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An Art Nouveau yellow metal and two stone gem set drop pendant, 53mm, an articulated Mr Punch charm and a modern 9ct gold and diamond chip set serpent stick pin.

A CARDEW STUDIO 'ART DECO VASE', designed by Paul Cardew, the vase is a modern take on an Art Deco vase, signed together with printed back stamps to the base, approximate size 26cm, Condition Report: crazing to the glaze

A modern wall art piece, musical themed

A modern designer 6 drawer chest, in the Art Deco style of Paul Follot, believed to be mango wood , height approx 96cm, width 55cm

Willy Ronis (1910 – Paris – 2009). „Avenue Simon-Bolivar“, Paris. 1950Silbergelatineabzug, 1996. 28,3 × 25,7 cm (40,3 × 30,4 cm) (11 ⅛ × 10 ⅛ in. (15 ⅞ × 12 in.)). Im Blattrand unten rechts mit schwarzem Filzstift signiert. Rückseitig mit Bleistift und schwarzem Kugelschreiber monogrammiert, datiert (Aufnahme sowie Abzug), betitelt und bezeichnet sowie Photographen- bzw. Copyrightstempel: „© WILLY RONIS 46, Rue de Langny, 75020 PARIS [...]“. Von weiterer Hand mit Bleistift beschriftet und beziffert.[2011]Literatur und Abbildung: Willy Ronis: Sur le fil du hasard. Paris 1980, S. 59 (dort betitelt und datiert: L'avenue Simon-Bolivar, Belleville-Ménilmontant. Date probable de prise de vue: fin d'hiver 1948) / Willy Ronis: Belleville-Ménilmontant. Paris 1989 [3. ergänzte Auflage], T. 77 (dort betitelt: Avenue Simon-Bolivar et rue Lauzin) / Ausst.-Kat.: Willy Ronis. Photographs 1926-1995. Oxford, Museum of Modern Art Oxford; Warwick, The Mead Gallery, Warwick University; Manchester, City Art Galleries, 1995/96, S. 33, Abb. 19 (dort betitelt: Avenue Simon-Bolivar, Belleville - Ménilmontant, Paris) / Ausst.-Kat.: Willy Ronis 'La vie en passant'. Aachen, Suermondt-Ludwig-Museum; Stuttgart, Vhs-Photogalerie, 2004/05, S. 43 / Jean-Claude Gautrand: Willy Ronis. Stolen Moments. Gestohlene Augenblicke. Instants dérobés. Köln, London, Los Angeles, 2005, S. 49 / Ausst.-Kat.: Willy Ronis. Une poétique de l'engagement. Paris, Jeu de Paume et La Monnaie de Paris, 2010, S. 38 (dort betitelt: L'Avenue simon-Bolivar depuis la rue Barrelet-de-Ricou (XIXe arrondissement), Paris) / Ausst.-Kat.: Willy Ronis. Eine Retrospektive. Münster, Kunstmuseum Pablo Picasso, 2013, T. 78 / Willy Ronis by Willi Ronis. The Master photographer's unpublished albums. Paris 2018, Album 1, Nr. 79 (dort betitelt: Avenue Simon-Bolivar, from the staircase of rue Barrelet-de-Ricou, Paris)Zustandsbericht: In sehr gutem Zustand. Seidenmattes festes Papier. Im Bild keine Mängel erkennbar. Im weißen Blattrand um das Bild, leicht gelblicher, kaum wahrnehmbarer Lichtrand, ca. 1 cm breit, unterhalb des Bildes ca. 1,5 cm breit. Obere rechte Ecke im Blattrand mit zwei kurzen matten Wisch- oder Fingerflecken, sichtbar im Streiflicht. Oberkante minimal wellig.Wir berechnen auf den Hammerpreis 32% Aufgeld.

New Kingdom, 18th Dynasty, Amarna Period, Ca. 1352 - 1336 BC.A wing from a funerary scarab which would have fastened to linen wrappings or bead netting placed over the mummy. Fabric impression on the front. Back is plain. One of a pair. The Amarna Period is named after the modern village Amarna (ancient Egyptian: Akhet-Aten - horizon of Aten), which was the capital of the period. King Akhenaten became king under his birth name Amenhotep: he changed his name in his 6th year to Akhenaten, marking a radical break in art and religion at the same time. He founded a new capital dedicated to the worship of the sun-god as the visible disk, Aten. Size: 125mm x 70mm; Weight: 105g Provenance: Prince collection, 1990s-2014, acquired from Artemission; Ex. Mrs. AD Collection, London. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 600 BC.A finelly modelled helmet made of hammered bronze sheet, with a rectilinear opening for the face, long, pointed cheek pieces, horizontal ribbing on the forehead framing the upper facial opening, and twin parallel ridges on the crown, each flanked by a group of three later ribs in low relief, engraved band between. The back and sides flare out to guard the neck and has three perforations for attachment of leather liner. This example has a rich, blue-green patina and is a somewhat more impressive example of Type II, variant A, with a more pronounced dome-like form. The Roman historian Appian wrote that the Illyrian lived in the area south from the Macedonians and Thracians. Traditionally the Illyrians were farmers and miners, but during war time they were respected as seasoned soldiers, primarily for the infantry. For a discussion of Type II, variant A, see Angelo Bottini et. al. Antike Helme (Mainz, 1988) pp. 48-52, and ef. Figs. 7-8, p. 49. These helmets were particularly popular in northern Greece, in the province of Illyria, in the modern day Balkans. They were made for hoplites, the citizen-soldiers of the Greek city states, who often furnished their own bronze armor. As a result, regional styles developed, and there is a great deal of variation in shape and form.For similar examples to this helmet from the Metropolitan Museum of Art (1992.180.1, 2006.221, 2003.407.6) and the Louvre (CA 2221Or). For a similar, see H. Pflug, 'Illyrische Helme', in A. Bottini et al. Antike Helme, Mainz, 1988, 55-9. For further reading, see A. M. Snodgrass, Early Greek Armour and Weapons. From the End of the Bronze Age to 600 B.C., Edinburgh, 1964. Size: 280mm x 200mm; Weight: 1.16kg Provenance: London private collection; formelry in a private New York, USA collection; formerly acquired from the German collection of Hans Hagmann in 1968/69. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 100-200. A bronze helmet with a round skull, topped with a small mushroom-shaped knob (peak) and a modern suspension ring. Massive visor with serrated edge. Widely flaring, contoured neck-guard with reinforcement bands riveted to the sides. Pronounced, embossed, stabilising ribs above the neck-guard. Ear cutouts on the sides with riveted hinge straps for attaching the cheekpieces. This type of helmet, also called “Imperial”, replaced a variety of Republican helmets. Soldiers mainly were responsible for acquiring their own equipment, often inherited from generation to generation. Weisenau helmets were worn by Roman Imperial legionaries and constituted the final evolutionary stage of the legionary helmet. These helmets were classified by H. Russell Robinson, who divided them into “Gallic” and “Italic” types. The earliest Roman piece was found in an Augustan grave at Nijmegen. With some restoration. Item comes with a professional historical report from Ancient Report Specialists, and X-Ray photos. The item includes an investigation report from an independent Belgian laboratory (Hebolabo) for age and authenticity. Size: 340mm x 320mm; Weight: 3.3kg Provenance: From the collection of a European collector; formerly acquired in Belgium in 2013; previously in Dutch collection, 1980s-2000s; Ex. Charles Delaporte collection, 1960s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Edward Piper (1938-1990) Limited Edition Modern Art Lithographs of the Female Form, all exhibited in 2005 and measuring 79x62cm framed, comprising 'Nude 6 - Brown + Purple' [67/70], 'Nude 1 - Blue + Red' [62/70] and 'Nude 5 - Marbled Blue + Orange' [22/70]

