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WARHOL, ANDY1928 Pittsburgh, PA/USA - 1987 New YorkTitel: Flowers. Datierung: 1970. Technik: Serie von 10 Farbserigrafien auf festem Papier. Maße: Jeweils: 91,5 x 91,5cm.Bezeichnung: Signiert und nummeriert verso.Rahmen/Sockel: Jeweils Rahmen. Provenienz:- Galerie Rudolf Zwirner, KölnAusstellungen:- Kaiser Wilhelm Museum, Krefeld 1983/1984Literatur:- Feldman, Frayda/Schellmann, Jörg: Andy Warhol Prints - A Catalogue Raisonné 1962-1987, Mailand 2003 (4. Auflage), WVZ.-Nr. II.64-73, Abb.- Storck, Gerhard: Sammlung Helga und Walther Lauffs im Kaiser Wilhelm Museum Krefeld - Amerikanische und europäische Kunst der sechziger und siebziger Jahre, Krefeld 1983, Nr. 410, S. 241Mit seinen "Flowers" schuf Andy Warhol nicht nur das bekannteste Pop-Motiv der 1960er Jahre, sondern die Ikone der Pop-Art-Bewegung par excellence. Immer wieder bannte er dasselbe Motiv in verschiedenen Formaten und Farbvariationen auf Leinwand, Tapete oder Papier: Vier große unspezifische Blüten auf gras-artigem Grund, die zugleich gegenständlich und abstrakt erscheinen und die durch die leuchtenden und lebendigen Farbklänge mal sonnig oder düster, mal erhaben oder profan wirken. Die Schönheit der Blumenbilder wurde zum Sinnbild der schnellen Veränderungen während der Nachkriegszeit und der Art und Weise, wie sich diese in den sozialen, kulturellen und politischen Bereichen manifestierte. Hinzu kam, dass sich Warhol hier im Gegensatz zu seinen legendären und zum Teil spektakulären Themen dieser Zeit - insbesondere Konsum, Berühmtheit, Tod und Katastrophen - nicht kritisch mit einem narrativen Kontext auseinandersetzte. So verbarg er hinter den Blumen keine Geschichte. Vielmehr lud Warhol mit dem unbestimmten Bildinhalt erstmals den Betrachter zur individuellen und subjektiven Interpretation, Hinterfragung und Reflexion ein. Eher zufällig fand Warhol im Sommer 1964 zu diesem Motiv, als er in der Juni-Ausgabe des Magazins "Modern Photography" den Artikel über ein neues Farbverarbeitungssystem von Kodak entdeckte. Das Layout bestand aus einem Bild mit sieben Hibiskusblüten, das mehrfach nachgedruckt war, um die verschiedenen Effekte des Entwicklungssystems zu illustrieren. Nicht nur das Thema, auch die Serialität des Layouts griff Warhol in seinen Arbeiten auf. Dabei eignete er sich das Bild nicht einfach an. Vielmehr beschnitt er dieses und drehte eine der Blüten, bis er das gewünschte quadratische Format erreicht hatte. Auch steigerte er den Bildkontrast so stark, dass die Hibiskusblüten als solche nicht mehr erkennbar waren. Auf diese Weise erreichte er die einfachen, glatten Formen und lebendigen Umrisse, die die "Flowers" kennzeichnen. Und ganz bewusst entschied er sich für das quadratische Format, nicht nur weil ihm das Arbeiten auf einem Quadrat gefiel, sondern auch weil die regelmäßige Form es erlaubt, die Blumenbilder mit jeder Seite nach oben aufzuhängen.Bewusst wählte Warhol auch die unnatürlich wirkenden Töne brillanter synthetischer Farben für seine Blumen aus, die eindeutig von Menschenhand geschaffenen wurden. Ihre grelle Leuchtkraft wirkt fast wie ein Angriff auf die Natur, als ob das Naturwunder Blume künstlich hervorgebracht wurde.Warhol setzt sich hier mit der Tradition des Stilllebens intensiv auseinander. Dabei interpretierte er das Motiv auf eher banale Weise. So verzichtete er auf eine komplizierte und hierarchische Komposition und nutzte die "Überkopf"-Perspektive, um Horizont und Räumlichkeit zu verwerfen und um die Blüten in vereinfachten und verzerrten Formen darzustellen. Zudem verwendete er anstelle komplexer Farbharmonien eben die unnatürlichen Farben. Doch so farbenprächtig seine "Flowers" auch sind, sie haben immer einen subversiven und unterschwelligen Bezug zur Vergänglichkeit. Ein Thema, das Warhol in seinem Schaffen immer wieder aufgriff. Blumen sind Symbol für die Zerbrechlichkeit der Natur und zeigen somit auch immer die Flüchtigkeit von Schönheit. Auf ganz eigene Weise griff Warhol den Inhalt der altbekannten Blumenstücke auf und erweiterte das Reich der Natur um seine synthetische Version des Universums.Mit dem eindeutigen Erkennen des mechanisch-seriell Hergestellten betonte Warhol in den "Flowers" zudem den massenproduzierbaren Prozess, durch den sie entstanden sind, wie auch ihren kommerziellen Zweck als verkäufliche Ware. Hierfür bediente er sich der in den 1960er Jahren noch revolutionären Technik des Siebdruckes. Von den Konnotationen der Massenproduktion und der Auslöschung der Hand des Künstlers angezogen, beschäftigte er sich als einer der ersten Künstler intensiv mit diesem Verfahren. Leidenschaftlich leistete er Pionierarbeit, verfeinerte es und machte es sich ganz zu eigen. "Bei meinen Kunstwerken würde das Malen von Hand viel zu lange dauern und außerdem ist das nicht das Zeitalter, in dem wir leben. Heute gibt es mechanische Mittel und damit kann ich mehr Kunst zu mehr Menschen bringen. Kunst sollte für alle da sein." (Warhol in einem Interview mit Gretchen Berg 1967) So versteht er den Siebdruck als eine ebensolch ehrliche künstlerische Methode wie jede andere, einschließlich der Handmalerei. Dementsprechend produziert er seine Bilder mit Hilfe seiner Assistenten in der "Factory", wie er seine New Yorker Ateliers nannte.Mit der starken Vereinfachung von Form und Farbe sind die "Flowers" eine der abstraktesten Bildkompositionen in Andy Warhols Schaffen. Nur sehr selten ist es möglich, die 10-teilige Serie von 1970 vollständig anbieten zu können. Erläuterungen zum KatalogAndy Warhol USA Pop Art Fotografie Nachkriegskunst Grafik 1970er WARHOL, ANDY1928 Pittsburgh, PA/USA - 1987 New YorkTitle: Flowers. Date: 1970. Technique: Series of 10 colour silkscreens on strong paper. Measurement: Each: 91,5 x 91,5cm.Notation: Signed and numbered verso.Frame/Pedestal: Each framed. Provenance:- Galerie Rudolf Zwirner, CologneExhibitions:- Kaiser Wilhelm Museum, Krefeld 1983/1984Literature:- Feldman, Frayda/Schellmann, Jörg: Andy Warhol Prints - A Catalogue Raisonné 1962-1987, Milan 2003 (4th ed.), cat. rais. no. II.64-73, ill.- Storck, Gerhard: Sammlung Helga und Walther Lauffs im Kaiser Wilhelm Museum Krefeld - Amerikanische und europäische Kunst der sechziger und siebziger Jahre, Krefeld 1983, no. 410, p. 241. Explanations to the Catalogue

