We found 19747 price guide item(s) matching your search

FANTE ASAFO FLAG: IF YOU KNOW HOW TO HUNT, IT IS NOT THE PORCUPINE YOU GO AFTER GHANA, C.1920 cotton applique flag, a leopard is shown jumping onto the back of a porcupine, whose spines are scattered, on a red background with white border and Union Jack in the top left 169X118cm Please note; Framed by John Jones to museum quality, the flag is mounted on a cotton backing and presented in a wooden frame. Beginning in the 17th century, the Fante groups which inhabited the south-west coast of modern-day Ghana formed military and political units known as 'asafo' (deriving from sa, meaning war, and fo, meaning people). Each unit developed elaborate traditions of visual art, most striking of all the flags shown here. These comprised of bold naïve imagery appliqued onto a cotton background, they commonly depict indigenous proverbs which relate closely to the commissioning Asafo group. With the British conquest of the region in 1856 many Asafo groups incorporated versions of the Union Jack into the flag to enhance the power of the imagery. The Fante admired the porcupine as a skilled 'warrior' able to shoot its spines at an enemy and then quickly grow more to continue the fight.

FANTE ASAFO FLAG: WILL YOU FLY OR WILL YOU VANISH GHANA, EARLY 20TH CENTURY cotton applique flag, depicting a cockatrice devouring a hunter with unattended rifle below, a Union Jack to the top left hand corner surrounded by a navy blue, white and red chevron border 190x111cm Please note; Framed by John Jones to museum quality, the flag is mounted on a cotton backing and presented in a wooden frame. Beginning in the 17th century, the Fante groups which inhabited the south-west coast of modern-day Ghana formed military and political units known as 'asafo' (deriving from sa, meaning war, and fo, meaning people). Each unit developed elaborate traditions of visual art, most striking of all the flags shown here. These comprised of bold naïve imagery appliqued onto a cotton background, they commonly depict indigenous proverbs which relate closely to the commissioning Asafo group. With the British conquest of the region in 1856 many Asafo groups incorporated versions of the Union Jack into the flag to enhance the power of the imagery. This image is inspired by the dragons, griffins, cockatrices and wyverns of European heraldry. The Fante say of this monster "it can fly, it can dig the ground, it can go anywhere".

FANTE ASAFO FLAG: AFTER THE LEOPARD THERE IS NO OTHER (ANIMAL) GHANA, C.1900 cotton applique flag, a spotted leopard is shown carrying a hunter in its mouth, red background with Union Jack in top left and a black and white checked border 162.5x114.5cm Please note; Framed by John Jones to museum quality, the flag is mounted on a cotton backing and presented in a wooden frame. Beginning in the 17th century, the Fante groups which inhabited the south-west coast of modern-day Ghana formed military and political units known as 'asafo' (deriving from sa, meaning war, and fo, meaning people). Each unit developed elaborate traditions of visual art, most striking of all the flags shown here. These comprised of bold naïve imagery appliqued onto a cotton background, they commonly depict indigenous proverbs which relate closely to the commissioning Asafo group. With the British conquest of the region in 1856 many Asafo groups incorporated versions of the Union Jack into the flag to enhance the power of the imagery. In this case the Asafo company concerned are identifying with this feared predator.

FANTE ASAFO FLAG: IT IS A FOOLISH LION WHO DARES CHALLENGE THE ELEPHANT GHANA, C.1940 Silk applique flag, a lion is shown biting an elephant's trunk, on a pink background with a red, white and blue checked border and Union Jack 186.5x135.5cm Please note; Framed by John Jones to museum quality, the flag is mounted on a cotton backing and presented in a wooden frame. Beginning in the 17th century, the Fante groups which inhabited the south-west coast of modern-day Ghana formed military and political units known as 'asafo' (deriving from sa, meaning war, and fo, meaning people). Each unit developed elaborate traditions of visual art, most striking of all the flags shown here. These comprised of bold naïve imagery appliqued onto a cotton background, they commonly depict indigenous proverbs which relate closely to the commissioning Asafo group. With the British conquest of the region in 1856 many Asafo groups incorporated versions of the Union Jack into the flag to enhance the power of the imagery. The present example is associated with the proverb "It is a foolish lion who dares challenge the elephant" - in this case "Elephant" company is taunting a rival "Lion" company.

FANTE ASAFO FLAG: IF WE CAN TAME THE LEOPARD WHAT CHANCE HAVE YOU MERE ANIMALS GHANA, EARLY 20TH CENTURY cotton applique flag, a woman is shown seated on a prestige stool with a leopard beneath and antelope in front, on a green background, black and white chevron border, abstract Union Jack top left 171.5X131cm Please note; Framed by John Jones to museum quality, the flag is mounted on a cotton backing and presented in a wooden frame. Beginning in the 17th century, the Fante groups which inhabited the south-west coast of modern-day Ghana formed military and political units known as 'asafo' (deriving from sa, meaning war, and fo, meaning people). Each unit developed elaborate traditions of visual art, most striking of all the flags shown here. These comprised of bold naïve imagery appliqued onto a cotton background, they commonly depict indigenous proverbs which relate closely to the commissioning Asafo group. With the British conquest of the region in 1856 many Asafo groups incorporated versions of the Union Jack into the flag to enhance the power of the imagery. Here we see an Asafo company boasting of its military prowess and taunting a rival group. Some Asafo companies had a woman's auxiliary headed by female officers.

