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Arthur Cyril Hilton (British 1897-1960) Old Man, initialled and inscribed verso to base, wooden sculpture, measurements 19 x 6 x 5.5 cm, including base 23.3 x 7.5 x 3.5 cm Provenance: The Artist, thence by descent Arthur Cyril Hilton (1897-1960). Hilton was born and lived in the Manchester area and turned to art and painting during his convalescence, having been wounded on the Somme during World War One. His abstract-surrealist style was highly distinctive and he experimented with many mediums, including his elegant hand-carved sculptures in teak, mahogany and sycamore wood. Arthur Cyril Hilton was well-known in the Manchester art circle having been a member of the Manchester Society of Modern Painters from the 1930s, serving as its chairman during the 1950s. He exhibited regularly including solo shows at the Salford Art Gallery, Crane Kalman Gallery and exhibitions at the Manchester City Art Gallery.

Arthur Cyril Hilton (British 1897-1960) Raptor, initialled verso and dated 1932, wooden sculpture, measurements 30.5 x 6.5 x 7 cm Provenance: The Artist, thence by descent Arthur Cyril Hilton (1897-1960). Hilton was born and lived in the Manchester area and turned to art and painting during his convalescence, having been wounded on the Somme during World War One. His abstract-surrealist style was highly distinctive and he experimented with many mediums, including his elegant hand-carved sculptures in teak, mahogany and sycamore wood. Arthur Cyril Hilton was well-known in the Manchester art circle having been a member of the Manchester Society of Modern Painters from the 1930s, serving as its chairman during the 1950s. He exhibited regularly including solo shows at the Salford Art Gallery, Crane Kalman Gallery and exhibitions at the Manchester City Art Gallery.

Arthur Cyril Hilton (British 1897-1960) Bird Sleeping, signed and dated 1950 lower left, oil and wax on canvas, mixed media, measurements 50 x 40 cm, frame 65 x 55 cm Provenance: The Artist, thence by descent Arthur Cyril Hilton (1897-1960). Hilton was born and lived in the Manchester area and turned to art and painting during his convalescence, having been wounded on the Somme during World War One. His abstract-surrealist style was highly distinctive and he experimented with many mediums, including his elegant hand-carved sculptures in teak, mahogany and sycamore wood. Arthur Cyril Hilton was well-known in the Manchester art circle having been a member of the Manchester Society of Modern Painters from the 1930s, serving as its chairman during the 1950s. He exhibited regularly including solo shows at the Salford Art Gallery, Crane Kalman Gallery and exhibitions at the Manchester City Art Gallery.

Arthur Cyril Hilton (British 1897-1960) Green and Circles, abstract sculptural piece, signed and dated 1937 lower right, measurements 38 x 45 cm, frame 44 x 51 cm *loose in frame Provenance: The Artist, thence by descent Arthur Cyril Hilton (1897-1960). Hilton was born and lived in the Manchester area and turned to art and painting during his convalescence, having been wounded on the Somme during World War One. His abstract-surrealist style was highly distinctive and he experimented with many mediums, including his elegant hand-carved sculptures in teak, mahogany and sycamore wood. Arthur Cyril Hilton was well-known in the Manchester art circle having been a member of the Manchester Society of Modern Painters from the 1930s, serving as its chairman during the 1950s. He exhibited regularly including solo shows at the Salford Art Gallery, Crane Kalman Gallery and exhibitions at the Manchester City Art Gallery.

Arthur Cyril Hilton (British 1897-1960) Aura, signed and dated 1940 lower right, additionally signed verso to the frame, exhibition label attached 'Society... Painters 1945', oil on board, measurements 41 x 35 cm, frame 49.5 x 54.5 cm Provenance: The Artist, thence by descent Arthur Cyril Hilton (1897-1960). Hilton was born and lived in the Manchester area and turned to art and painting during his convalescence, having been wounded on the Somme during World War One. His abstract-surrealist style was highly distinctive and he experimented with many mediums, including his elegant hand-carved sculptures in teak, mahogany and sycamore wood. Arthur Cyril Hilton was well-known in the Manchester art circle having been a member of the Manchester Society of Modern Painters from the 1930s, serving as its chairman during the 1950s. He exhibited regularly including solo shows at the Salford Art Gallery, Crane Kalman Gallery and exhibitions at the Manchester City Art Gallery.