WARHOL, ANDY1928 Pittsburgh, PA/USA - 1987 New YorkTitel: Cow. Datierung: 1966. Technik: Farbserigrafie auf Tapete. Darstellungsmaß: Blatt 116 x 75cm Bezeichnung: Signiert und datiert verso. Hier zudem der Stempel Andy Warhol 116. Provenienz:- Galerie Müllenhoff, Köln (Lt. Einlieferer)Literatur:- Feldman, Frayda/Schellmann, Jörg: Andy Warhol - Prints, A Catalogue Raisonné 1962-1987, Mailand 2003 (4. Auflg.), WVZ.-Nr. II.11, Abb. Erläuterungen zum KatalogAndy Warhol USA Pop Art Fotografie Nachkriegskunst Grafik 1960er Tiere Druckgrafik Serigrafie WARHOL, ANDY1928 Pittsburgh, PA/USA - 1987 New YorkTitle: Cow. Date: 1966. Techinque: Colour silkscreen on wallpaper. Depiction Size: Sheet 116 x 75cm. Notation: Signed and dated verso. Here also the stamp Andy Warhol 116. Provenance:- Galerie Müllenhoff, Cologne (According to consigner)Literature:- Feldman, Frayda/Schellmann, Jörg: Andy Warhol - Prints, A Catalogue Raisonné 1962-1987, Milan 2003 (4th ed.), cat. rais. no. II.11, ill. Explanations to the Catalogue

SMITHSON, ROBERT1938 Passaic, NJ/USA - 1973 Amarillo, TX/USATitel: "Tower of Broken Glass with Pool". Datierung: 1970. Technik: Bleistift auf Pergamentpapier.Maße: 47,5 x 61cm.Bezeichnung: Signiert und datiert unterhalb der Darstellung rechts: R. Smithson 70. Hier zudem mittig betitelt. Sockel/Rahmen: Rahmen. Provenienz:- Kaiser Wilhelm Museum, Krefeld (Dauerleihgabe)Literatur:- Heynen, Julian (Hrsg.): Zeichnungen 1950-1990 - Aus dem Kaiser Wilhelm Museum Krefeld und der Sammlung Helga und Walther Lauffs, Krefeld 1996, Kat.-Nr. 214., o.S., Abb. S. 153- Storck, Gerhard: Sammlung Helga und Walther Lauffs im Kaiser Wilhelm Museum Krefeld - Amerikanische und europäische Kunst der sechziger und siebziger Jahre, Krefeld 1983, Nr. 353, S. 170, Abb.- Whitney, Alexandra: The Helga and Walther Lauffs Collection, Vol. II, Göttingen 2009, Kat.-Nr. 240, S. 195, Abb. Erläuterungen zum KatalogRobert Smithson USA Land Art Nachkriegskunst Unikate 1970er Gegenstände Papierarbeit Bleistift Entwurf SMITHSON, ROBERT1938 Passaic, NJ/USA - 1973 Amarillo, TX/USATitle: "Tower of Broken Glass with Pool". Date: 1970. Technique: Pencil on parchment paper.Measurement: 47,5 x 61cm.Notation: Signed and dated below the depiction right: R. Smithson 70. Here also titled in the centre. Frame/Pedestal: Framed. Provenance:- Kaiser Wilhelm Museum, Krefeld (permanent loan)Literature:- Heynen, Julian (ed.): Zeichnungen 1950-1990 - Aus dem Kaiser Wilhelm Museum Krefeld und der Sammlung Helga und Walther Lauffs, Krefeld 1996, cat. no. 214., n.pag., ill. p. 153- Storck, Gerhard: Sammlung Helga und Walther Lauffs im Kaiser Wilhelm Museum Krefeld - Amerikanische und europäische Kunst der sechziger und siebziger Jahre, Krefeld 1983, no. 353, p. 170, ill.- Whitney, Alexandra: The Helga and Walther Lauffs Collection, vol. II, Göttingen 2009, cat. no. 240, p. 195, ill. Explanations to the Catalogue

SMITHSON, ROBERT1938 Passaic, NJ/USA - 1973 Amarillo, TX/USATitel: "Salton Sea Project, Circular Ramp". Datierung: 1972. Technik: Bleistift auf Papier. Maße: 45,5 x 61,5cm. Bezeichnung: Signiert und datiert unten rechts: R. Smithson 1972. Hier zudem betitelt. Rahmen/Sockel: Rahmen. Provenienz:- Kaiser Wilhelm Museum, Krefeld (Dauerleihgabe)Literatur:- Heynen, Julian (Hrsg.): Zeichnungen 1950-1990 - Aus dem Kaiser Wilhelm Museum Krefeld und der Sammlung Helga und Walther Lauffs, Krefeld 1996, Kat.-Nr. 215., o.S., Abb. S. 153- Storck, Gerhard: Sammlung Helga und Walther Lauffs im Kaiser Wilhelm Museum Krefeld - Amerikanische und europäische Kunst der sechziger und siebziger Jahre, Krefeld 1983, Nr. 354, S. 171, Abb.- Whitney, Alexandra: The Helga and Walther Lauffs Collection, Vol. II, Göttingen 2009, Kat.-Nr. 241, S. 195f., Abb. Erläuterungen zum KatalogRobert Smithson USA Land Art Nachkriegskunst Unikate 1970er Landschaft Papierarbeit Bleistift Entwurf SMITHSON, ROBERT1938 Passaic, NJ/USA - 1973 Amarillo, TX/USATitle: "Salton Sea Project, Circular Ramp". Date: 1972. Technique: Pencil on paper. Measurement: 45,5 x 61,5cm. Notation: Signed and dated lower right: R. Smithson 1972. Here also titled. Frame/Pedestal: Framed. Provenance:- Kaiser Wilhelm Museum, Krefeld (permanent loan)Literature:- Heynen, Julian (ed.): Zeichnungen 1950-1990 - Aus dem Kaiser Wilhelm Museum Krefeld und der Sammlung Helga und Walther Lauffs, Krefeld 1996, cat. no. 215., n.pag., ill. p. 153- Storck, Gerhard: Sammlung Helga und Walther Lauffs im Kaiser Wilhelm Museum Krefeld - Amerikanische und europäische Kunst der sechziger und siebziger Jahre, Krefeld 1983, no. 354, p. 171, ill.- Whitney, Alexandra: The Helga and Walther Lauffs Collection, vol. II, Göttingen 2009, cat. no. 241, p. 195f., ill. Explanations to the Catalogue

ROTH, DIETER1930 Hannover - 1998 BaselTitel: Unterhaltungsmusik I. Datierung: 1969. Technik: Portfolio mit 11 Farbradierungen auf gefärbtem, handgeschöpftem Bütten. Darstellungsmaß: Blatt: 79 x 56,5cm / 56,5 x 79cm Bezeichnung: Jeweils signiert, datiert und nummeriert. Zudem auf Dachpappe-Umschlag betitelt und nochmals nummeriert. Herausgeber: Divers Press, London (Hrsg.). Exemplar: 5/50. Provenienz:- Galerie art intermedia, Köln. Erläuterungen zum KatalogDieter Roth Deutschland Neuer Realismus Eat Art Nachkriegskunst Grafik 1960er Abstrakt Druckgrafik Farbradierung ROTH, DIETER1930 Hanover - 1998 BaselTitle: Unterhaltungsmusik I. Date: 1969. Techinque: Portfolio with 11 colour etchings on coloured, handmade laid paper. Depiction Size: Sheet: 79 x 56,5cm / 56,5 x 79cm. Notation: . Each signed, dated and numbered. Also on roofing paper cover titled and again numbered. Publisher: Divers Press, London (publisher). Number: 5/50. Provenance:- Galerie art intermedia, Cologne. Explanations to the Catalogue