Sylvia Whiteford-Engholm. A pottery dolls house modelled with upstairs bedroom and lower sitting room with pottery contents, 37cm high; and a pottery model of two terraced houses with shuttered windows, 30cm high. Provenance: Sylvia Whiteford-Engholm was a published author and artist. She grew up and lived all her life in central Westminster. Her book 'Roll-ups and Teacups' was published by Macmillan in 1990, it tells the story in the form of a diary of life in a London tenement block beginning in 1952 on the eve of the New Elizabethan Age. Sylvia studied at London University, Lanchester Polytechnic, Coventry, Hillcroft College, Surbiton, and the Coutauld Institute gaining BA (Hons.) and BEd (Hons.) degrees. She was also a Licentiate of The Society of Artists and Illustrators. Working as a teacher, art director and editorial designer; in 1987 she won first prize in a London Weekend Television competition run in conjunction with the series 'The Making of Modern London, 1945-85' for the 'diary' of Westminister life from which 'Roll-ups and Teacups' was born. As well as an author and artist, Sylvia was a keen potter, she illustrated the book herself and many of the works offered for sale in this collection are believed to have been possible illustrations for future novels. Sylvia sadly passed away in 2004. The collection is being offered for sale through family descent to the current vendor. .

Sylvia Whiteford-Engholm. A pottery rectangular jardinière in green glaze incised with flowers 30cm wide; and a similar lamp base by the same hand 34cm high. Provenance: Sylvia Whiteford-Engholm was a published author and artist. She grew up and lived all her life in central Westminster. Her book 'Roll-ups and Teacups' was published by Macmillan in 1990, it tells the story in the form of a diary of life in a London tenement block beginning in 1952 on the eve of the New Elizabethan Age. Sylvia studied at London University, Lanchester Polytechnic, Coventry, Hillcroft College, Surbiton, and the Coutauld Institute gaining BA (Hons.) and BEd (Hons.) degrees. She was also a Licentiate of The Society of Artists and Illustrators. Working as a teacher, art director and editorial designer; in 1987 she won first prize in a London Weekend Television competition run in conjunction with the series 'The Making of Modern London, 1945-85' for the 'diary' of Westminister life from which 'Roll-ups and Teacups' was born. As well as an author and artist, Sylvia was a keen potter, she illustrated the book herself and many of the works offered for sale in this collection are believed to have been possible illustrations for future novels. Sylvia sadly passed away in 2004. The collection is being offered for sale through family descent to the current vendor. .

Sylia Whiteford-Engholm. 'Roll-ups and Teacups', published by Macmillan in 1990. Signed with message of thanks to Fawzia in inside cover with additional signature on title page. Provenance: Sylvia Whiteford-Engholm was a published author and artist. She grew up and lived all her life in central Westminster. Her book 'Roll-ups and Teacups' was published by Macmillan in 1990, it tells the story in the form of a diary of life in a London tenement block beginning in 1952 on the eve of the New Elizabethan Age. Sylvia studied at London University, Lanchester Polytechnic, Coventry, Hillcroft College, Surbiton, and the Coutauld Institute gaining BA (Hons.) and BEd (Hons.) degrees. She was also a Licentiate of The Society of Artists and Illustrators. Working as a teacher, art director and editorial designer; in 1987 she won first prize in a London Weekend Television competition run in conjunction with the series 'The Making of Modern London, 1945-85' for the 'diary' of Westminister life from which 'Roll-ups and Teacups' was born. As well as an author and artist, Sylvia was a keen potter, she illustrated the book herself and many of the works offered for sale in this collection are believed to have been possible illustrations for future novels. Sylvia sadly passed away in 2004. The collection is being offered for sale through family descent to the current vendor. .

Sylvia Whiteford-Engholm. 'Caffe Miro', watercolour and ink on paper, signed, framed and glazed. Image size: 79 x 58cm. Frame size: 94.5 x 64.5cm. Provenance: Sylvia Whiteford-Engholm was a published author and artist. She grew up and lived all her life in central Westminster. Her book 'Roll-ups and Teacups' was published by Macmillan in 1990, it tells the story in the form of a diary of life in a London tenement block beginning in 1952 on the eve of the New Elizabethan Age. Sylvia studied at London University, Lanchester Polytechnic, Coventry, Hillcroft College, Surbiton, and the Coutauld Institute gaining BA (Hons.) and BEd (Hons.) degrees. She was also a Licentiate of The Society of Artists and Illustrators. Working as a teacher, art director and editorial designer; in 1987 she won first prize in a London Weekend Television competition run in conjunction with the series 'The Making of Modern London, 1945-85' for the 'diary' of Westminister life from which 'Roll-ups and Teacups' was born. As well as an author and artist, Sylvia was a keen potter, she illustrated the book herself and many of the works offered for sale in this collection are believed to have been possible illustrations for future novels. Sylvia sadly passed away in 2004. The collection is being offered for sale through family decent to the current vendor. .