Edward Piper (1938-1990) Limited Edition Modern Art Lithographs of the Female Form, all exhibited in 2005 and measuring 79x62cm framed, comprising 'Nude 4 - Halo' [39/70], 'Nude 2 - Silver Shoes' [67/70] and 'Nude 3 - Blue + Green' [61/70]

Set of 9 original vintage posters on various topics. 1. Comic-style illustration of skeleton hands holding a lady lying on the ground with a hand holding a gun appearing in the foreground. An excerpt from a story written in German is featured in the speech bubbles. Good condition, fold, minor creasing, small tears, minor printing errors. Country of issue: Germany, designer: Unknown, size (cm): 50x70, year of printing: 1970s; 2. red stencil-style portrait. Excellent condition, numbered in pencil in bottom right corner. Country of issue: Unknown, designer: Unknown, size (cm): 61x43, year of printing: Unknown; 3. Modern dance 1 Bejart / Danse moderne 1 Bejart - Design features a black and white photograph of a man and lady embracing in a form of professional dance. Horizontal. Issued by Editions Photos Geantes. Very good condition, minor creasing, bumps on edges. Country of issue: France, designer: Unknown, size (cm): 51x74, year of printing: 1970s; 4. Delilah - Design by Raymond Kirby features a lady's face distorted by a web of several red lines. Printed in England by Athena Reproductions. Athena is a British art retailer founded in 1964 best known for its iconic posters.1970 Athena Reproductions London. Excellent condition. Country of issue: UK, designer: Unknown, size (cm): 80x53, year of printing: 1970; 5. Johnny the Selfkicker promoting his works - De Heilige Huichelaar / A Holy Hypocrite - Black and white photograph by Ronald Sweering features the Dutch writer, poet, and performer Johan van Doorn (1944-1991) wearing all black and looking at the viewer. Produced by Verkerke Reprodukties. Good condition, folds, creasing. Country of issue: Netherlands , designer: Ronald Sweering, size (cm): 72x54, year of printing: 1960s; 6. windsurfer wearing a red and striped wetsuit riding the waves at sea leaning back on his board and holding onto his full sail as he rides towards the viewer at speed. Photo: Michael Garff. Printed in Germany by Scandecor. Good condition, creasing. Country of issue: Germany, designer: Michael Garff, size (cm): 98.5x68, year of printing: 1976; 7. photographic collage, featuring a pair of hands climbing out of a black toilet seat in the cubicle, with the walls converging into a corner. Fair condition, several creases, pinholes, staining, small paper loss on corner. Country of issue: Unknown, designer: Unknown, size (cm): 84x58, year of printing: Unknown; 8. Popeye, straddling his love interest, Olive, with a pipe in mouth, trousers off, boots, and an open can of spinach by the side. A simple black and white drawn illustration. Horizontal. Good condition, creasing, staining, tears, paper loss at bottom right corner. Country of issue: Unknown, designer: Unknown, size (cm): 50x70, year of printing: Unknown; 9. The Treasure of the Standing Stones Stories and Verse - featuring an illustration of a shepherd playing the flute, goats and sheep grazing the grass, and a stunning view over the marina with sailboats and buildings on the shore and a bay in the distance. Copyright Macmillan and Co LTD. Today and Tomorrow, edited by E.R. Boyce. Horizontal. Good condition, staining, creasing, pinholes Country of issue: UK, designer: Unknown, size (cm): 43x53, year of printing: 1950s.

Set of 9 original vintage art exhibition adverising posters. 1. Marino Marini XX Century's Characters held in the Galleria d'Arte Moderna, Milan in 1973. Marino Marini was an Italian sculptor. Good condition, tear and few stains on the bottom, creases on margins. Country: Italy. Year: 1973. Designer: Unknown. Size: 70 x 50; 2. Chryssa held in the National Museum of Modern Art in Paris in 1979. Chryssa Vardea-Mavromichali was a Greek American artist who worked in a wide variety of media. An American art pioneer in light art and luminist sculpture widely known for her neon, steel, aluminum and acrylic glass installations. Very good condition. Country: France. Year: 1979. Designer: Chryssa. Size: 70 x 50; 3. 100 Years of Museum für Kunst und Gewerbe Hamburg. The Museum für Kunst und Gewerbe Hamburg is a museum of fine, applied and decorative arts in Hamburg, Germany. It is located centrally, near the Hauptbahnhof. Good condition, small tears and creases on margins. Country: Germany. Year: 1976. Designer: Unknown. Size: 84 x 59.5; 4. 70th Annual World Congress of F.D.I. in Vienna. Very good condition, folded. Country: Austria. Year: 1982. Designer: Unknown. Size: 68 x 48; 5. Eugene Atget Exhibition held in the Palais Rohan, Strasbourg in 1978. Eugène Atget was a French flneur and a pioneer of documentary photography, noted for his determination to document all of the architecture and street scenes of Paris before their disappearance to modernization. Very good condition, small creases on margins. Country: France. Year: 1978. Designer: Eugene Atget. Size: 64 x 38; 6. Capogrossi Exhibition held in National Gallery of Modern Art Rome. Good condition, creases on margins, small paper losses on top. Country: Italy. Year: 1974. Designer: Capogrossi. Size: 68.5 x 100; 7. Maria Guida Exhibition held in Petit Palais Geneva. Very good condition, small creases on margins. Country: Italy. Year: 1973. Designer: Unknown. Size: 69.5 x 48.5.cm; 8. Venice and Byzantium Palazzo Ducale. Good condition, creases on margins. Country: Italy. Year: 1974. Designer: Unknown. Size: 98.5 x 68; 9. Painters And Sculptures A New Figuration Perouges. Held in Maison Des Princes De Perouges. Marc Giai-Miniet - Thierry Leproust - Olivier Brice - Gerard Le Cloarec - Gerard Larguier. Very good condition, creases on the left margin. Country: France. Year: 1978. Designer: Unknown. Size: 72.5 x 52.

Original vintage advertising poster for Miro artwork exhibition from 9 November 1974 to 13 January 1975 at the Louisiana Museum of Modern Art, featuring an abstract image in black, red, blue, and yellow set over a light background. Joan Miro (1893-1983) was a Spanish Surrealism painter, sculptor and ceramist. Printed by Arte, Paris. Good condition, pinholes, staining, minor creasing, small tears. Country of issue: France, designer: Joan Miro, size (cm): 66x49, year of printing: 1974.