PICASSO, PABLO1881 Malaga - 1973 MouginsTitel: Hibou a la chaise (fond ocre). Datierung: 1947. Technik: Lithografie über ockerfarbenem Fond auf Velin. Darstellungsmaß: 64 x 49cm. Blattmaß: 65,5 x 49,5cm. Bezeichnung: Signiert und nummeriert. Exemplar: 29/50. Rahmen/Sockel: Rahmen. Von dieser Auflage wurden jeweils 25 Exemplare mit und ohne ockerfarbenem Fond gedruckt.Provenienz:- Kunsthandel Michael Hertz, Bremen- Sammlung Helga und Walther LauffsLiteratur: - Bloch, Georges: Pablo Picasso, Catalogue de l'Oeuvre Gravé et Lithographié, Bd. 1, 1904-1967, Bern 1971 (2. Aufl.), WVZ.-Nr. 410, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Grafik 1940er Vögel Druckgrafik Lithografie Eule PICASSO, PABLO1881 Malaga - 1973 MouginsTitle: Hibou a la chaise (fond ocre). Date: 1947. Technique: Lithograph over ochre coloured ground on vellum. Depiction Size: 64 x 49cm. Sheet Size: 65,5 x 49,5cm. Notation: Signed and numbered. Number: 29/50. Frame/Pedestal: Framed. Of this edition, 25 copies each were printed with and without an ochre ground.Provenance:- Art dealer Michael Hertz, Bremen- Collection Helga and Walther LauffsLiterature: - Bloch, Georges: Pablo Picasso, Catalogue de l'Oeuvre Gravé et Lithographié, vol. 1, 1904-1967, Bern 1971 (2nd ed.), cat. rais. no. 410, ill. Explanations to the Catalogue

An oxidised silver and drusy pendant necklace by YEN, 2017, the central circular pendant of black drusy, in plain collet mount, suspended from a fluid necklace of oxidised silver and gilt ‘molecules’, to ring and bar clasp, maker’s mark ‘YD’, UK hallmark, length 45cm. £100-£200 --- Drusy - druse refers to a coating of fine crystals on a surface or vein of other minerals. It is usually located where water collects and evaporates from the rock surface, so may be found along river beds and shorelines. The most common drusy is quartz (agate or chalcedony), but many other gemstone types exist in this form. Yen Duong is a modern designer of Vietnamese heritage, her early years being spent in Wales. She studied at the Sir John Cass School of Art in London, graduating in 1995. She established YEN Jewellery the following year, working from her studios in Bloomsbury, her designs showing her fascination with the structural elements of jewellery, and incorporating movement and fluidity, with a highly tactile quality. Previous exhibitions of her work include those held at The Goldsmiths’ Company and the Crafts Council, and she has worked with Liberty of London, Selfridges and Harvey Nichols.

A pair of 18ct gold ‘nugget’ cufflinks by Gilian Packard, 1969, the textured irregular nugget panels on rigid mounts, the swivel fittings with pyramidal terminals, maker’s mark ‘GEP’, London hallmark, panel length 24.5cm. £1,000-£1,200 --- Purchased from Gilian E. Packard & Co., 1-2 Ramillies Street, London in 1971. Gilian Packard was born in Newcastle-on-Tyne in 1938. Named Gilian (with one ‘l’ - because, as she said ‘my father couldn’t spell’), she established herself as one of the leading modern jewellers of the 1960s. She studied at the Kingston School of Art, the Central School and the Royal College of Art. After her third year at the RCA, her Diploma exhibition coincided with the public opening of their new building in June 1962. Gilian acquired from it one or two commissions for special pieces. With £50 prize money, she was able to purchase materials to fulfil these modest orders, hire a corner of a workshop (in Soho) and set to work. From these gentle beginnings the work began to snowball. Most of her work was for private customers. The other part of her production went to retail outlets such as Richard Ogden in Burlington Arcade or Cameo Corner. She went on to win many important jewellery awards and become the first woman to become a Freeman of the Goldsmiths’ Company. She promoted modern jewellery design through her work as a teacher, becoming Professor of Jewellery and Silversmithing at Glasgow School of Art and at the Sir John Cass Department of Silversmithing, Jewellery and Allied Arts at London’s Guildhall University. She died in Aldeburgh in 1997. Examples of her work can be found in the Victoria and Albert Museum, London and in many public and private collections. With thanks to the Goldsmiths’ Hall for additional information. See: Obituary : Arline M Fisch in Craftnotes from CRAFTS JAN/FEB 1998.

THOMAS CRESWICK (BRITISH 1811-1869)THE ROAD TO LONDON 100 YEARS AGOOil on canvas Signed with monogram and dated 1847 (lower right)101 x 149cm (39¾ x 58½ in.)Provenance:Sale, Christie's, London, Captain C.D. Leyland, 23 July 1923, lot 165 (23 gns. to Cassell)Dyson Lister & Sons, Harrogate, 6 November 1923Private Collection, J.T. Hemingway (£140)Thence by descent Sale, Christie's, London, 11 June 2004, lot 60Literature:Atheneaum , 1847, pp. 552-3When Creswick exhibited The Road to London 100 years ago at the Royal Academy in 1847 it received considerable attention from the critics. The Athenaeum commented that it `.....records to posterity the days when a waggon put on the road by a Russell occupied in the transport of persons and chattels as many days as the modern system of locomotion does hours.' The Art Union praised its 'poetical' elements ` As (William) Cowper mentions the caw of the rook among his 'rural sounds delightful,' so Creswick deems him not unworthy to assist in celebrating a sunset.' Creswick resolutely remained a landscape painter throughout his career but often collaborated with friends, such as Richard Ansdell, Thomas Sidney Cooper and William Powell Frith to people his compositions with figures. Ruskin praised him favourably in Modern Painters, 'On the Truth of Vegetation', and thought that his knowledge of the effects of colour was almost equal to that of Turner. 1847 was a critical year for Creswick as from then on his palette darkened to the muted browns we see here. Art Union , 1847, p.196Exhibited:London, Royal Academy, 1847, no. 511Condition Report: Heavy reline. Paint layer appears to be stable. Fine surface cracking and canvas is slightly bowed and uneven. Thick layer of discoloured varnish . Inspection under UV reveals scattered retouching in the foreground, though minor. Condition Report Disclaimer

λ RICHARD EURICH (BRITISH 1903-1992)CORNFIELDOil on board Signed and dated 74 (lower left) further inscribed and dated (verso)68.5 x 89cm (26¾ x 35 in.)Provenance:Alresford Gallery, WinchesterSale, Christie's, London, Modern British Art, 20 June 1996, lot 100 Exhibited:London, Royal Academy of Arts, Summer Exhibition, 1975, 3 May - 27 July 1975, no. 39London, The Fine Art Society, Richard Eurich RA, 26 April - 20 May 1977, no. 42 (on tour to Fine Art Society, Edinburgh)London, The Fine Art Society, A Tribute to Richard Eurich, 1-25 February 1994, no. 18With thanks to the Richard Eurich Estate and Christine Clearkin. This work will be featured in the forthcoming online Catalogue Raisonné. Condition Report: Overall in good original condition. Inspection under UV reveals no obvious signs of restoration or repair. Condition Report Disclaimer