Sylvia Whiteford-Engholm. 'Cafe Luxembourg', oil on board, framed and glazed. Image size: 78 x 50cm. Frame size: 83.5 x 63cm. Provenance: Sylvia Whiteford-Engholm was a published author and artist. She grew up and lived all her life in central Westminster. Her book 'Roll-ups and Teacups' was published by Macmillan in 1990, it tells the story in the form of a diary of life in a London tenement block beginning in 1952 on the eve of the New Elizabethan Age. Sylvia studied at London University, Lanchester Polytechnic, Coventry, Hillcroft College, Surbiton, and the Coutauld Institute gaining BA (Hons.) and BEd (Hons.) degrees. She was also a Licentiate of The Society of Artists and Illustrators. Working as a teacher, art director and editorial designer; in 1987 she won first prize in a London Weekend Television competition run in conjunction with the series 'The Making of Modern London, 1945-85' for the 'diary' of Westminister life from which 'Roll-ups and Teacups' was born. As well as an author and artist, Sylvia was a keen potter, she illustrated the book herself and many of the works offered for sale in this collection are believed to have been possible illustrations for future novels. Sylvia sadly passed away in 2004. The collection is being offered for sale through family descent to the current vendor. .

Sylvia Whiteford-Engholm. 'Cruising On The Med', watercolour and ink on paper, signed, framed and glazed. Image size: 60 x 46cm. Frame size: 74 x 59cm. Provenance: Sylvia Whiteford-Engholm was a published author and artist. She grew up and lived all her life in central Westminster. Her book 'Roll-ups and Teacups' was published by Macmillan in 1990, it tells the story in the form of a diary of life in a London tenement block beginning in 1952 on the eve of the New Elizabethan Age. Sylvia studied at London University, Lanchester Polytechnic, Coventry, Hillcroft College, Surbiton, and the Coutauld Institute gaining BA (Hons.) and BEd (Hons.) degrees. She was also a Licentiate of The Society of Artists and Illustrators. Working as a teacher, art director and editorial designer; in 1987 she won first prize in a London Weekend Television competition run in conjunction with the series 'The Making of Modern London, 1945-85' for the 'diary' of Westminister life from which 'Roll-ups and Teacups' was born. As well as an author and artist, Sylvia was a keen potter, she illustrated the book herself and many of the works offered for sale in this collection are believed to have been possible illustrations for future novels. Sylvia sadly passed away in 2004. The collection is being offered for sale through family descent to the current vendor. .

Sylvia Whiteford-Engholm. 'Room At The Hotel Roma', watercolour and ink on paper, signed, framed and glazed. Image size: 60 x 47cm. Frame size: 64 x 53.5cm. Provenance: Sylvia Whiteford-Engholm was a published author and artist. She grew up and lived all her life in central Westminster. Her book 'Roll-ups and Teacups' was published by Macmillan in 1990, it tells the story in the form of a diary of life in a London tenement block beginning in 1952 on the eve of the New Elizabethan Age. Sylvia studied at London University, Lanchester Polytechnic, Coventry, Hillcroft College, Surbiton, and the Coutauld Institute gaining BA (Hons.) and BEd (Hons.) degrees. She was also a Licentiate of The Society of Artists and Illustrators. Working as a teacher, art director and editorial designer; in 1987 she won first prize in a London Weekend Television competition run in conjunction with the series 'The Making of Modern London, 1945-85' for the 'diary' of Westminister life from which 'Roll-ups and Teacups' was born. As well as an author and artist, Sylvia was a keen potter, she illustrated the book herself and many of the works offered for sale in this collection are believed to have been possible illustrations for future novels. Sylvia sadly passed away in 2004. The collection is being offered for sale through family descent to the current vendor. .

Sylvia Whiteford-Engholm. 'Cocktails At Cafe Chiante', watercolour and ink on paper, signed, framed and glazed. Image size: 60 x 46cm. Frame size: 64 x 53.5cm. Provenance: Sylvia Whiteford-Engholm was a published author and artist. She grew up and lived all her life in central Westminster. Her book 'Roll-ups and Teacups' was published by Macmillan in 1990, it tells the story in the form of a diary of life in a London tenement block beginning in 1952 on the eve of the New Elizabethan Age. Sylvia studied at London University, Lanchester Polytechnic, Coventry, Hillcroft College, Surbiton, and the Coutauld Institute gaining BA (Hons.) and BEd (Hons.) degrees. She was also a Licentiate of The Society of Artists and Illustrators. Working as a teacher, art director and editorial designer; in 1987 she won first prize in a London Weekend Television competition run in conjunction with the series 'The Making of Modern London, 1945-85' for the 'diary' of Westminister life from which 'Roll-ups and Teacups' was born. As well as an author and artist, Sylvia was a keen potter, she illustrated the book herself and many of the works offered for sale in this collection are believed to have been possible illustrations for future novels. Sylvia sadly passed away in 2004. The collection is being offered for sale through family descent to the current vendor. .

Sylvia Whiteford-Engholm. 'Cafe Rouge', oil on board, 76 x 51cm. Provenance: Sylvia Whiteford-Engholm was a published author and artist. She grew up and lived all her life in central Westminster. Her book 'Roll-ups and Teacups' was published by Macmillan in 1990, it tells the story in the form of a diary of life in a London tenement block beginning in 1952 on the eve of the New Elizabethan Age. Sylvia studied at London University, Lanchester Polytechnic, Coventry, Hillcroft College, Surbiton, and the Coutauld Institute gaining BA (Hons.) and BEd (Hons.) degrees. She was also a Licentiate of The Society of Artists and Illustrators. Working as a teacher, art director and editorial designer; in 1987 she won first prize in a London Weekend Television competition run in conjunction with the series 'The Making of Modern London, 1945-85' for the 'diary' of Westminister life from which 'Roll-ups and Teacups' was born. As well as an author and artist, Sylvia was a keen potter, she illustrated the book herself and many of the works offered for sale in this collection are believed to have been possible illustrations for future novels. Sylvia sadly passed away in 2004. The collection is being offered for sale through family descent to the current vendor. .

