, in a style named after the burial ground of Montefortino and characterized by a back peak to protect the neck and a top knob (Aldhouse-Green 1995, 43) - see, for instance, https://www.metmuseum.org/art/collection/search/684492?searchField=All&sortBy=Relevance&ft=celtic+helmet&offset=0&rpp=20&pos=1. Montefortino helmets were produced in the late 4th-early 3rd century BC in Etruria, and there is general scholarly consensus on the fact that they were probably inspired by Celtic prototypes such as our item. Aspects of the Celtic helmet designs were adopted in the Roman legionary helmet of the first century AD (Aldhouse-Green 1995, 44). To find out more about Celtic helmets and their evolution, see Aldhouse-Green, M. J. (1995). The Celtic world. London; New York: Routledge, 43-44.Size: L:140mm / W:245mm ; 1.7kg. Provenance: Property of a European collector, formerly acquired from Mr. J. Salz in 2014 in Dortmund, Germany.

Ca. 1069-720 BC. Third Intermediate Period. A blue-glazed faience shabti of the priest Pa-Di-Khonsu on a modern stand. A short, black-glazed wig rests on the moulded face, while the mummiform body is adorned with a broad collar formed of concentric circles in raised relief, above a pair of arms crossed over the chest. The legs column is inscribed on the front with black-glazed hieroglyphs saying, 'The Osiris, the god's father of Amun, Pa-Di-Khonsu, justified'. The term 'the Osiris' is often attached to the deceased individual in Egyptian funerary literature, as part of a human's journey to the next life included merging with the god Osiris; similarly, the term 'justified' (or, more literally, 'true of voice') was a title used exclusively for the dead. That Pa-Di-Khonsu is given the title 'god's father of Amun' shows he was a high-ranking priest; the Third Intermediate Period began with a period of national divide in which the priesthood of Amun effectively ruled southern Egypt, having wrestled a great deal of power from the Crown. Even after the country was reunited, this priesthood continued in power and prestige. The Egyptian idea of Paradise ('Sekhet Aaru' - 'the Field of Reeds') was an idealised reflection of Egypt itself, and this meant bountiful agriculture - something that required servants and farmhands to be taken to the afterlife. Shabti like this one were buried as grave goods, sometimes in groups of hundreds, to be brought to life for that very purpose. During this period, they were called upon using the Book of the Dead (chapter 6). Size: L:120mm / W:32mm ; 79g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.

Ca. 664-30 BC. Late Period - Ptolemaic Dynasty. A bronze statuette of Osiris on a modern stand. He wears an atef crown, plumed on each side with ostrich feathers and decorated on the front with a uraeus cobra. The modelled face also wears a false beard, and his mummiform body holds the signature crook and flail, crossed over his torso. This would have been given as a votive offering to a shrine or temple of the god in exchange for his favour. Osiris was the god of the underworld and renewal after death, but also of renewal in the physical world, like the regeneration of the crops after winter. Osiris' cult boomed in the 1st millennium BC, and this period saw a rapid increase in the number of bronze votives like this one given in exchange for anything from a fertile harvest to a pleasant afterlife. Size: L:140mm / W:35mm ; 91g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.

Ca. 664-332 BC. Late Period. A pale blue-glazed faience shabti on a modern stand. The head wears a lappet wig and a false beard, with detailed facial features modelled on the front. The figure is mummiform, and two incised hands emerge on the chest, holding an incised adze and hoe each (farming/irrigation implements). The front of the bound and mummiform legs and stomach is incised with a hieroglyphic inscription, saying, 'The illuminated one, the Osiris. The illuminated one, the Osiris'. The term 'the Osiris' is often attached to the deceased individual in Egyptian funerary literature, as part of a human's journey to the next life included merging with the god Osiris, so it here references the dead person more than the god. Similarly, the term 'the illuminated one' is typically attached to the deceased; it probably refers to how the deceased was also considered to merge with the sun god Ra at one point on their journey, juxtaposing their integrations with both Osiris and Ra. The name (of a person named Kheby) is written down the dorsal column on the rear. The Egyptian idea of Paradise ('Sekhet Aaru' - 'the Field of Reeds') was an idealised reflection of Egypt itself, and this meant bountiful agriculture - something that required servants and farmhands to be taken to the afterlife. Shabti like this one were buried as grave goods, sometimes in groups of hundreds, to be brought to life for that very purpose. From the reign of Thutmose IV they were typically depicted with an adze and how to fulfil this function, taking the chores of Paradise off the deceased's hands. During this period, they were called upon using the Book of the Dead (chapter 6). Size: L:70mm / W:13mm ; 10g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.

Ca. 100-300 AD. Roman. A beautiful unguentarium with a small bulbous body, a short cylindrical neck, and an annular rim. Excellent condition. Unguentaria, like alabastra in ancient Greece, were small jars used to store perfume or toilet oil in the Roman period. This type of unguentarium was dubbed by early archaeologists in the 19th century as a 'tear catcher' or 'lachrymatory' because it was believed to be a vessel used by mourners in funerary ceremonies to catch tears, but this myth has been debunked by modern chemical analysis, which revealed that these bottled in fact contained perfume or oils. To find out more about glass objects in the Roman world, Bayley, J., Freestone, I., & Jackson, C. (2015). Glass of the Roman World. Oxford And Philadelphia: Oxbow Books.Size: L:130mm / W:35mm ; 58g. Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1980s on the UK / International art markets.

Ca. 860-650 BC. Urartian. A beautiful pair of gold bracelets made of gold wires tightly twisted around a copper core. The terminals are in the shape of snake heads decorated with elaborate coiled and circular motifs. Excellent condition. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. It also comes with a gemological and historical report by an independent specialist Anna Rogers. This analysis will accompany the purchase. Urartu was an ancient kingdom of southwest Asia centred in the mountainous region southeast of the Black Sea and southwest of the Caspian Sea. Mentioned in Assyrian sources from the early 13th century BC, Urartu enjoyed considerable political power in the Middle East in the 9th and 8th centuries BC. From early in the kingdom's history, very characteristic artefacts were manufactured, including bronze belts along with shields, quivers, helmets, bells, jewellery, and ceramic and metal vessels of many forms. Many of these artefacts bear royal inscriptions and are decorated with characteristic motifs and scenes, which consist of various deities and composite otherworldly creatures, royal rituals, hunts, battles, and genre scenes. Urartu continued to produce beautiful works of art until it was destroyed in the second half of the seventh century BC by the Medes or the Scythians. To find out more about Urartu and its art production, see Merhav, R. (1991). Urartu: A Metalworking Center in the First Millennium B.C.E. Jerusalem: Israel Museum.Size: L: set of 2: 58mm, 59mm / W:72mm,75mm ; 76.5g. Provenance: Property of a London gentleman, part of his family collection formed in the 1980s-2000.