THOMAS CRESWICK (BRITISH 1811-1869)AFTERNOON, CATTLE WATERING BY A LAKE IN A MOUNTAINOUS LANDSCAPEOil on canvas 99 x 124cm (38¾ x 48¾ in.)Provenance: Agnew's & Sons, LondonSale, Christie's, London, 16 June 2005, lot 306Purchased at the above sale by the present ownerExhibited:London, Royal Academy, 1870, no. 485, as 'Afternoon'Derby, Fine Art Exhibition, 1877Elected a Royal Academician in 1851, Thomas Creswick painted landscapes throughout his career. He collaborated with friends, for example Richard Ansdell and William Powell Frith, who were often responsible for introducing the figures and cattle into his paintings. Ruskin praised him favourably in Modern Painters, 'On the Truth of Vegetation', and thought that his knowledge of the effects of colour was almost equal to that of Turner. The present work appeared at the Royal Academy in 1870, the year after Creswick's death.Condition Report: Appears to be in good original condition. Inspection under UV reveals some very small areas of retouching in the foreground, very minor. The frame has minor chips and losses. Condition Report Disclaimer

A SANCAI-GLAZED POTTERY FIGURE OF A BACTRIAN CAMEL, TANG DYNASTYChina, 618-907. Standing foursquare on a mostly unglazed square base, with its head raised upwards as if braying, the body covered in a transparent ochre glaze, the back with a molded caparison and glazed with green, cream and ochre.Provenance: Austrian private collection. Galerie Zacke, Vienna, 3 October 1998. Dr. Mons Fischer, acquired from the above. A copy of the original invoice from Galerie Zacke, Vienna, dated to 3 October 1998, accompanies this lot. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Some repair and touchups as generally expected from Tang dynasty excavations. Losses, fissures, and encrustations. Minor firing flaws, such as firing cracks, glaze flakes, glaze recesses, and dark spots. Drilled holes from sample-taking. Overall, very good condition.Scientific analysis report: A thermoluminescence report issued by Oxford Authentication on 11 February 2020, based on sample no. C120a60, sets the firing date of both two samples taken at 900 - 1500 years ago. A copy of the report, issued by Oxford Authentication, accompanies this lot.Weight: 6.0 kgDimensions: Height 58 cmLiterature comparison: A closely related but smaller sancai pottery camel in the collection of the Metropolitan Museum of Art, accession number 67.43.1. A related sancai camel is also in the collection of the British Museum, museum number 1915,0409.2.Auction result comparison: Compare with a closely related sancai pottery camel at Bonhams London in Asian Art on 6 November 2017, lot 326, sold for GBP 10,625.唐代三彩駱駝俑中國, 618-907年。雙峰駝俑，引頸翹首，四肢挺拔，體態昂揚。周身以黃釉為主，局部間以綠、白色釉。 來源：奧地利私人收藏。維也納 Zacke藝廊, 1998年10月3日。 Mons Fischer博士購於上述藝廊。隨附發票副本。Mons Fischer博士是一位經驗豐富的現代和當代藝術私人收藏家，從1980年代開始收藏中國藝術品，最終成爲奧地利中國藝術品重要收藏之一。 圖片：Dr. Mons Fischer 和他的妻子 品相：唐代出土物品中普遍預期的一些維修和修整。 缺損，裂縫和結殼。輕微的燒製缺陷，例如燒製裂紋，釉面開片，釉面内凹和黑斑。 因樣品採集鑽孔。總體而言，狀況良好。 科學檢測報告：隨附一份2020年2月11日出具的牛津熱釋光檢測報告副本， 采樣編號C120a60。檢測結果表明拍品為900-1500年前所制。 重量：6.0 公斤 尺寸：高58 厘米

A LARGE PAIR OF QINGBAI GLAZED BURIAL VASES WITH DAOIST DECORATIONChina, Song dynasty (969-1279). The tall vases consisting of an egg-shaped belly, a long cylindrical neck decorated in the applique technique with twelve standing figures and various animals representing the zodiac, a flying dragon, the sun and the moon. The bell-shaped cover crowned by a phoenix, of which one is looking up and the other looking down. Overall covered with a greenish-blue glaze, except for the flat base, revealing the sand-colored buff.Condition: Good age-related condition with some wear and firring flaws. One vase with a hairline to mouth rim and the other with chips to base rim. Provenance: Edward Pranger Oriental Arts (PAN Amsterdam 2000). Dr. Koos de Jong, acquired from the above. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in "Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond". Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Weight: 8.8 and 19.6 kg Dimensions: Height c. 84 cm without cover and 101 cm with cover eachLiterature comparison: Compare to similar vases in He Li, Chinese Ceramic, The New Standard Guide From the Asian Art Museum of San Francisco, London 1996, no. 370 and in Wu Hung, The Art of the Yellow Springs, Honolulu 2010, p. 160.

A GREEN-GLAZED CIZHOU 'PEONY' PILLOW, SONG TO JIN DYNASTYChina, 960-1234. Covered with a bright green glaze over a white-slipped ground. The top with a sgraffiato decoration of a large peony cut-out in a darker-washed ground. The sides with molded decorations of two mandarin ducks swimming in a pond, peonies and other flowers.Provenance: By repute Xian Provincial Museum, 14 October 2004, invoice not available. Dr. Koos de Jong, acquired from the above. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in "Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond". Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Condition: Extensive wear and firing flaws, including glaze flakes and recesses, minor losses, touchup to glaze loss (ca. 3 x 1 cm), and one small old fill to one of the flanges.Weight: 1,617 gDimensions: Length 27.3 cmThe pair of mandarin ducks to the front symbolize a harmonious marriage, indicating this pillow was likely once a wedding gift.Literature comparison: Chinese Ceramic Pillows. The Mr. & Mrs. Yeung Wing Tak Gift, Museum of the Western Han Tomb of the Nanyue King, Guangzhou 1993, no. 151. R. Krahl, Chinese Ceramics from the Meiyintang Collection, Vol. I, Londen 1994, p. 266-7, no. 489.Auction result comparison: Compare with a related Cizhou peony pillow, but with an amber glaze additional to the green glaze, at Sotheby's Hong Kong in Chinese Art on 30-31 May 2019, lot 404, sold for HKD 50,000.宋至金時期綠釉磁州窯牡丹紋枕中國，960-1234年。枕面刻牡丹牡丹紋，兩側刻蓮池鴨戯圖，牡丹和其他花卉紋，白地上覆蓋綠釉。來源：據說來自西安博物院，2004年10月14日。 Dr. Koos de Jong收藏，購於上述收藏（發票遺失）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片：Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam)品相：廣汎磨損和燒制缺陷，包括釉料剝落和凹陷，輕微缺損失，釉料小修（約3 x 1厘米），以及一個小的舊填料填充到其中一個凸緣上。重量：1,617 克尺寸：長 27.3 厘米拍賣結果比較：一件相似刻牡丹紋綠釉枕見香港蘇富比Chinese Art 拍場2019年5月30-31 日lot 404, 售價HKD 50,000.