Sylvia Whiteford-Engholm. Three sketch books containing drawings and watercolours (3). Provenance: Sylvia Whiteford-Engholm was a published author and artist. She grew up and lived all her life in central Westminster. Her book 'Roll-ups and Teacups' was published by Macmillan in 1990, it tells the story in the form of a diary of life in a London tenement block beginning in 1952 on the eve of the New Elizabethan Age. Sylvia studied at London University, Lanchester Polytechnic, Coventry, Hillcroft College, Surbiton, and the Coutauld Institute gaining BA (Hons.) and BEd (Hons.) degrees. She was also a Licentiate of The Society of Artists and Illustrators. Working as a teacher, art director and editorial designer; in 1987 she won first prize in a London Weekend Television competition run in conjunction with the series 'The Making of Modern London, 1945-85' for the 'diary' of Westminister life from which 'Roll-ups and Teacups' was born. As well as an author and artist, Sylvia was a keen potter, she illustrated the book herself and many of the works offered for sale in this collection are believed to have been possible illustrations for future novels. Sylvia sadly passed away in 2004. The collection is being offered for sale through family descent to the current vendor. .

Sylvia Whiteford-Engholm. 6 photo albums / sketch books and two artist's palettes (8). Provenance: Sylvia Whiteford-Engholm was a published author and artist. She grew up and lived all her life in central Westminster. Her book 'Roll-ups and Teacups' was published by Macmillan in 1990, it tells the story in the form of a diary of life in a London tenement block beginning in 1952 on the eve of the New Elizabethan Age. Sylvia studied at London University, Lanchester Polytechnic, Coventry, Hillcroft College, Surbiton, and the Coutauld Institute gaining BA (Hons.) and BEd (Hons.) degrees. She was also a Licentiate of The Society of Artists and Illustrators. Working as a teacher, art director and editorial designer; in 1987 she won first prize in a London Weekend Television competition run in conjunction with the series 'The Making of Modern London, 1945-85' for the 'diary' of Westminister life from which 'Roll-ups and Teacups' was born. As well as an author and artist, Sylvia was a keen potter, she illustrated the book herself and many of the works offered for sale in this collection are believed to have been possible illustrations for future novels. Sylvia sadly passed away in 2004. The collection is being offered for sale through family descent to the current vendor. .

‡SIR WILLIAM NICHOLSON (1872-1949)"Storm on the Sussex Downs"signed and dated 'Nicholson 1912' (lower left)oil on canvas 21 3/4 x 23 1/2 in (55.3 x 59.7cm)Provenance: with Thomas Agnew & Sons, sold Sotheby's, London, 21st February, 1934, lot 91. 'Sussex Downs Landscape, with a man and Woman walking on the Right', £10 to Beaux Arts Gallery In the collection of F.B.C. Bravington, Esq, by 1956 with Marlborough Fine Art, London, by 1967 with The Redfern Gallery, London, July 1982 where acquired by Sir Sidney Nolan; by descentExhibited : Beaux Arts Gallery, London.11-23 June,1934 'Landscapes by leading Artists'. no 20. as 'Storm on the Downs' Beaux Arts Gallery, London 5-26 May, 1939. 'Exhibition of Early Paintings by Richard Sickert and William Nicholson. no.36 as 'Storm on the Downs' (£100) Marlborough Fine Art Ltd, London, March 1967. Sir William Nicholson no.11 (illustrated)Literature: Lillian Browse. William Nicholson, Rupert Hart-Davis, London 1956. p 53. no.113 Patricia Reed. William Nicholson: Catalogue Raisonne of the Oil Paintings, Modern Art Press London, 2011, p 230.no.262 as untraced (illustrated) Sanford Schwartz, William Nicholson, Yale University Press, 2004 Andrew Nicholson ed. William Nicholson painter, Giles de la Mare Publishers,1996 The location depicted is the Sussex Downs near Rottingdean. The buildings of Roedean School can be seen on the sky-line on the far right Between the summer of 1909 and autumn 1914, the artist's home was the Grange, Rottingdean. Soon after moving there Nicholson wrote to his patron, T.W. Bacon '..I have taken a house which is of course a mad thing for a man to do who supplies luxuries and depends for his bread on a nervous eyesight, and here I am well and happy...'(Andrew Nicholson ed., p103) Patricia Reed (loc cit) observes that.'.. in this skyscape study of the sun breaking through storm clouds over the Downs,..(this is) one of the few downland views that contain figures engaging with the elements.. '.The American author Sanford Schwartz writes at some length about Nicholson's love of Sussex landscapes. '..It comes as a surprise that, while other English artists, either of the twentieth or any other century, have incorporated the downs into their work, no other English artist comes near Nicholson in suggesting the look and feel of this landscape' (p114) We are grateful to Patricia Reed for her help in the cataloguing of this and the following lot.