Original vintage poster published by the No More War Movement from Arthur Wragg's book, Jesus Wept, publishers Messrs Selwyn, Blount Ltd. Black and white image by the British illustrator, socialist and pacifist, Arthur Wragg (1903-1976), featuring a person wearing a gas mask holding a dead girl with unfinished wording quoted from the Bible: "and Jesus said suffer little child..." for his book, Jesus Wept, published in 1935 (described as "a commentary in black-and-white on ourselves and the world today"). Good condition, folds, small tears on margins. Arthur Wragg (3 January 1903 - 17 August 1976) was a British illustrator. His stark poster-like artwork often dealt with themes of social alienation and spiritual emptiness. All his work was done for publication, rather than in 'fine art' media such as paintings or series of prints. As a result, he has been neglected in comparison with contemporaries such as Graham Sutherland and John Piper, but Wragg's choice of medium was an ideological one. As a socialist and pacifist, Wragg wanted his art to speak directly to common people rather than to art-lovers. His vivid, polemical style had considerable influence on other popular forms in the 1940s and 1950s, such as government information posters and advertising. He was born in Eccles, Greater Manchester, and grew up in Harrogate, Yorkshire, along with his sister Amy Wragg, born 1898. He was the son of George Arthur Wragg (a travelling soap salesman for Lively Polly) from Sheffield, Yorkshire, and Alice Smethurst Eckersley (a telegraphist) from Salford,Lancashire (a member of the prominent Williamson family of Salford).[citation needed] He trained at Sheffield School of Art before settling in London as a freelance commercial artist, in which capacity he was in continuous demand for the rest of his life. In the 1920s he contributed mostly to various women's illustrated magazines, but later branched out into book-jackets and work for left-wing newspapers such as Tribune and Peace News (including cartoons) and illustrations for books and pamphlets about Christian socialism, pacifism and social justice. Out of this more committed range of work, and out of the social issues raised by the Great Depression of the 1930s, came several books in which Wragg illustrated biblical texts in a politicised way, notably The Psalms for Modern Life (Selwyn & Blount 1933) which went through several reprints. The simplified block-style and dramatic chiaroscuro effects of these illustrations make them resemble woodcuts rather than pen and ink drawings (misleading some collectors into thinking the books are just reissues of hand-printed original editions) and there are many affinities with the visual-symbolic language of propaganda art, although Wragg's agenda is more generalised. Social realities and symbols are blended to convey deprivation, justice, conscience, and the persistence of spiritual values in the alienated urban-industrial environment. A friend and follower of the popular pacifist preacher, Canon Dick Sheppard, Wragg became a Sponsor of the Peace Pledge Union and was a conscientious objector during World War II. After imprisonment, he became an art-teacher in schools, returning to freelance work after the war. His personal style became more airy and more fantastical, and sometimes surreal. From 1953 until his death he produced illustrations for record covers for the Argo record company. As yet there is no catalogue of his work but there is a book about the artist: Arthur Wragg: Twentieth-century Prophet and Jester (Sansom 2001) by the late Judith Brook, who had been taught art by him at school. Early in his career he featured as the 'Artist of Note' in the long-running magazine The Artist (Vol XI No 5, July 1936). Country:UK. Year:1935. Designer:Arthur Wragg. Size (cm):76x50.5

Original vintage poster: Advancing Church Exhibition. Art by Henrion (Frederic Henri Kay, 1914-1990). Printed by W.S. Cowell Ltd, Ipswich, London. Printer's proof. Mid-century modern design of a globe with a white dove holding an olive branch above it. Very good condition, light foxing and small tears on white margins. County: UK, year of printing:1949, designer: Henrion, size (cm): 90.5x57.5.

BIBA a rare early label late 1960s early 1970s Art deco print brown and cream chintz cotton laced-front maxi dress with sheer leg-o-mutton sleeves Fits modern size UK8-10. (Pit to Pit 42cm * shoulder to hem 144cm * pit to cuff 55cm * shoulder to cuff 65cm) Condition Report: Excellent condition. No holes or fading. (Some creasing and light musty odour from storage.)

BIBA a rare early label late 1960s early 1970s Art Deco floral print black and cream chintz cotton low cut maxi dress with short sleeves and tie ribbon waist. Fits modern size UK8. (Pit to Pit 42cm * shoulder to hem 137cm) Condition Report: Excellent condition. No holes or fading. (Some creasing and light musty odour from storage.)

BANKSY (b. 1974) Cut & Run Glasgow Gallery Of Modern Art Exhibition Poster Framed and glazed Picture size 58 x 40cm Overall size 84 x 64cm

§ Howard Hodgkin (1932-2017), Red Bermudas, Five colour offset lithograph, Initialled, dated and numbered by the artist, this is number 63 of a limited edition of 150, published in 1982 to raise funds for the Oxford Museum of Modern Art Appeal Fund, 43 x 43cm. Framed and glazed. Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information. Condition Report: Under glass, faded.

Art Deco Style Lorgnettes, together with a cased set of four thistle design plated napkin rings, modern pill boxes, Ronson table lighter.

TWO MID-CENTURY MODERN LARGE ART GLASS VASES the first a turquoise amphora of semi-opaque bubbled glass, the second a baluster vase with double cased glass surrounding a turquoise and black mottled ground, both 39cm high (2)

RICHARD AVEDON (1923-2004), a 1978 exhibition poster at The Metropolitan Museum of Modern Art, featuring "Dovima with Elephants" evening dress by Dior, 54.5 x 70cmSome surface marks and creases, stored rolled.

GROUP OF THREE MODERN WALL ART PRINTS, one depicting New York City and the Empire State Building, two framed 100cm x 100cmQty: 3

Niels Frederiksen (American, 1917-2005). Studio ceramic vase painted vase. Mid-century modern glazed stoneware painted with fish and waves. Clear glaze over slip decoration. Incised signature along the underside. Partial Walker Art Center label affixed to the footrim.Provenance: From the distinguished collection of the Walker Art Center, Minneapolis, MN - proceeds from this sale will benefit their mission.Height: 9 3/4 in x diameter: 7 1/2 in. WalkerCondition:There is a large crack extending downwards from the upper rim which curves slightly to the right as it reaches the footrim. At the beginning of this crack there is a large triangular piece which appear to have broken off and has been reattached. Several large chips along this crack: one at the rim and two along the interior. The number "48.17" is written in pen along the underside. Some plant matter affixed along the interior, which could be removed.

To be sold to benefit the CAF Euergetes Charitable Trustλ Art Deco coral, onyx and diamond jabot pin/brooch, Cartier, 1920s and later, and a pair of coral, onyx and diamond earrings, the jabot pin of Egyptian inspiration, designed as stylised lotus motifs set with sections of polished onyx and coral and circular- and single-cut diamonds, jabot pin length 8.5cm, top signed Cartier, base unsigned, possibly later, top with later brooch fittings; the top section attaching into a later giardinetto brooch fitting of similar design, length 4.9cm, unsigned; together with a pair of modern pendent earrings, each composed of an onyx bead suspending a line of circular-cut diamonds accented with polished onyx, terminating in a polished coral bead, length 4.5cm, each, post fittings, unsigned

A collection of rugs comprising a Turkish style runner, the central panel set with repeating medallions on a red ground, within a stepped red, blue and green geometric patterned border, approx 88 cm x 360 cm, together with a further runner with lattice design in blue, mustard and beige, approx 68 cm x 225 cm, a modern striped rug of neutral colour, approx 126 cm x 166 cm, a vintage Chinese rug, the central panel set with four bird set roundels on a salmon pink ground, within a stepped blue and beige stylised floral decorated border, approx 172 cm x 95 cm and a modern purple rug with cream Art Deco style geometric design, approx 69 cm x 136 cm