A LONGQUAN CELADON-GLAZED BOWLChina, Song - Yuan dynasty, 13th- 14th century. Potted with rounded sides and raised on a short ring foot, covered with a bright green and mushroom glaze suffused with a network of brown crackles and thickening at the base, the foot rim left unglazed revealing the dark grey buff.Condition: Good condition with minor wear and firing irregularities, occasional light surface scratches, fritting, and one chip to the rim with an associated hairline. Provenance: Jelske Wagenaar, Terpstra Oude Aziatische Kunst, Amsterdam, 1998. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in "Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond". Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Weight: 229 g Dimensions: Diameter 12 cm

AN OCTAGONAL QINGBAI PORCELAIN VASE, YUANChina, Yuan dynasty (1271-1368). The body potted with eight facets rising from a circular waisted foot and surmounted by a tall tapering neck, the facets molded with flower-heads and decorative bands below a band of chrysanthemum petals at the shoulder. Covered in a pale bluish-grey glaze, the underside left unglazed. These kinds of vases were used as funerary gifts (mingqi).Condition: Good condition with old wear and firing flaws such as pitting and spotting, very minor fritting here and there as well and notches to the underside rim. Provenance: Fong's Gallery, Hong Kong, 1999. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in "Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond". Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Weight: 403 g Dimensions: Height 22.3 cmLiterature comparison: Compare to similar vases in M. Tregear, La Ceramique Song, Fribourg 1982, pp. 164, fig. 226 and He Li, Chinese Ceramics, London 1996, p. 179, ill. 373 [C.34 doc. a].

A MOLDED QINGBAI DISHChina, Yuan Dynasty (13th - 14th century). The rounded sides of the small dish with molded radiating grooves and an everted rim washed brown, the partly unglazed base with a mark painted in black.Condition: With hairlines to the interior, minor chips to rims and firing irregularities. Provenance: Pou Fok Antique Arts, Macao, 1998. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in "Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond". Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Weight: 58 g Dimensions: Diameter 11 cm

A GILT-BRONZE FIGURE OF GUHYASAMAJA IN A GILT-BRONZE SHRINETibet, 16th-17th century. Guhyasamaja is seated in vajrasana, on a separately cast Buddhist lion standing foursquare on a lotus base, embracing his separately cast consort Sparshavajra seated on his lap. Both hold the same attributes, the crescent knife and skull cup, underlining the concept of symmetry on which the tantric student is supposed to meditate.Provenance: From an old and noted French private collection in Paris.Condition: Very good condition with old wear, minor nicks and scratches, traces of pigment, wear to gilt, small dents and losses here and there.Weight: 1,398 g (the figure) and 2,035 g (the shrine) Dimensions: Height 15 cm (the figure only) and 27 cm (the shrine)Guhyasamaja also holds an arrow, a snake, as well as two vajras in his principal hands embracing his consort, a flaming mandorla with a ring of skulls and another of vajras behind them.With a modern black glass base. (2)Auction result comparison: Compare the figure in the present lot with a related gilt bronze of Guhyasamaja in union with his consort, dated to the 15th century, at Christie's Paris in Art d'Asie on 12 December 2018, lot 27, sold for EUR 27,500.銅鎏金密集金剛西藏，十六至十七世紀。密集金剛結金剛坐坐在蓮座上的獅子上，金剛與獅子兩者不是一體鑄造。金剛擁抱著他的佛母。他們手上拿著相同的法器即月牙刀和頭骨杯，顯示了密宗冥想的對稱性概念。 來源：巴黎一個知名私人收藏 品相：狀況良好，有舊磨損，少量划痕和缺口，色素餘留，鎏金磨損，小凹痕以及在局部缺損。 重量：像1,398 克；神座 2,035 克 尺寸：像高15 厘米；神座27 厘米 拍賣結果比較：一座十五世紀銅鎏金密集金剛與佛母見巴黎佳士得Art d'Asie 拍場2018年12月12日 lot 27, 售價EUR 27,500.

A THANGKA OF BUDDHA AMITABHA, 18TH CENTURYTibet. Distemper and gold on cloth. Amitabha seated in dhyanasana on a large pillow, a mandorla and a halo behind him, flanked by White and Blue Tara, with Padmasambhava below with a vajra, crescent knife, and staff.Provenance: Collection of Karl Ryberg, purchased in Stockholm between 1939 and 1944. Karl Ryberg was a Swedish painter and sculptor. He studied under Isaac Grünewald in Stockholm, and later at the Royal Danish Academy of Fine Arts as well as the Academie de la Grande Chaumière in Paris. His work includes both modern and Christian art.Condition: Good condition with some wear, minor soiling, small tears, minuscule losses.Dimensions: Size incl. frame 78 x 57.5 cm, Image size 52 x 36.5 cmFramed behind glass, with a black lacquered wood frame.Auction result comparison: Compare with a related Thangka, but of considerably larger size, at Christie's New York in Indian, Himalayan and Southeast Asian Works of Art on 12 September 2018, lot 316, sold for USD 162,500.十八世紀阿彌陀佛唐卡 西藏。布面金彩膠畫。 阿彌陀佛結跏趺坐在寶座上，身後是曼陀羅和光背，旁邊是白度母和藍度母。其之下是手握金剛杵、月牙刀的蓮花生大士。 來源：Karl Ryberg收藏，1939年至1944年在斯德哥爾摩購買。Karl Ryberg是瑞典畫家和雕塑家。 他曾在斯德哥爾摩的Isaac Grünewald學習，後來在丹麥皇家美術學院以及巴黎大學院夏米埃學院（Academiede la Grande Chaumière）學習。 他的作品包括現代和基督教藝術。 品相：狀況良好，有一定的磨損，輕微的污跡，小水漬，小缺損。 尺寸：含框 78 x 57.5 厘米, 畫面52 x 36.5 厘米 玻璃面黑漆木框。 拍賣結果比較：一件相似的唐卡但尺寸更大見紐約佳士得 Indian, Himalayan and Southeast Asian Works of Art 拍場2018年9月12日 lot 316, 售價USD 162,500。

A KHMER SANDSTONE HEAD OF VISHNU, PRE RUP STYLE, LATER 10TH CENTURYKhmer Empire, Angkor period, 975-1000. Wearing an elaborate crown as well as a headband tied around the back of his head, the face with a calm expression with almond-shaped eyes, gently arched eyebrows, a broad nose, and full lips forming a subtle smile. With a modern associated metal base. Pre Rup is a Hindu temple at Angkor, Cambodia, built for the Khmer king Rajendravarman (reigned 944-968) and dedicated in 961 or early 962.Condition: Good condition commensurate with age, with extensive wear and losses.Provenance: Belgian private collection.Weight: 895.0 g (excl. base)Dimensions: Height 20.8 cm (incl. base), 12.5 cm (excl. base)Auction result comparison: A related head, though larger and in considerably better condition, was sold by Sotheby's New York in Indian & Southeast Asian Works of Art on 24 March 2011, lot 28, for USD $122,500.