‡SIR WILLIAM NICHOLSON (1872-1949)"Hot Day", signed 'Nicholson' (lower right), inscribed 'From W.N for F.P. & L.P' 'Aug 1928' (lower left)oil on canvas laid on board11 3/4 x 16 in (29.5x 40.6 cm)The frame carries a Beaux Art Gallery label attached with the title 'Hot Day'.Provenance: Believed to have been presented by the artist to Florence Phillips and Sir Lionel Phillips Private collection, South Africa with Browse and Darby, London, Exhibition of British Paintings, no.17. 11th March-8th April 1978 when acquired by Sir Sidney Nolan; by descentLiterature: Patricia Reed , William Nicholson: Catalogue Raisonne of the Oil Paintings, Modern Art Press London, 2011, p 477, no.602 (as untraced) Apollo Magazine, London ,v.107 April 1978 (illustrated on p. 330) The dedication on the painting is bel;ieved to be to the artist's in-laws Sir Lionel Phillips (1855-1936) and his wife Florence (1863-1940).Nicholson had painted their portraits in 1924 and 1912 respectively. The location depicted in the painting is probably by the river Wyllie, near the home of the artist and his second wife Edie at Sutton Veny, Wiltshire The agitated movement of the water suggests that the surrounding water meadows are being 'floated' or flooded to further irrigate the pasture-land. Isolated areas of vegetation stand above the water, three mallard fly over-head.and a coot can be seen in the foreground '

An Art Deco style bronze dancing girl, on a marble base, 28 cm high Condition report Report by GH Modern reproduction piece. This is genuine cast metal but is not of any real quality and has no age at all. Actual casting process unknown.

A pair of 9ct gold, silver, jade, diamond and onyx Art Deco style earrings Condition report Report by NG Modern items. Stones all present. Some scratches to green stone. Approx. 5 cm drop. Posts not clips.

Garden Sculpture: ▲ Guy PortelliSwallows IIIBronze on ebonised wood baseSigned G Portelli ‘03 10/1054cm highGuy Portelli (born 13 June 1957) is a contemporary British sculptor. His work is found in public and corporate collections in Britain and the USA. Ringo Starr possesses several of his pieces.Portelli is a Fellow of the Royal Society of British Sculptors and Vice-President of the Royal Society of British Artists.In 2002, he won the Elisabeth Frink School Award, and the Scott Goodman Harris Award in 2003. In 2008, Portelli gained £80,000 from three investors of the TV programme Dragons’ Den, convincing them that modern art is a viable and realistic investment. This centred upon his “Pop Icons” collection, 18 pieces exhibited at the Mall Galleries in London.

Garden Sculpture: ▲ Andrew SinclairAphroditeBronze resin in iron frameSigned Sinclair 2002 and with monogrammed artist roundel255cm high by 92cm wide by 69cm deepBorn in 1961, Andrew Sinclair studied Fine art at the Bournemouth and Poole College of Art. He has lived in South Africa and worked in Europe and is influenced by the great classical sculptors of the renaissance. This piece would appear to be a modern female interpretation of Leonardo da Vinci’s drawing of Vitruvian man executed in 1490. He lists the Earl and Countess of Leicester, Oldham City Council, Christopher Moran of Crosby Hall, publisher Felix Dennis, Georgio Logothetis of Lomar Shipping, Royal Ascot racecourse and Royal Caribbean amongst his clients. Sinclair has work in private and corporate collections in the UK, USA, Norway, Greece, Holland and South Africa. He has exhibited in London and the Home Counties.

Garden Sculpture: ▲ Paul VanstoneReclining female figureWhite marble165cm highPaul Vanstone studied sculpture at Central St. Martins School of Art before completing an MFA in sculpture at the Royal College of Art, from which he graduated in 1993. Following his graduation Vanstone worked in Italy at the traditional marble carving studios near the famous Carrera quarries. He also spent time working in Berlin and has travelled to Rajasthan to learn India’s traditional marble carving techniques. On his return to the UK, and for the next five years, Vanstone became an assistant to leading British sculptor, Anish Kapoor. Consequently, works carved by Vanstone on Kapoor’s behalf have been exhibited at world leading galleries, including the Tate Modern, London. Since then Paul has shown his work at a number of major galleries in London, including the British Museum and the Victoria and Albert Museum, as well as galleries and sculpture gardens throughout the UK. He has gained a number of prestigious awards and commissions, among them being the Henry Moore Award (1991) and the Lady Carrington Sculpture Garden commission (1991 and 1996). Paul carves sculpture from stone, the nature of the material dictating how each piece evolves. His fascination is with the hardness and light reflecting qualities of marble and how this can be transformed to portray the curvature of the human body and the delicacy and flow of covering cloth.

MODERN ART REFERENCE TO INCLUDE; Lautrec by Lautrec, Huisman Porto. Published by Macmillan. The early work by Aubrey Beardsley. Published by Da Capo. The Yellow Book Anthology 1891-1897. TOGETHER WITH A SELECTION OF OTHER. (Contents of 2 boxes)

A SELECTION OF MODERN CHINA WARES VARIOUS AND ART DECO CHROME PLATED AND MOULDED GLASS FIGURAL CAKE STAND AND VARIOUS OTHER ITEMS

A selection of vintage and modern art glass, cranberry green and yellow

Two shelves of modern dolls including Leonardo, Regancy Fine Art etc, some boxed

An Art Deco style figural lamp base, modelled as a nude female supporting a torch, black glazed with shade, 62cm high CONDITION REPORT: Please note that this is not period Art Deco but in the style of. Modern in date. Some marks / scuffs to the glass of the globe. Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.