Two boxes of assorted copper and brass ware, to include various canisters, jugs, etc. and oil lamp reservoirs, together with a box of assorted modern collectable cars to include Vanguard, Lledo, etc., a small box of assorted china wares to include a Wade Port barrel and a similar Gin barrel and a Art Deco wall mirror (4 boxes and mirror)

Fifteen assorted golf books - Golf is my Game 1960 Robert Tyre Jones, Golf a New Approach 1949 Lloyd Mangrum, Golf Secrets of the Pros 1956 Larry Robinson, Triumphant Journey 1981 Dick Miller, The Art of Coarse Golf 1975 Michael Green, The Complete Golf Gamesmanship 1968 Stephen Potter, The Ind Coope Book of Golf 1965 Tom Scott and Geoffrey Cousins, Modern Golf 1967 Dave Thomes, How to Play your Best Golf All The Time 1954 Tommy Armour, Gary Player's Golf Class 1968, A Sporting Almanac Golf 2003 E Balmer, Love That Golf 1953 Don Herold, How to Become a Scratch Golfer 1963 Patrick Campbell, Teach Yourself Golf 1955 JC Jessop, Golf with Seven Clubs 1952 Robert HK Browning - Mixed condition

A Mid Century Modern Balkan Art Glass vase. 27x8x24cm

DEMEDIUK, NATALIA (Ukrainian b. 1982), "July Field", impressionistic landscape with horse in field, oil on canvas 50 x 80 cms, signed with monogram bottom right (1) Further information on artist: Natalia Demediuk, was born in Rivne (Ukraine) on May 3, 1982. She graduated from the Rivne Children's Art School named after A. Martynenko. Since 2017, she is a member of the group of amateur artists "Artist" under the leadership of Anatoliy Ivanenko (member of the NSHU), a member of the art group "Kolo ART". Nataliya Demediuk, artist, writer, journalist, TV and radio presenter, teacher, general director of the Media Center "Tretya Stolitsia", co-organizer and participant of cultural events, public figure. Awarded numerous literary and journalistic prizes. The author of three poetry collections - "Sketches of everyday life", "Seven kRokiv", "Azimuth" (the collection has a painting section with reproductions of paintings by Natalia Demediuk). Many poems were set to music and became songs. Natalia Demediuk's paintings were included in the prize fund of the Rivne accent literary award. Sculptor-animator of a series of plasticine animations as part of the project for special children "Little Croissant in the Big World". Co-organizer and participant of the charity art opening "Just the sky. Artists in support of the Armed Forces." Participant of local, all-Ukrainian and international charity auctions, in particular, the Polish-Ukrainian auction "Holidays without Dad" (the painting "Once upon a time, the Cossack Mamai….."), "Charity Coffee" and others. Natalia Demediuk's paintings are in private collections in Ukraine and abroad. EXHIBITIONS: 2017 - "Two springs of one year", Ukraine, Rivne, Rivne Regional Library for Youth. Exhibition of graphic paintings by Elena Sergeeva and oil painting by Natalia Demediuk. The exhibition combined two creative personalities in their amazing vision of the modern world. 2018 - "Not Holy Pots...", Ukraine, Rivne, exhibition of paintings by students of Anatoly Ivanenko, Rivne, European painting gallery "Euro-Art". Despite the variety of directions and creative individuality, the artists are united by high professionalism and bright artistic expressiveness. 2019 - "Legatto", Ukraine, Rivne, exhibition of paintings by students of Anatoly Ivanenko, Rivne, European painting gallery "Euro-Art". In the exposition - a common female view of the modern world, full of hope, warmth, good and bright thoughts. 2021 - "Artistic exercises", the presentation of the exhibition of the works of students of the "Artist" group took place within the framework of the large-scale project "Euro-Art" for the talented". 2021 - debut personal painting exhibition "INTERMEZZO. In love with life", Ukraine, Rivne, Euro-Art gallery as part of the Euro-Art project for the talented. 2022 - "Art-klubma", Ukraine, Rivne regional organization of the National Union of Artists of Ukraine, painting exhibition, the best works of the "Artist" group are presented.

Jasper Johns (American, b. 1930). Offset lithograph with paints and paintbrush titled "Target" depicting a 'blank' target. Signed in print along the lower left; the second line in the artist section has been left to allow the purchaser to paint the target themselves and sign their own name. Along the the catalog "Technics and Creativity" published by Gemini G.E.L., Los Angeles, in conjunction with the Museum of Modern Art, New York, 1970-71. Contained in a white plastic case.(Print) height: 10 1/2 in x width: 8 1/2 in. (Case) height: 10 3/4 in x width: 9 in x depth: 1 1/4 in.br/>Condition:Light wears, scratches, and scuffs to the white case. Light wear including some discoloration and scratches to the cover of the book. All pages appear present. The paintbrush has come unattached to the sheet of the target print. The print is in otherwise good condition and is still firmly held within the case. A few small discolorations from the paint including a few small red spots near the red paint pot.

Steven Sorman (American, b. 1948). Gouache, watercolor, and collage on St. Armand linen paper titled "Oh I'm (Maundy Thursday) LXX" depicting an abstract scene with bright orange and cream against a deep navy background, 1999. Pencil signed and dated along the lower right; titled along the lower center.Steven Sorman is an internationally recognized Minnesota artist, best known as a painter and printmaker. He earned his BFA from the University of Minnesota. Currently, he resides and is active in Red Wing, Minnesota. His work is housed in numerous international museums that include Stedkijk Museum in Amsterdam, Netherlands, The Museum of Modern Art and the Whitney Museum of American Art in New York, New York, the Art Institute of Chicago in Chicago, Illinois, and Walker Art Center, Minneapolis, Minnesota. Sorman won the Bush Foundation Artist's Fellowship in 1979, the San Francisco Museum of Modern Art Merit World Print III Award in 1980, the Rockefeller Foundation American Center Artist in Residence in Paris in 1982 and the 2nd Bhrat Bhavan International Biennial of Prints Merit Award in 1991.Unframed; height: 18 1/2 in x width: 14 in. Framed; height: 25 1/4 in x width: 21 1/4 in.br/>Condition:The colors are bold and bright. There is undulation to the sheet throughout. No visible rips, creases, or restorations. The artwork is floated in frame. Framed under plexiglass; light wear to the frame; not inspected out of frame.

George Chann (Chinese/American, 1913-1995). Oil on board abstract painting depicting a multitude of short lines in yellow, green, red, and blue on a white ground. Signed along the lower left.Lot Essay:George Chann was a Chinese-American artist known for his significant contributions to modern art in the mid-20th century. Born in Canton, China, Chann immigrated to the United States in 1933, where he later became a prominent figure in the American art scene. His work is characterized by a fusion of Eastern and Western artistic traditions, blending traditional Chinese calligraphy with modern abstract expressionism. Chann's unique style and innovative approach garnered attention, leading to numerous exhibitions and accolades throughout his career.In the 1950s and 1960s, Chann played a key role in the California art scene, particularly in the San Francisco Bay Area. His paintings often featured bold brushstrokes, vibrant colors, and a sense of spontaneity that reflected his deep understanding of both Chinese and Western artistic philosophies. Chann's artistry transcended cultural boundaries, offering viewers a bridge between two worlds. His legacy continues to influence contemporary artists, highlighting the rich tapestry of cultural exchange in the realm of modern art.Unframed; height: 19 1/2 in x width: 15 1/2 in. Framed; height: 21 1/4 in x width: 17 1/2 in.br/>Condition:There are no losses and there are no visible repairs under UV light. Minimal craquelure is present on the upper right quadrant.