A CHINESE BRONZE ORNAMENT, TANG TO LIAOChina, Tang Dynasty (618- 907) - Liao dynasty (916-1125). The bronze ornament cast in openwork to depict a dragon between lotus flowers. Fine naturally grown patina.Condition: Good, original condition, remarkable considering the age of this plaque! Some wear and losses. Provenance: Dino Caputo, Antiekmarkt De Looier 2, Amsterdam, 2004. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in "Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond". Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Weight: 15.29 g Dimensions: Height 8.5 cmLiterature comparison: Compare with similar ornaments in the exhibition catalogue - Chinese Gold & Silver in American Collections, the Dayton Art Institute, Dayton, Ohio, no. 5, p. 39 and Helmut Brinker and Pierre Uldry, Chinesisches Gold und Silber, Museum Rietberg, Zürich 1994, no. 219 p. 205.

AN OLD AGATE INTAGLIO SEAL IN RING SETTINGBurma/ Myanmar region, presumably Pyu city states (200-1000 AD) or later. The ring with a modern silvered setting with carved, ornamental decoration to the sides, the ring top bearing the intaglio seal of ancient character cut from a milky-white agate. Condition: Good condition with some expected, age-related wear and small notches. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 5.5 g Dimensions: 2.6 cm x 2 cm, Inner Diameter 1.8 cm

AN ORDOS GILT BRONZE 'CROUCHING BEAR' HORSE TACK ORNAMENT, WARRING STATES TO WESTERN HANChina, Inner Mongolia, Ordos, 3rd-2nd century BC. Of circular form, cast in the form of a crouching bear with distinct circular ears.Provenance: Grays Antique Center, London, 18 June 2001. Dr. Koos de Jong, acquired from the above. A copy of the original invoice accompanies this lot. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in "Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond". Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Published: Dr. Koos de Jong, Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond, Amsterdam - Hong Kong 2013, ill. 1.10 (right), p. 23.Condition: Extensive wear, minor dents. Fine dark patina with small areas of malachite green as well as encrustations on the interior.Weight: 27.1 gDimensions: Diameter 3.3 cmAuction result comparison: Compare with a closely related scroll weight sold by Christie's Los Angeles in Myth and Reality: Animals in Chinese Art on 7 May 1999, lot 31, for USD 23,000 incl. buyer's premium.戰國至西漢鄂爾多斯鎏金熊馬具飾品 中國，内蒙古鄂爾多斯，公元前三至二世紀。圓形，鑄成具有獨特圓形耳朵的蹲伏熊的形式。 來源：Grays Antique Center, London, 18 June 2001. Dr. Koos de Jong收藏，購於上述收藏（隨附發票副本）。Dr. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。圖片: Dr. Koos de Jong 與Ingeborg de Roode (照片來自於Stedelijk Museum Amsterdam)出版：Dr. Koos de Jong之《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》，阿姆斯特丹-香港，2013年，圖1.10(右側)，頁23。 品相：大量磨損，輕微凹痕。小面積孔雀石綠結殼，內部結殼。 重量：27.1 克 尺寸：直徑3.3 厘米 拍賣結果比較：一件相近銅飾見洛杉磯佳士得Myth and Reality: Animals in Chinese Art 拍場，1999年5月7日 lot 31, 售價 USD 23,000 含買家佣金。

A SANDSTONE STELE OF GANESHACentral India, 11th century. The six-armed elephant-headed god dancing with his arms radiating, holding a bowl of sweets in one hand from which he is sampling with his curled trunk.Provenance: Galerie Demons et Merveilles, Paris, France, 1970s. A London private collector, acquired from the above.Condition: Good condition commensurate with age, extensive wear and losses, signs of weathering and associated erosion.Weight: 13.3 kg (total)Dimensions: Height 37.5 cm (excl. base)Mounted on a modern metal base. (2)Literature comparison: Compare to a closely related stele sold at Sotheby's, New York, 1 December 1993, lot 99, and another sold at Sotheby's, London, 23 November 1987, lot 234.Auction result comparison: Compare with a closely related stele, 55 cm, at Bonhams San Francisco in Chinese, Indian and Himalayan Works of Art, on 10 December 2015, lot 8035, sold for USD 31,250.

Oppenheimer, Michael, The Monuments of Italy, A Regional Survey of Art, Architecture and Archaeology from Classical to Modern Times, I. B. Tauris, 2002, vols I-VI

Tacita Dean (b.1965) Longstone Lighthouse, 1996 analogue photograph 35 x 53 cm. Tacita Dean is an internationally acclaimed British artist now based in Berlin whose photographic works, films and drawings have been exhibited in museums and galleries worldwide. She has been the recipient of many awards and prizes including the Kurt Schwitters Prize, the Hugo Boss Prize and the International Art Exhibition of the Venice Biennale. Her work investigates history, memory, time and place and the nature of film itself. Her works have often featured the sea. The curator Clarrie Wallis has suggested that this fascination “can be traced back to 18th-century notions of the sublime, where elemental forces were viewed as emblems of turbulent and ungovernable human emotions.” Longstone Lighthouse, the subject of this rarely available image, features in Dean’s film Disappearance at Sea II (1996). It is a still-active lighthouse built in the 19th century off the Northumberland coast of England and is best known for the 1838 wreck of the paddle steamer Forfarshire and the heroic role of Grace Darling, the lighthouse keeper’s daughter, in rescuing survivors. Tacita Dean was born in Canterbury and studied at Falmouth School of Art, the Supreme School of Fine Art, Athens before gaining her MFA Painting at the Slade School of Fine Art, London. Her commissions have been featured in the Turbine Hall of Tate Modern, London (2011), Documenta 13 in Kassel (2013), and biennales in Venice (2013) and Sydney (2006, 2019). In 2018, she had three solo exhibitions (Still Life, Portrait and Landscape) in three major public spaces in London simultaneously (the National Gallery, the National Portrait Gallery and the Royal Academy of Arts). 

Titled "Monhegan", abstract rendering of the Maine island, mid-century modern, oil on canvas, signed lower right. Artist Al Melenbacker studied at Syracuse University and taught creative art workshops in Rochester, NY. Overall size: 23 1/2 x 33 1/2 in. Sight size: 21 1/2 x 31 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

This is a tall footed blue jade bowl, mid-century modern art glass. Size: 5 1/2 x 9 3/4 in. Please note that all sales are final. No refunds will be given under any circumstances.

Monumental mixed media figurative piece of carved and painted wood, mid-century modern. Signed at bottom. Roland Hockett has accomplished many works in Florida and Internationally. They include copper sculpture, bronze, and paintings which combinine carving and copper along with acrylic on wood. Roland Hockett continues to reside and produce art in Florida. Provenance: Estate of Frank Colson, Hillview Studio, Sarasota, Florida. Overall size: 81 1/2 x 21 1/4 in. Sight size: 79 1/2 x 20 in. Please note that all sales are final. No refunds will be given under any circumstances.