An Art Nouveau Dautzenberg Silver Plated Pewter Twin-Handled Vase, designed by J.R.Hannig, repousse decorated with flowers, on a circular foot, signed J.R.Hannig, 46cm (bent foot) Modern Metal Art, Brohan Museum Berlin, Berlin 1990, page 132

Circle of William Powell Frith (1819-1909, British) The Tambourine Girl, oil on canvas, indistinctly initialled lower right, 24 x 19cmBorn in Aldfield, North Yorkshire, Frith was encouraged to take up art by his father, a hotelier in Harrogate. He moved to London in 1835 where he began his formal art studies at Sass's Academy in Charlotte Street, before attending the Royal Academy Schools. Frith started his career as a portrait painter and first exhibited at the British Institution in 1838. In the 1840s he often based works on the literary output of writers such as Charles Dickens, whose portrait he painted, and Laurence Sterne. He was also a member of The Clique, which also included Richard Dadd. The principal influence on his work was the hugely popular domestic subjects painted by Sir David Wilkie. Wilkie's famous painting The Chelsea Pensioners was a spur to the creation of Frith's own most famous compositions. Following the precedent of Wilkie, but also imitating the work of his friend Dickens, Frith created complex multi-figure compositions depicting the full range of the Victorian class system, meeting and interacting in public places. In Ramsgate Sands, Life at the Seaside (1854) he depicted visitors and entertainers at the seaside resort. He followed this with The Derby Day, depicting scenes among the crowd at the race at Epsom Downs, which was based on photographic studies by Robert Howlett. This 1858 composition was bought by Jacob Bell for £1,500. It was so popular that it had to be protected by a specially installed rail when shown at the Royal Academy of Arts. Another well-known painting was The Railway Station , a scene of Paddington station. In 1865 he was chosen to paint the Marriage of the Prince of Wales.Later in his career he painted two series of five pictures each, telling moral stories in the manner of William Hogarth. These were the Road to Ruin (1878), about the dangers of gambling, and the Race for Wealth (1880) about reckless financial speculation. He retired from the Royal Academy in 1890 but continued to exhibit until 1902. Detail of After the Bath, a late nude by FrithFrith was a traditionalist who made known his aversion to modern-art developments in a couple of autobiographies - My Autobiography and Reminiscences (1887) and Further Reminiscences (1888) - and other writings. He was also an inveterate enemy of the Pre-Raphaelites and of the Aesthetic Movement, which he satirised in his painting A Private View at the Royal Academy (1883), in which Oscar Wilde is depicted discoursing on art while Frith's friends look on disapprovingly. Fellow traditionalist Frederic Leighton is featured in the painting, which also portrays painter John Everett Millais and novelist Anthony Trollope. Frith lived a curious domestic life - married to Isabelle with twelve children, whilst a mile down the road maintaining a mistress (Mary Alford, formerly his ward) and seven more children - all a marked contrast to the upright family scenes depicted in paintings like Many Happy Returns of the Day. Frith married Mary on the death of Isabelle in 1880. In his later years he painted many copies of his famous paintings, as well as more sexually uninhibited works, such as the nude After the Bath. A well-known raconteur, his writings, most notably his chatty autobiography, were very popular. In 1856 Frith was photographed at 'The Photographed Institute' by Robert Howlett, as part of a series of portraits of 'fine artists'. The picture was among a group exhibited at the 'Art Treasures Exhibition' in Manchester in 1857.

Pop Art interest: Roy Lichtenstein (1923-1997), 'Modern Head Brooch', enamel metal brooch, 1968, with the artist's incised signature on the reverse, date and copyright mark for Multiples Inc., 6 x 7.5cm Provenance available upon request

An Art nouveau style amber set pendant together with a modern design amber set pendant marked 925. Both pendants on white metal chains.

An Art Deco Light oak standard lamp base with modern cream shade.

Pair of Mid Century Modern Art Deco Style Granite Top Pedestal Tables. Unsigned. Minor scuffs and scratches otherwise good condition. Measures 24-1/2" H x 24" Dia. Shipping: Third party. (estimate $150-$250)

Pair of Mid Century Modern Art Deco Style Granite Top Pedestal Tables. Unsigned. Minor scuffs and scratches otherwise good condition. Measures 24-1/2" H x 24" Dia. Shipping: Third party. (estimate $150-$250)

NO RESERVE Sporting.- Johnson (Daniel) Sketches of Indian Field Sports...with a description of the Art of catching Serpents, as Practised by the Conjoors, second edition, engraved frontispiece with accompanying explanatory slip, 4 lithographed plates, advertisement leaf at end, light foxing and soiling, old ink inscription to front free endpaper, modern half morocco, spine gilt, uncut, 8vo, 1827.

"Modern Art and Modern Science" by Paul C Vitz and Arnold B Glimcher, 1948, and "Architectural Reflections: Studies in the Philosophy and Practice of Architecture" by Colin St John Wilson, first edition, 1994.

VINEY, Nigel - Images of Wartime British Art and Artists of World War 1 : illust, cloth in d/w, 4to, David & Charles, 1991. With 2 boxes of modern books relating to the First World War.