Sam Gilliam (American, 1933-2022). Small acrylic on birch plywood titled "Mark Squared" depicting a colorful abstract composition, 2000. With a three-dimensional element in the form of an irregular-shaped wedge projecting from the lower half of the artwork. Signed, titled, and dated along the verso.Provenance: Private Minnesota collection.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and Paul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career.From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Height: 12 in x width: 12 in x depth: 4 in.br/>Condition:The artwork is structurally sound. All pieces are firmly attached. There are no splits, losses, or repairs to the wooden components. Natural bubbles to the paint surface original to the artistic process. Along the lower right of the red panel there are three small spots (the largest measuring 3/4 inch x 3/4 inch) that fluoresce under UV light and appear uneven when compared to the rest of the work which is quite smooth, save for the aforementioned bubbles. This is likely an area of pooled varnish. There is some slight yellow discoloration to the varnish throughout. Some scratches to the metal along the verso of the work.

A large modern bevel edged mirror within a gilt decorated frame 100cm h x 71 cm w. with an Art Deco fan shaped mirror with four panels on the lower edge ( af), 47 h cm x 73 cm w. ( 2)

Jamie Reid (British, 1947-2023) "Fuck Your Putin Wars" - 2022 Inkjet on Somerset Velvet paper 255gsm Limited edition no 62/100  Signed by artist in pencil Presented rolled in original tube Full sheet measures approx. 57cm x 40cm (22.5" x 15.75") Jamie Reid (British, 1947-2023) grew up in a very politically active family and his powerful art prints explore issues such as nuclear weapons, racism and the criminal justice system. Reid is probably best known for his work with The Sex Pistols. Reid studied at Croydon Art School, where he met Malcom McLaren, the future manager of the Sex Pistols. Reid’s décollage album and single covers for the band played a major role in defining the British punk movement’s aesthetic. Reid produced scandalous and famous works by defacing elements of pop culture and nationalist imagery, such as Cecil Beaton’s Silver Jubilee portrait of the Queen. As the editor of the seminal anarchist publication Suburban Press during the 1970s, Reid created mosaics by combining drawings, stickers, banners and posters, articulating contemporary issues and illustrating his message in a provocative way. He has participated in anti-war art exhibitions and campaigned on issues including poll tax, Clause 28 and the Criminal Justice Bill. Reid remains politically active today, producing works for zines and other media, and is currently represented by John Marchant Gallery in London. Reid’s art has been collected by Vivienne Westwood, Madonna and Angelina Jolie and can be found in The Museum of Modern Art in New York, the Victoria and Albert Museum in London, and the Tate Gallery in London, among others. If postage is required, any print within this sale will be posted rolled unless informed otherwise.   

A modern reproduction Art Deco style rectangular wall mirror, width 69cm, height 97cm

A SMALL QUANTITY OF PICTURES AND BOOKS, to include an oil on board landscape with a female figure and child walking on a woodland path, signed L. Smith, approximate size 17cm x 22cm, four Dean Wolstenholme hunting themed prints, five Henry Alken 'Symptoms' prints with hand colouring, two modern Chinese watercolour depicting birds, a box of art instructional books etc

A GROUP OF COLOURED AND DECORATIVE GLASS WARES, to include a pink and white Nailsea bell and similar novelty flask in the form of a boot (no stopper), a cranberry glass jack in the pulpit vase with frilled rim, two Caithness vases etched with an owl and dolphins, various coloured drinking glasses including three Uranium glass tumblers, a green glass fishing float, large modern art glass vases, tallest 37cm (Qty) (Condition Report: most pieces appear in good condition, sd, would benefit from a clean)

A BOX AND LOOSE PICTURES AND BOOKS, comprising a Great Masters 1400-1800 folder of art prints, seven framed prints, two antiquarian books, and a modern print comprising copies of 1966 World Cup ephemera (1 box + loose) (sd)

Various Skira Publications on art to include 'Giotto', 'La Peinture Francais', 'Peinture Modern', 'La Peinture Italienne', 2 vols, assorted other novels to include Dumas, Agatha Christie Crime Club 'The Adventure of the Christmas Pudding', antiquarian set 'British Poets', printed by C Cook, No.19 Paternoster Row, half calf, marbled boards, 16mo (14 vols) (2 boxes) 

Art reference books on Painters & Paintings: European & Russian Kostenevich, Albert: Bouguereau to Matisse, French Art at the Hermitage, 1860-1950 Kostenevich, Albert: French Art at the Hermitage, Splendid Masterpieces, New Discoveries Distel, Anne: Les Collectionneurs des Impressionnistes Pictures in the Royal Collection, The Later Italian Pictures Berenson, Bernard: The Italian Painters of the Renaissance Chiristou, Chrysanthos: The National Gallery, 19th and 20th Century Greek Painting Zampetti, Pietro: A Dictionary of Venetian Painters, Volume 5, Nineteenth and Twentieth Centuries Giampaolo, Mario Di: Los Frescos Italianos de El Escorial Ward-Jackson, Peter: Italian Drawings, Volume Two: 17th-18th century, V&A Catalogue De Piro, Nicholas: The International Dictionary of Artists who painted Malta Preston, Col. Rupert: Seventeenth Century Marine Painters of the Netherlands Taras Shevchenko / Schewtschenko / Chevtchenko: Tapac Webyehko [Tarass Chevtchenko Paintings] Haesaerts, Paul: Laethem-Saint-Martin. Le Village elu de l'Art Flamand, 3rd Edition, in Slipcase Die Kunstwelt, Monatsschrift fur die Bildende Kunst, Band III, Juni 1913-Sept. 1913 Auction Catalogues: Christie's, King Street: German and Austrian Art '97, including The Ravenborg Collection and German Abstraction - A Private Collection, 3 Catalogues in Slipcase Auction Catalogue, Sotheby's New Bond Street: German & Austrian Art; Impressionist & Modern Art Evening Sale, 2 Volume boxed set, 7 February 2006 Auction Catalogues: Sotheby's, New Bond Street: The Beck Collection: German Expressionist & Modern Art, 5 Catalogues in Slipcase Astakhova, N: Ivan Aivazovskiy - Great Collection, in Slipcase Auction Catalogue, MacDougall's: Russian Classic and Contemporary Art Auction Catalogue, MacDougall's: Important Russian Art Auction Catalogue, Sotheby's New Bond Street: Russian Art, Paintings, 28 November 2006 Auction Catalogue, Sotheby's New Bond Street: The Russian Sale, 11 and 12 June 1997 Auction Catalogue, Sotheby's New Bond Street: The Russian Sale, 18 November 1999. (30)