Brauntuch, Troy -- InterieurszeneMischtechnik (Pastell über Algraphie) auf Arches-Velin. 1983.114 x 77,2 cm (121,9 x 81 cm).Unten rechts mit Bleistift signiert "Troy Brauntuch" und datiert.Troy Brauntuchs Bilder können als Belege von Augenblicken gesehen werden, in denen nur die Stimmung bleibt. Seine Szenerien werden durch die dargestellten Objekte sozusagen nur unterstützt. Worauf es in seinen Werken jedoch ankommt, ist die Erinnerung, die die Bilder hervorrufen. Diese Spuren visualisiert er durch die kräftigen pulverigen Pastelltöne, die sich aus dem Halbdunkel herausformen. Brauntuch studierte bildende Kunst am California Institute of the Arts und unterrichtet heute an der University of Texas in Austin. 2006 wurde er auf der Whitney Biennale in New York ausgestellt. Seine Werke sind in großen internationalen Sammlungen, wie beispielsweise dem Museum of Modern Art und dem Metropolitan Museum of Art in New York, vertreten. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Maurer, Dóra -- "P 6"Radierung mit Aquatinta auf festem Velin. 1970.40,3 x 40 cm (70 x 50 cm).Signiert "Maurer", datiert und betitelt.Griffelkunst 190 A3.Maurer ist eine führende Vertreterin der Neoavantgarde und der Konkreten Kunst in Ungarn. Arbeiten der Künstlerin finden sich u.a. in der Nationalgalerie Berlin, der Grafischen Sammlung der Albertina Wien, der Tate Gallery London und dem Museum of Modern Art New York. Prachtvoller, differenzierter Druck mit dem vollen Rand, rechts und unten mit dem Schöpfrand. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

A child’s silver cross pram two Art Deco style plaster wall plaques an unusual oil painting by jan Clulow and modern ceramic vases ( a lot)

A modern art painted metal hanging mobile sculpture signed to the reverse KNO 85. 100x104cm

Two reproduction models of the Spirit of Ecstasy, each on a granite stand, together with a modern Art Deco style bronze figure of a lady (no stand) (3)11 and 36cm highCondition report: The figure is modern, but is bronze and not resin.

Sir William MacTaggart (1903-1981) ARR Framed oil on panel, signed 'Grimaud' 45.7cm x 55.9cm Exhibited: William MacTaggart (1903-1981) Scottish Gallery of Modern Art, Edinburgh 14th Feb-10th May 1998, illustrated No.3, page 55 of the catalogue. Also see notes on previous lot no. 596.CONDITION REPORT: The oil painting is behind specialist non reflective glass and looks in excellent condition throughout. 

ANCELL STRONACH (SCOTTISH 1901-1981) WHERE SINKS THE VOICE OF MUSIC INTO SILENCE Signed and dated 1924, oil on canvas(127cm x 102cm (50in x 40in))Provenance: Purchased by John W.D. Thomson in 1980. Exhibited: The Royal Glasgow Institute of Fine Arts, 1924; ‘Ten Years of The Fine Art Society in Glasgow’ exhibition, 1989.Footnote: Note: Ancell Stronach is generally an unfamiliar name, even to Scottish Art enthusiasts, but in his day he was a significant figure in the Scottish art scene. Born in Dundee, he trained at the Glasgow School of Art, winning many awards and a travelling scholarship during his studentship. Following his studies, he worked professionally as an artist; designing stained glass, painting murals, decorating churches and establishing a reputation as a portrait artist. Alongside his own painting, he also taught, rising to the position of Professor of Mural Painting at Glasgow School of Art. He was elected a member of the R.S.A. in 1934, and exhibited internationally; at the R.S.A., R.A., Paris Salon and in exhibitions in Canada, New Zealand and America. All the markers of a significant and accomplished career. ‘Where Sinks the Voice of Music Into Silence’ is bold and decorative, with the vibrant colour and ecclesiastical details that were the signature of his painting at this time. Stronach pulls detail, poetry and inspiration together masterfully in this work, with areas of rich, flat colour interspersed with delicate patterning and design. A strikingly decorative piece on first glance, close attention reveals generously considered details in aspects as diverse as the tendrils of the male figures beard, the curling waves at the bottom corner and the snow-topped hills in the distance. The composition is accomplished: the delicately delineated angelic wings are centred in the canvas, with the figures placed in a ‘V’ around them, maintaining balance and visual interest as every inch of canvas is utilised. The result is a richly rewarding viewing experience. Stronach’s poetic title does little to reveal the meaning or moment that this work depicts but it assists in evoking the atmosphere that the painting itself conveys. The feeling is symbolic and meaningful with a sense of mysticism, creativity and spirituality. Artistically, Stronach was inspired by early Italian fresco painters and the Pre-Raphaelites, though his commitment to mural painting and stained glass design also shines through in this significant work. His chosen style and subject reflects the wider Celtic Revival movement prevalent in Scotland’s arts scene at this time and visible in the work of other artists such as John Duncan and Phoebe Anna Traquair. The Celtic Revival and the Pre-Raphaelites were concerned with looking to a distant past for inspiration and Stronach strives for that here. The ensuing melding of historic and modern lends the painting an essential timelessness in its beauty. At the outbreak of war in 1939, Stronach felt his opportunities as an artist were greatly reduced by the extenuating circumstances and took the opportunity to change direction, pursuing a long-standing interest in animals and the circus. He married a professional acrobat and they toured together with his show, entitled ‘Ancell and his 40 Painted Pigeons.’ He did not engage with the art world over the course of the rest of his life though it is believed he continued to paint for personal pleasure. It is for this reason that his name remains relatively unknown and the appearance of his works on the market so rare; ultimately his professional painting career only lasted for a very limited period, despite his talent and success. ‘Where Sinks the Voice of Music into Silence’ was first exhibited at The Royal Glasgow Institute of Fine Arts in 1924. More recently it was purchased by the current vendor’s late husband at the Fine Art Society in 1980. The vendor remembers the dramatic moment of seeing this work for the first time, and the immediate decision to purchase. In the forty years since, it has hung in just two locations, his architectural practice in the West End of Glasgow and their home in Stirlingshire. A rare opportunity now presents itself for this richly dramatic and decorative work to find a new home.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) CASSIS Signed, oil on board(48cm x 38cm (18in x 15in))Provenance: Lady MacTaggart and thence through the familyFootnote: Exhibited: 1922 Group Edinburgh, 1924 Scottish National Gallery of Modern Art, Sir William MacTaggart Retrospective Exhibition 1968, no.4 Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) EFFULGENCE Bronze(21.5cm x 13.5cm (8.5in x 5.25in))Footnote: Exhibited: Scottish National Gallery of Modern Art, J.D.Fergusson 2013, Ill. cat. 98, p.94 Note: This sculpture dates from c.1920 (cast date unknown) Effulgence: “great brightness; radiance; brilliance” Thanks in large part to the major retrospective of Fergusson’s work at the Scottish National Gallery of Modern Art in 2013-14, in which the work offered here for sale was exhibited, we are now more aware of the significant role sculpture played in Fergusson’s art practice. It is thought he created his first sculptural work as early as 1908 in Paris, and it continued to be a facet of his oeuvre for the next fifty years. The reason his sculptural works are so limited in number is simply due to the costs involved, as casting was an expensive process. He often had to wait for a direct commission and his sculptures therefore generally went directly in private hands, and are now only in relatively recent times re-emerging back onto the market and providing us with a fuller picture of his sculptural practice. Effulgence is one of the most well-known of Fergusson’s works in bronze. Created c.1920, arguably the most successful decade of the artist’s career, this piece represents him at his height of his creativity. A quintessential product of its era, it encapsulates Fergusson’s immersion within the artistic movements of the Parisian avant-garde, and evidences the Modernist fascination with ‘primitivism’ and the exotic. Though no doubt perceived as provocative by a contemporary audience, it is above all representative of sensuality. Depicting a dancer, this work distils the elements of the human experience that Fergusson held close: vitality, physicality, sexuality and freedom from convention. He did not create his masterpiece Eastre: Hymn to the Sun until 1924, and Effulgence might therefore be considered an important work in the developmental journey. Cast in the yellow bronze frequently favoured by the artist, we come to understand through Effulgence and Eastre that this choice of medium was very conscious; designed to evoke the light and warmth of the sun, and reference ancient Celtic and bronze age deities which celebrate Nature and fecundity.