Three large art glass vases and a hand made glass modern decanter

A LARGE COLLECTION OF REFERENCE BOOKS RELATING TO ARTS. IncludingMasterpieces of British Art by Foyle; Landmarks in Print Collecting, edited by Anthony Griffith;Dutch 17th and 18th century Paintings in the National Gallery of Ireland; Performing Arts, MichaelBillington; The Art of the Old South by Jessie Poesch; Art Treasures of the World, Paul Hamlyn;French Art of the 18th Century; Encyclopedia of Modern Art; Flowers and Nature by Sam Miguel;Italian Painting, and others. (a lot)

Modern bronze of an Art Deco dancing lady on marble plinth

* CHRISTIAN LEMMERZ (GERMAN B 1959 - ),WALD / BLUE WOODmixed media on canvas, signed190cm x 145cm FramedProvenance: Bruun Rasmussen Kunstauktioner, Bredgade Modern Art + Design, 14 June 2009, Sale 803, lot 120 for 30,000 DKK (£3881)

After Sergey Igumnov (1900-42), "Soviet Armenia", a rare USSR travel poster, c. 1935, lithograph/poster, printed in colours, in the Art Deco style, published by Intourist (USSR). 90cm by 62cm. Note: the adpotion of an Art Deco style for the poster is in contrast to prevailing Soviet taste of the period for Social Realism. It is presumed that this is because the state tourism bureau, Intourist, realised that the glamorous depiction of modern transport and dramatic landscape would be more likely to attract Western tourists. Condition: minor creases in margins and image, minor skinning in corners and margins, tape on verso, printed on paper.

A collection of modern books to include - Bauhaus by Magdalena Drost, Playing the Gallery by Grayson Perry, Moorcroft by Paul Atterbury, Ercol Furniture in the Making by Lesley Jackson, Poole Pottery by Hayward and Atterbury, Art Deco & Modernist Ceramics by K McCready, Chris Ofili, and Raku by Tim Andrews. (8)

A large collection of books To include art books, comedy books to include 'Humorous tales from Blackwood', comics to include 'The Beano' etc, 'The Kings Grace' By John Buckhan 1910-1935, modern novels to include titles by Colin Baxter, Ian Banks, cookery books etc.

Modern Picture Postcards, including animals, fish, flowers, art, etc:- One Box

A quantity of pictures and prints consisting of Cries of London engravings, other modern prints, two watercolours signed R L Cessford titled 'The Little Bay, Newbiggin by Sea' and 'The Needles Rocks, Newbiggin by Sea', an Art Deco mirror etc (qty)

A parcel of modern Aboriginal art items, boomerang

Modern design glassware, comprising Whitefriars 9659 bowl and clear glass duck, Baccarat plate, Lalique dish, Vannes Art vase, moulded fish dish, Bohemian covered footed bowl and Royal Brierley vase, Wedgwood Susie Cooperset of six coffee cans with saucers and a large modern sycamore dish by David Gambier - Reeks

*Steer (Philip Wilson, 1860-1942). Porchester, Hampshire, 1913, watercolour on paper, signed and dated lower right, 22.5 x 34.5 cm (8.75 x 13.5 ins), modern frame and glazed, with 4 original labels verso including Charles A. Jackson Art Dealer, Manchester, Palser Gallery, Stratford on Avon Exhibited: Steer, Sickert, Epstein Exhibition, Bury Art Gallery, 6 February to 6 March 1954; Festival of Britain, 1951; Wilson Steer Exhibition Festival, Birkenhead; Williamson Art Gallery. (1)

A MODERN ART NOUVEAU STYLE CIRCULAR HALLMARKED SILVER PHOTO FRAME LONDON 1989, makers mark DR&S, H 16 cm

Mid Century Modern Copper and Metal Abstract Wall Hanging Art Mounted on Wood Board. Unsigned. Typical rubbing overall good condition. Measures 20" H x 36-1/4" W. Shipping: Third party. (estimate $200-$400)

Large Mid Century Modern Multi Color Abstract Free Form Art Glass Sculpture. Unsigned. Good condition. Measures 19-1/4" H. Shipping: Third party. (estimate $200-$400)

BOLESLAS BIEGAS (POLISH 1877-1954)Burza (Storm), 1903bronze on wooden base88 x 19.7 x 15 cm (34 5/8 in x 7 7/8 in x 5 7/8 in.)signed, titled and dated bottom rightPROVENANCECollection of Michael Legutko of the Lippert Gallery, New YorkPrivate collection, New York The Polish sculptor, painter and writer Boleslas Biegas settled in Paris in 1901. He developed close relations with the Polish artistic community and quickly became friends with Baron Henryk Trutschel and his wife Jadwiga who financed castings of most of his sculptures. In 1902 he successfully exhibited at the Salon National des Beaux-Arts in Paris and later that year his sculptures were published in Editions de la Plume, an important art publication of the period.BiegasÕ artistic techniques were very modern for the time and influenced many of the early 20th -century art movements, including Cubism and Orphism. Although, the artist utilized many different styles throughout his career, it is for the series of sculptures created in the period of 1902-1904, he is considered by many as a predecessor of avant-garde and abstract art. One of the most notable examples of the artistÕs abstractionism style in sculpture, bust Le Sphinx, is in the permanent collection of Musee dÕOrsay in Paris.The present lot Burza is executed in expressionistic style with elements of Art Nouveau and was most likely created in the spring or fall of 1903. This esoteric approach referring to Greek mythology was further exploit by the artist in his later sculptures dedicated to the composers Beethoven and Wagner.