Joachim von Sandrart. Der Teutschen Academie Andren Haupt-Theils zweyter Theil. Von der Scultura, Oder Bildhauer-Kunst. 2. Teil (von 3) des 2. Bandes (von 3). Mit gestochenem Titel, 3 Textkupfern und 54 gestochenen Tafeln, davon 4 doppelblattgroß und 1 gefaltet. (Nürnberg, Sandrart, 1679). 1 Bl., 91 S., 1 Bl. Folio. Etwas späterer Ldr. mit reicher floraler und ornamentaler Blind- und Goldprägung auf Rücken und Deckeln, goldgepr. RTitel und Marmorvorsätze (etwas berieben und bestoßen, VDeckel etwas lichtrandig und beschabt). VD17 1:080153U. Grässe VI (1), 264. - Der Maler, Kunstsammler und Autor Joachim von Sandrart (1606-1688) gilt neben Dürer und Winckelmann als einer der wichtigsten deutschen Kunstschriftsteller. Durch Aufenthalte in Prag, Venedig, Rom, Amsterdam, Augsburg und Nürnberg kam er in Kontakt mit Malern wie Gerrit van Honthorst, Peter Paul Rubens, Claude Lorrain und Nicolas Poussin und erlangte Zugang zu wichtigen Sammlungen wie derer von Charles I. und Thomas Howard 2nd Earl of Arundel und Vincenzo Giustiniani. Er war maßgeblich an der Gründung der Kunstakademien in Nürnberg und Augsburg beteiligt. Von 1675 bis 1680 publizierte er die "Teutsche Academie" in drei Teilen. Die Bände reichen von allgemeinen Abhandlungen zur antiken Architektur und Skulptur, zu Theorie der Malerei, über die Biographien antiker und moderner Künstler und Ausführungen über wichtige Kunstsammlungen und Schatzkammern. - Einige wenige Tafeln mit Einriss im weißen Rand. Etwas gebräunt und teils leicht fleckig. Die wundervollen Tafeln in überaus kräftigen Abzügen. With engraved title, 3 text engravings and 54 engraved plates, 4 of them double-page and 1 folded. 2nd part (of 3) of the 2nd volume (of 3). Somewhat later leather with rich floral and ornamental blind and gold embossing on spine and covers, gilt stamped title and marbled endpapers (somewhat rubbed and bumped, covers somewhat light-stained and scuffed). - The painter, art collector and author Joachim von Sandrart (1606-1688) is considered one of the most important German art writers alongside Dürer and Winckelmann. Through stays in Prague, Venice, Rome, Amsterdam, Augsburg and Nuremberg, he came into contact with painters such as Gerrit van Honthorst, Peter Paul Rubens, Claude Lorrain and Nicolas Poussin and gained access to important collections such as those of Charles I and Thomas Howard 2nd Earl of Arundel and Vincenzo Giustiniani. He was instrumental in the founding of the art academies in Nuremberg and Augsburg. From 1675 to 1680, he published the "Teutsche Academie" in three parts. The volumes range from general treatises on ancient architecture and sculpture, to the theory of painting, biographies of ancient and modern artists and descriptions of important art collections and treasuries. - A few plates with a tear in the white margin. Somewhat browned and slightly stained in places. The marvellous plates in very strong impressions.

Fotografie - - Bernd u. Hilla Becher. Anonyme Skulpturen. Eine Typologie technischer Bauten. Mit 194 ganzseitigen photographischen Abbildungen. Düsseldorf, Art-Press, 1970. 108 nn. Bll. 4°. Blaue OLwd. mit DTitel in ill. OUmschlag (minimal berieben, der Umschlag etw. knickspurig u. beschmutzt). Erste Ausgabe. Parr/Badger II, 266. Heidtmann 11816. - Mit dreisprachigem Text in Deutsch, Englisch und Französisch. - Erste Veröffentlichung des international renommierten Photographen-Duos und eine der wichtigsten Publikationen der modernen Photographie. Mit Aufnahmen von Kalk- und Hochöfen, Kühl-, Förder- und Wassertürmen sowie Gasbehältern und Silos, die die beiden Künstler zu Ikonen der Industriephotographie machten. "Anonyme Skulpturen, though it hardly neglects the informational importance of their practice, seems much more about making an aesthetic statement and establishing the artists' position in late twentieth-century art. All their books are polemical, but this represents their primary artistic credo. For those who are more interested in the Bechers as artists than as industrial archaeologists, this is the one to have on one's shelf." (Parr/Badger). - In den Rändern minimal und äußerst zart gebräunt. Insgesamt sehr gut erhalten. Photography - With 194 full-page photographic illustrations. Blue orig. cloth with cover title in ill. orig. wrappers (minimally rubbed, very well preserved). - First edition. - With trilingual text in German, English and French. - First publication of the internationally renowned photographer duo and one of the most important publications of modern photography. With photographs of lime and blast furnaces, cooling, conveyor and water towers, as well as gas tanks and silos, which made the two artists icons of industrial photography. - Minimally browned in the margins. Very good copy.

A modern Art Deco style figural table lamp

A modern art glass mounted picture frame with silvered finish. 100cm x 141cm.

A modern 9ct gold revolving seal pendant in Art Nouveau style mount set blood stone and carnelian oval panels on belcher link chain necklace total length shows no signs of use L x 33cm 14.89g 

A modern blue art glass carafe or baluster form with clear glass tapered edged spout H x 27cm , a amethyst glass tapered carafe with clear glass tapered spout and knop style handle H x 28cm and a cranberry glass baluster carafe with similar knop handle and spout tapered clear glass design H x 31cm signed A verso (3)

Duncan GRANT (1885-1978) Man in a Bowler Hat  Pencil on paper, signed to verso, 20 x 12cm, framed size 40 x 30.5cmProvenance - Paul Roche Estate (label verso)- Louise Kosman, Modern British Art (label verso)

ALEXANDER NASMYTH (SCOTTISH 1758 - 1840), ITALIAN LANDSCAPE AT DUSK oil on canvas, signedframedimage size 68cm x 96cm, overall size 92cm x 119cm Provenance: Private German Country House Collection. Christies, Glasgow stencil mark and label verso.Note: By the 1800s Alexander Nasmyth's skill as a landscape painter was such that he was confident working on an ambitious scale, yet due to the numerous demands on his time relatively few pictures survive from this period. Between 1790 and 1810 he was remarkably industrious: in addition to supporting his large young family, he was setting up an art school where he taught classes and was also working on an ever-expanding portfolio of theatrical, engineering and landscape design projects. Nasmyth came from a line of architect-builders, and as a youth had been trained to take over the family business by his father but opted to pursue painting instead. It was not until later in life that he began to take on architectural and landscape-design commissions, embodying the Italian ideal of the architetto-pittore. James Nasmyth wrote: ‘My father was much employed in assisting the noblemen and landed gentry in improving the landscape appearance of their estates, especially when seen from their mansion windows. His fine taste, and his love of natural scenery gave him great advantages in this respect… he designed alterations of the old buildings so as to preserve their romantic features, and at the same time to fit them for all the requirements of modern domestic life.’ (ed. S. Smiles James Nasmyth, Engineer: An Autobiography,London, 1883, pp.36-37)

A modern Polish Vitti Nostra fern green full length ladies coat having black Art Deco style design to the hem and black cuffs with gold trim, shoulder pads, ruched shoulders and deep side pockets. Location:Rail