§ DAVID MCCLURE R.S.A., R.S.W. (SCOTTISH 1926-1998) SPANISH FISHERMEN Signed and dated '55, oil on board(101cm x 127cm (40in x 50in))Provenance: Peter Davis EsqFootnote: Exhibited: Scottish National Gallery of Modern Art, The Peter Davis Collection, 1964, no.22 The Scottish Gallery, Edinburgh, David McClure Memorial Exhibition, 2000, no.5

Amy Joanna Fry (Modern British & Cornish Artist, b. 1884), Christopher asleep, signed and titled in pencil by the artist, drypoint copperplate etching on paper, 19cm x 13cmAmy Joanna Fry studied at the Royal Academy from 1905 to 1910, and was a noted exhibitor at the London Salon and RA from 1908-1914. In 1937, she exhibited 'The Zionist' at the Newlyn Art Gallery, Cornwall. See Hardie (Melissa), Artists in Newlyn and West Cornwall, 1880-1940, Art Dictionaries Limited: 2009.

Art - The Portfolio: An Artistic Periodical, five volumes: 1882, 1884, 1886, 1887, & 1888, illustrated with full-page etchings and photogravures, in-text illustrations, contemporaneously bound en suite by C.S. Smith, Edinburgh, stamped, in gilt leather over green cloth gilt, all edges gilt, marbled endpapers, folios (35.7cm x 27cm), (5); Celebrated Pictures Exhibited at the Manchester Royal Jubilee Exhibition: Fine Arts Section [...], London: J.S. Virtue, 1888, illustrated with line engravings and etchings, contemporary green quarter-morocco over pictorial cloth (disbound, rubbed), medium folio (46.5cm x 35cm), (1); Ruskin (John), Modern Painters, five volumes (of six, lacking index), Complete Edition, Sunnyside, Orpington: George Allen, 1888, black-ruled title, full-page engravings, contemporary cloth, 4to, (5), [11]

An Art Nouveau style silver and opal ringThis is a modern copy

An Art Deco style silver and purple stone ring and a necklace (2)This is a modern copy

An Art Deco style brooch in the style of a panther, and another (2)This is a modern copy

An Art Noveau style brooch and another (2)This is a modern copy

Modern Power Generators, in Art Nouveau bindings, volume 2, with fold-out illustrations, Nonsense Songs by Edward Lear, Dud Dudley's Mettallum Martis reprint etc Condition Report: Available upon request

Various books relating to art, to include Art History, World Famous Paintings, Art Civilisation, The Complete Drawings Book, The Story of Art, The Arts, Modern British Paintings, Drawings and Sculpture, The National Gallery Hundred Plates in Colour vol 1 & 2, Goya, French Painting, Renoir Paintings, Drawings and Prints, etc. (15)

An Art Nouveau silver coloured metal Tiffany style lamp base with floral detail. Rewired and in working order. Complete with a modern blue lampshade. Lamp base approx. 52.5cm tall (to top of finial).

A modern Art Deco style 3-piece silver plated tea set, comprising teapot, milk jug and sugar pot, on geometric tray, teapot height 20cm

Marek Ja?kowiec, "Don Quixote", watercolour and ink on paper, 55 x 75cm, c. 2019. It is another painting from my engaged art inspired by my favourite book. Title character in modern times fighting for better environment and better world. It is also my artist way. Located in Sweden, UK delivery £70.

A Continental Art Nouuveau dark amethyst glass inkwell with trailed white and gilt decoration, clear glass liner and brass hinged cover, stamped Hansa DRR, 11.5cms; a Loetz style circular hinged jar and cover, with white trailed floral decoration, 9.5cms; and a modern conical iridescent scent bottle and stopper, 8cms.

λ Liza Todd-Tivey (British b. 1957), Nashua and Clem, a colour patinated bronze group of a racehorse and groom, naturalistically modelled and mounted to a circular stained wood base inset with metal plaque, 31cm high, 39cm wideProvenance:Private Collection of Nick Robinson, founder of Kennet Valley Thoroughbreds, a pioneer of shared racehorse ownership in the 1980's and esteemed publisher of horseracing books and magazines.Animal sculptor Liza Todd-Tivey has portrayed the American thoroughbred alongside his groom of 26 years, Clem Brooks. This strikingly intimate and informal portrayal is the result of a 1982 commemorative commission on larger scale by Leslie Combs II, founder of Spendtrifth Farm, Kentucky, where Nashua spent his final years. Spendthrift Farm allowed casting of a limited edition of 75 bronzes on a smaller scale, such as the one presented here. Todd-Tivey has completed many private commissions of wildlife sculpture and other race horses (including models of Seattle Slew and the Canadian stallion Northern Dancer, casts of which are also included in this collection), and is the daughter of iconic actress Elizabeth Taylor and producer Mike Todd. Alongside John Skeaping, she was the only modern sculptor to be included in John Fairley's influential book, Great Racehorses in Art, first published in 1984.

Lot of 64 catalogues 32 pcs. Christie's 2005 concerning asian paintings, calligraphy, carvings, fine art, ceramics, modern art and jade. And 32 pcs. Christie's 2008 concerning carvings, visual arts, snuff bottles, ceramics, modern art, paintings, clocks and Chinese costumes and textiles.Condition Report: http://www.zeeuwsveilinghuis.nl/notices

Lot of 43 catalogues Christie's 2006, 2009, 2010, 2012. Concerning fine art, paintings, calligraphy, ceramics, modern art, ancient mirrors, lacquer work and jade.Condition Report: http://www.zeeuwsveilinghuis.nl/notices

Lot of 68 catalogues 39 pcs. Christie's 2003, 2004 concerning paintings, fine art, ceramics, modern art, snuff bottles, enamels and bronze. And 29 pcs. Christie's 2011, concerning ceramics, modern art, paintings, fine art, jade, carving and calligraphy.Condition Report: http://www.zeeuwsveilinghuis.nl/notices

Lot of 48 catalogues Christie's 1997, 1998 concerning fine art, paintings and prints, ceramics, modern art, bronze, furniture, decorative art, jewellery and costume and textiles.Condition Report: http://www.zeeuwsveilinghuis.nl/notices

Lot of 52 catalogues Christie's 1999, 2000 concerning silver, paintings, rugs, decorative art, furniture, calligraphy, ceramics, paintings and modern art.Condition Report: http://www.zeeuwsveilinghuis.nl/notices

Lot of 54 catalogues Christie's 1994, 1995, 1996 concerning fine art, paintings, calligraphy, ceramics, modern art, carving, jewellery and jade.Condition Report: http://www.zeeuwsveilinghuis.nl/notices

Lot of 75 catalogues 44 pcs. Christie's 2001, 2002, concerning fine art, ceramics, modern art, decorative art, furniture and paintings. And 31 pcs. Christie's 2007, concerning ceramics, modern art, paintings, fine art, jade, snuff bottles, cloisonnes, carving and calligraphy.Condition Report: http://www.zeeuwsveilinghuis.nl/notices

Modern Art Pottery wall plaque in the form of a female torso with painted and incised decoration, 20ins high approximately