A RUSSIAN PORTABLE ICONOSTASIS, MOSCOW SCHOOL, EARLY 19TH CENTURYEgg tempera, gold leaf, and gesso on wood panel.Extended size: 139.7 x 46.4 cm (55 x 18 1/4 in).PROVENANCEAcquired through inheritance by the descendants of Alexander Ivanovich Nelidov (1835-1910), Russian Ambassador to Turkey, Italy and FranceCollection of the Nelidov family to the present dayEXHIBITED Russian Icons, Loan Exhibition, The Century Club, 7 West Forty-third St., New York, December 4 - January 4, 1941A Survey of Russian Painting - Fifteenth Century to the Present, The Gallery of Modern Art, Columbus Circle, New York, June 14 - Septermber 17, 1967LOT NOTESSold with a typed letter from the noted icon collector George Riabov [see additional images], stating that the icon is from the second half of the 16th Century. Also sold with a signed hand-written letter on monogrammed paper [see additional images] by the icon historian Pavel Muratoff, in French, dated July 4, 1925, stating that the icon belonging to Prince W. Golitsyn of the Transfiguration is a Byzantine work of art from the 16th Century. consisting of 15 panels arranged in four rows and depicting in the center of the first row Christ the Almighty flanked by the Virgin, John the Forerunner (the Baptist), and the archangels Michael and Gabriel in a composition known as Deesis. Next to them, from left to right, are Archdeacon Stephen, St. Zosima, St. John Chrysostom, St. Basil the Great, St. Peter, St. Paul, St. Gregory, St. Nicholas the Wonderworker, St. Savatiy, and St. Thecla. The second row features feasts of the Orthodox church, including from left to right: The Virgin Nativity, Presentation of the Virgin, The Annunciation, The Nativity of Christ, The Presentation of Christ, The Baptism of Christ, The Entry into Jerusalem, The Crucifixion, The Harrowing of Hell (The Resurrection), The Transfiguration, The Ascension, The Pentecost, The Dormition of the Virgin, The Raising of the Two Cross, The Intercession of the Virgin, and the Good Samaritan. In the third row, the prophets arranged in groups of two pay homage to the Virgin of Znamenie (Sign), and, in the fourth row, the Old Testament forefathers Mafusal, Abel, Joseph, Benjamin, Isaac, Abraham, Adam, Noah, Asir, Lot, Jacob, Seth, Joseph and Enoch flank the image of Christ. Egg tempera, gold leaf, and gesso on wood panel. Extended size: 139.7 x 46.4 cm (55 x 18 1/4 in).This lot is being sold without reserve.

MARIA MIKHAILOVNA SINYAKOVA (RUSSIAN 1890-1984)Ladder, 1914-1916oil on board36 x 23.5 cm (14 3/16 x 9 1/4 in.)EXPERTISE Accompanied by a certificate of authenticity signed by Aleksandr Parnis of the Independent Scientific Research Expertise center named after P.M. Tretyakov. (Available upon request). Maria Sinyakova's Ladder is part of an early cycle of biblical works painted in Kharkov throughout the 1910s and extant in no more than twenty works. Ladder provides an excellent illustration of Sinyakova's eclectic style, one that the artist herself characterised as a synthesis of traditional icon-painting, Russian and Ukrainian folk art, Islamic miniatures, and French Modernism. The conflation of the above results in an avant-garde interpretation of conventional forms, as in the tree crowns, modelled here as near-perfect circles. Silhouetted against a gold-and-green ground reminiscent of early Byzantine Christian art, the women, heads and arms bent energetically, are positioned in a rhythmic pattern across the composition. In choosing simple yet expressive shapes, Sinyakova deftly manipulates conventional iconographic prototypes into a remarkably modern icon. The womenÕs blank oval faces, framed by burnt-sienna headdresses, as well as the coiled fawns (featured also in Sinyakova's Myrrhbearers as a decorative element), serve as accentuated bursts of redÊÑ a colour common in Eastern iconography, particularly for the cycle of the Passion and other monumental events. Sinyakova rarely made the narratives of her icon paintings evident, opting instead, as here, for more symbolic readings, but Ladder likely corresponds to the Dormition of the Virgin (known in the Western tradition as the Assumption).

A PAIR OF DRAWINGS BY EDWARD BEKKERMAN (RUSSIAN-AMERICAN B. 1958)comprising:a) Woman with Hands, mixed media on paper, 10.5 x 8.5 cm (4 1/8 x 3 3/8 in.), signed with monogram lower right; b) Face, 1994, mixed media on paper, 14 x 9.5 cm (5 1/2 x 3 3/4 in.), signed with monogram and dated lower left EXHIBITED Moscow Museum of Modern Art, Edward Bekkerman - beyond the dreams, Moscow, 2015

ANDRE LHOTE (FRENCH 1885-1962)Port de Bordeaux, watercolor on paper30 x 47 cm (11 3/4 x 18 1/2 in.)signed lower rightPROVENANCEStiebel Art Modern, Paris, 1970 (copy of the invoice available upon request)EXPERTISESold with a letter of authenticity by artist`s wife, Simone Lhote, from 1971 (available upon request)

A late 19th century diamond and pearl brooch in the Art Nouveau taste, designed as an open scrolling lyre form set throughout with old round cut and rose cut diamonds, around a similarly diamond set six petalled flowerhead with 4.5mm pearl centre (pearl not tested), with a further diamond set asymmetric scroll beneath, suspending a short pendant with two more graduated diamonds; length 5.3cm, clasp with safety catch; in a modern light blue Garrards case

A part service of modern silver flatware, Sheffield 1973, in Art Deco style, comprising eight table forks, eight dessert forks, eight soup spoons, eight dessert spoons, three table spoons and three teaspoons, total weight 63ozt (38)