A BRONZE FIGURE OF VISHNU, ANGKOR PERIOD, KHMER EMPIRE, 12TH-13TH CENTURYWell cast standing in samapada on a square base, his four hands holding the mace, lotus, chakra, and conch, dressed in a short sampot with fishtail pleats at the front and butterfly tang at the back, secured with a large flange falling over the belt. The face with wide smiling features, almond-shaped eyes, elongated earlobes with pendeloque earrings, the hair piled into a tall jatamukuta and secured with a tiara.Provenance: From an old French family collection. Condition: Very good condition with old wear and some minor casting flaws, small nicks, and tiny scratches and losses. Spectacular, naturally grown patina overall with several layers of malachite and small areas of azurite encrustation.Weight: 259.9 g (incl. stand) Dimensions: Height 12.9 cm (excl. stand) and 17.3 cm (incl. stand)Mounted on a modern base. (2)Khmer sculptors produced figural images of divinities in response to the international religions - Hinduism and Buddhism - that had arrived in mainland Southeast Asia already by the fifth century. Indian traders and traveling priests subsequently brought knowledge of Shiva, Vishnu, and other Hindu gods to this region.Literature comparison: Compare a closely related bronze of Vishnu, dated early 12th century, 12.7 cm high, in the Metropolitan Museum of Art, accession number 1983.556.1. Compare a closely related bronze of Vishnu, dated late 12th to early 13th century, 15.5 cm high, in the National Museum in Phnom Penh, inventory number NMC.427.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 20 March 2012, lot 168Price: USD 12,500 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of Vishnu, Khmer, Angkor period, Bayon style, 13th centuryExpert remark: Note that this statue is standing on an associated yoni lingam base. The size of the statue alone is estimated at c. 20 cm.

A BRONZE FIGURE OF BUDDHA, MON DVARAVATI STYLEThailand, 18th century or later. Finely modeled standing in a dynamic pose, reminiscent of tribhanga and similar to contrapposto, his right hand raised in shuni mudra and his left in gyan mudra. His diaphanous robe draped over his left shoulder. The crisply cast serene face with heavy-lidded downcast eyes below gently arched brows centered by an urna, an aquiline nose, and full lips, flanked by long pendulous earlobes. The hair arranged in tight curls around an ushnisha. The bronze with a rich, naturally grown patina with malachite encrustations.Condition: Good condition with wear, casting flaws, small nicks, light scratches, and minor losses. The base of the robe drilled with a hole from sample-taking. The bronze covered in a naturally brown patina with malachite encrustations.Provenance: The collection of Nik Douglas, acquired for the Buckingham Collection. Nik Douglas (1944-2012) was a renowned author, curator, and Asian art expert. Between 1966 and 1974, he traveled through South and Southeast Asia, visiting remote areas of India, Sri Lanka, Nepal, Sikkim, Thailand, and Indonesia, building up his knowledge of the customs, beliefs and spiritual practices of Hindus and Buddhists. He researched Oriental medicine, alchemy, art, sculpture and mysticism, studying with Hindu yogis, Buddhist lamas, and doctors. The Buckingham Collection was built by Nik Douglas, his mother, and his grandfather as well as further collectors in the family. Part of the collection was exhibited in 2010 by The Tibet House, New York, The Buddha Image: Out of Uddiyana.Scientific Analysis Reports: An expert report was conducted by Antiques Analytics at the Institute for Scientific Authenticity Testing, Doctor Robert Neunteufel. The examination concluded, “The results of the metal analysis are in contradiction to a manufacture within the 17th century.” A signed copy of the report, dated 19 May 2023, accompanies this lot. A technical examination was conducted by Podany Conservation Services, USA. The examination report concludes: “The casting technique utilized to produce this object is consistent with ancient and historical approaches…Visual examination did not point to any clear signs of modern manufacture.” A copy of the signed examination report, dated 29 December 2020, accompanies this lot.Weight: 1,958.6 gDimensions: Height 43 cm and 60 cm including the base. 13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 

TWO BACTRIAN BANDED AGATE BEADS, LATE 3RD TO EARLY 2ND MILLENIUM BCOxus Civilization. Comprising two agate beads of flattened lozenge form, carved to highlight the natural formations in the stone. The larger bead of a translucent quality and honey-brown to pale gray tones with bands of white. The smaller bead also translucent and of a pale gray tone with white bands.Condition: Good condition with some wear, small chips here and there, signs of weathering and erosion with associated losses.Provenance: Estate of Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born Paolo Bertuzzi as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Weight: 27 g (the larger bead) and 10 g (the smaller bead)Dimensions: 4.8 cm (the larger bead) and 3.7 cm (the smaller bead)The Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the "Oxus civilization", apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.

A LURISTAN BRONZE 'RAM' WHETSTONE FINIAL, CIRCA 1000-650 BCFinely cast in the form of a recumbent ram, the tubular base is hollowed with two apertures on either side for mounting. The ram naturalistically rendered with a long neck and two large horns which curl around its protruding ears.Provenance: Galerie Persepolis, Brussels, exhibited from 28 October to 13 November 1971. Collection Monsieur H., Brussels, acquired from the above. Collection Madame D.T., acquired from the above.Condition: Good condition, commensurate with age, with wear, signs of weathering and erosion, encrustations, and nicks. The sharpening stone lost.Weight: 93 g (excl. stand) and 164.2 g (incl. stand) Dimensions: Height 7.4 cm (excl. stand) and 12.2 cm (incl. stand)With a modern metal stand. (2)Luristan bronzes are small cast and decorated objects from the Early Iron Age (first millennium BC) which have been found in large numbers in Lorestan province and Kermanshah in western Iran. They include a great number of ornaments, tools, weapons, horse fittings, and a smaller number of vessels including situlae and are characterized by a wide range of idiosyncratic forms and a highly stylized conception of human and animal representation. Those from recorded excavations were generally found in burials. The ethnicity of the people who created them remains unclear, though they may well have been Iranian, possibly related to the modern Lur people who have given their name to the area. Luristan bronze objects came to the notice of the world art market from the late 1920s onwards. They were excavated in considerable quantities by local people and are found today in many of the world's most important museums.Museum comparison:Compare a closely related Luristan wet stone with a bronze ram finial, dated 1000-800 BC, in the Louvre Museum, accession number AO 20866. Compare a related Luristan wet stone with a bronze ibex finial, dated 1000-800 BC, in the Louvre Museum, accession number AO 20864.

A LURISTAN BRONZE SPEARHEAD, LATE 2ND TO EARLY 1ST MILLENNIUM BC Iran, c. 1200-700 BC. Well cast, the slender blade with a central ridge, the tapering socket with several rings framed by incised hatchwork and two apertures to the base for mounting.Provenance: From a Royal Collection. The stand with an old inventory label, '326'. Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, casting flaws, few nicks, light scratches, minimal nibbling to edges. The bronze with a rich, naturally grown, solid patina with vibrant malachite, azurite, and cuprite encrustations.Weight: 136 g (incl. stand) Dimensions: Length 36 cm (incl. stand) and 33.3 cm (excl. stand)Mounted on an old wood stand. (2)Luristan bronzes are small, decorated objects from the Early Iron Age (first millennium BC) which have been found in large numbers in Lorestan province and Kermanshah in western Iran. They include a great number of ornaments, tools, weapons, horse fittings, and a smaller number of vessels including situlae and are characterized by a wide range of idiosyncratic forms and a highly stylized conception of human and animal representation. Those from recorded excavations were generally found in burials. The ethnicity of the people who created them remains unclear, though they may well have been Indo-European, possibly related to the modern Lur people who have given their name to the area. Luristan bronze objects came to the notice of the world art market from the late 1920s onwards. They were excavated in considerable quantities by local people and are found today in many of the world's most important museums.Auction result comparison: Type: Related Auction: Christie's London, 4 December 2019, lot 489 Price: GBP 1,250 or approx. EUR 1,900 converted and adjusted for inflation at the time of writing Description: A Luristan bronze spear head, early 1st millennium BC Expert remark: Compare the related form, with similar central ridge and hollow socket, and patina. Note the size (47.6 cm).

YASUHARA SHOSO: A SILVER-LACQUER IKEBANA VASEBy Yasuhara Shoso (born 1884), one seal ShosoJapan, Taisho (1912-1926) to Showa period (1926-1989)Of square section, the tall rectangular body supported on four feet and rising to a flat rim fitted with a reticulated cover, bearing an attractive silver ground, decorated to the exterior in iro-e hiramaki-e depicting the sun among clouds shining over a field. The recessed base sealed Shoso. Inscribed to the box, 'Shoso, lacquer art', with the seal Shoso.HEIGHT 24 cmCondition: Very good condition with minor wear and few blemishes and fingerprints.With a fitted tomobako box inscribed with the artist's name and seal.Yasuhara Shoso (born 1884) was the second son of Yasuhara Kiyoshi, a native of Kanazawa who worked in Osaka as a high-end maki-e lacquerware exporter. He succeeded his father Kiyoshi in 1899 and worked in Osaka. He began to exhibit his work at exhibitions from the Taisho era (1912-1926). His style was modern in design, incorporating various ancient lacquer techniques, and many of his works, while highly technical, created an appealing atmosphere.

KAJIKAWA: A SUPERB FOUR-CASE LACQUER INRO WITH HAWKS AND CHERRY BLOSSOMSBy a member of the Kajikawa family, signed Kajikawa 梶川 saku 作 with seal Ei 榮Japan, 19th century, Edo period (1615-1868)Of upright rectangular shape and oval section, bearing a fine gold kinji ground, beautifully polished and lustrous, lacquered in gold takamaki-e with some gold leaf inlay depicting to one side a hawk perched on the branch of a blossoming sakura (cherry) tree, the tree embellished with kirigane, the eyes of the hawk double inlaid, the verso similarly decorated with a second hawk in mid-flight. The interior cases of nashiji with gold fundame rims. Signed underneath in gold lacquer KAJIKAWA saku [made by Kajikawa] and with the red tsubo (pot) seal Ei. With a ceramic ojime with gilt floral decor.HEIGHT 8.7 cm, LENGTH 5.3 cmCondition: Very good condition with only minor wear. Some light surface scratches and rubbing to lacquer.Provenance: From the collection of Arend Louis Serne. An old collector's label to the interior, 'G 188.' Arend Louis Serne (1925-2021) was the fourth-generation owner of the firm A. Serne & Son, Costumiers, located on the Groenburgwal, Amsterdam, Netherlands, established in 1866. An avid piano player, he was also fond of modern literature, and a passionate collector of inro. He started his inro collection in the late 1970s. At that time, he entered the gallery Aalderink Oriental Art along the Spiegelgracht in Amsterdam and was immediately captivated by the beauty of inro. He began his collection with three simple specimens but hoped to own more. He remarked, “Oh that's nothing, a decent collection must be about a hundred pieces!” And collect he did. Arend was not concerned with the signature or the rarity, but with the intrinsic poetic beauty embodied in this very Japanese art form.

A RARE MITSUDA INLAID FOUR-CASE BLACK LACQUER INRO WITH A ROBED FIGURE ON HORSEBACK, ATTRIBUTED TO OGATA KORIN (1658-1716)UnsignedJapan, Edo period (1615-1868)Of upright rectangular form and oval sectional, the four-case inro bearing a fine roiro ground and decorated in gold hiramaki-e, mitsuda (pewter), and aogai to depict a mounted robed figure against a foliate brocade pattern designed to simulate textile. The interior compartments of nashiji with gold fundame edges.HEIGHT 8.5 cm, LENGTH 6.7 cmCondition: Good condition with minor wear, light surface scratches and typical losses, particularly to the pewter-inlaid horse, some with gold-lacquered 'kintsugi' repairs.Provenance: Van Stockum Gallery, The Hague, April 7, 1959. Collection of Robert and Isabelle de Strycker, acquired from the above. An old collector's label to the interior, 'L,548' and '13'. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Rinpa is a modern term that refers to a distinctive style of Japanese pictorial and applied arts that arose in the early seventeenth century and has continued through modern times. Literally meaning 'school of Korin,' Rinpa derives its name from Ogata Korin (1658-1716), a celebrated painter from Kyoto. It embraces art marked by a bold, graphic abbreviation of natural motifs, frequent reference to traditional court literature and poetry, the lavish use of expensive mineral and metallic pigments, incorporation of calligraphy into painting compositions, and innovative experimentation with new brush techniques. Transmitted by means of pattern books and manuals, the work of the Ogata Korin inspired numerous other craftsmen.Auction comparison:Compare a closely related four-case gold lacquer inro depicting two thatched shelters among bamboo, by Hara Yoyusai, with similarly rendered Rinpa style inlay in mitsuda and aogai, also taken from Korin Hyakuzu , at Bonhams, The Edward Wrangham Collection of Japanese Art, 15 May 2012, London, lot 290 (sold for GBP 22,500).

TSUCHIYA KOITSU: ZOJOJI TEMPLE IN SNOWBy Tsuchiya Koitsu (1870-1949), signed Koitsu with seal ShinseiJapan, dated January 1933Color woodblock print on paper. Vertical oban. Signed Koitsu with seal Shinsei; publisher Doi Hangaten with watermark 'Doi' located at the top-left corner. Titled Zojo-ji no yuki (Zojo-ji Temple in Snow) from the series Tokyo fukei (Views of Tokyo).Zojo-ji Temple on a calm evening with gently falling snow.SIZE of the sheet 39.6 x 26.7 cmCondition: Very good condition with minor wear and foxing.Zojo-ji Temple in Shiba is the head temple of the Jodo sect of Japanese Buddhism in the Kanto Region. The temple held close ties with the Tokugawa shogunate who ruled Japan during the Edo period. Six of the Tokugawa shoguns are entombed in the Taitoku-in Mausoleum within the temple's grounds.Tsuchiya Koitsu (1870-1949) was a renowned landscape artist and a student of the famous Meiji-era print designer Kobayashi Kiyochika (1847-1915). He gained prominence as a designer of shin hanga (Modern Prints) for major woodblock print publishers from the early 1930s to 1940. Tsuchiya Koitsu's prints were known for their dramatic use of light and interesting color effects, influenced by his teacher Kiyochika. While some critics praised his work, noting its quality on par with famous shin hanga landscape artists like Kawase Hasui, Kasamatsu Shiro, and Yoshida Hiroshi, others criticized his heavy-handed design and unconventional color sensibility.Museum comparison:A closely related print is in the collection of the Syracuse University Art Museum, object number 1994.205.Auction comparison:Compare a closely related print sold at Sotheby's, Landscape to City: 20th Century Japanese Prints Part II, 10 May 2023, London, lot 98 (sold for GBP 6,096).