Arthur Cyril Hilton (British 1897-1960) plant form sculpture on hand carved base, measurements 47 x 9.5 x 4cm, including base 49 x 12 x 12 cm, together with a further abstract carving, initialled ACH and dated 1944 verso, measurements 1.5 x 17 x 8 cm (2) Provenance: The Artist, thence by descent Arthur Cyril Hilton (1897-1960). Hilton was born and lived in the Manchester area and turned to art and painting during his convalescence, having been wounded on the Somme during World War One. His abstract-surrealist style was highly distinctive and he experimented with many mediums, including his elegant hand-carved sculptures in teak, mahogany and sycamore wood. Arthur Cyril Hilton was well-known in the Manchester art circle having been a member of the Manchester Society of Modern Painters from the 1930s, serving as its chairman during the 1950s. He exhibited regularly including solo shows at the Salford Art Gallery, Crane Kalman Gallery and exhibitions at the Manchester City Art Gallery.

Arthur Cyril Hilton (British 1897-1960) Geometric Doodle, signed and dated 1957 lower right, artist's label verso, oil on board, measurements 61 x 51 cm Provenance: The Artist, thence by descent Arthur Cyril Hilton (1897-1960). Hilton was born and lived in the Manchester area and turned to art and painting during his convalescence, having been wounded on the Somme during World War One. His abstract-surrealist style was highly distinctive and he experimented with many mediums, including his elegant hand-carved sculptures in teak, mahogany and sycamore wood. Arthur Cyril Hilton was well-known in the Manchester art circle having been a member of the Manchester Society of Modern Painters from the 1930s, serving as its chairman during the 1950s. He exhibited regularly including solo shows at the Salford Art Gallery, Crane Kalman Gallery and exhibitions at the Manchester City Art Gallery.

Arthur Cyril Hilton (British 1897-1960) Blocks 15, geometric abstract, signed lower right, oil on board, measurements 49.5 x 59.5 cm, frame 53 x 62.5 cm Provenance: The Artist, thence by descent Arthur Cyril Hilton (1897-1960). Hilton was born and lived in the Manchester area and turned to art and painting during his convalescence, having been wounded on the Somme during World War One. His abstract-surrealist style was highly distinctive and he experimented with many mediums, including his elegant hand-carved sculptures in teak, mahogany and sycamore wood. Arthur Cyril Hilton was well-known in the Manchester art circle having been a member of the Manchester Society of Modern Painters from the 1930s, serving as its chairman during the 1950s. He exhibited regularly including solo shows at the Salford Art Gallery, Crane Kalman Gallery and exhibitions at the Manchester City Art Gallery.

Arthur Cyril Hilton (British 1897-1960) Entwined Figures, signed and dated 1945 lower right, oil on board, measurements 31 x 25.5 cm, together with Welsh Coastlines, abstract landscape, signed and dated 1958, artist label and unfinished sketch on the verso, mixed media, measurements 50.5 x 40.5 cm, frame 54 x 44 cm (2) Provenance: The Artist, thence by descent Arthur Cyril Hilton (1897-1960). Hilton was born and lived in the Manchester area and turned to art and painting during his convalescence, having been wounded on the Somme during World War One. His abstract-surrealist style was highly distinctive and he experimented with many mediums, including his elegant hand-carved sculptures in teak, mahogany and sycamore wood. Arthur Cyril Hilton was well-known in the Manchester art circle having been a member of the Manchester Society of Modern Painters from the 1930s, serving as its chairman during the 1950s. He exhibited regularly including solo shows at the Salford Art Gallery, Crane Kalman Gallery and exhibitions at the Manchester City Art Gallery.

Arthur Cyril Hilton (British 1897-1960) Abstract sculpture in teak, signed and dated 1946 beneath base, measurements 25 x 6 x 7 cm, including base 28 x 8.5 x 7 cm Provenance: The Artist, thence by descent Arthur Cyril Hilton (1897-1960). Hilton was born and lived in the Manchester area and turned to art and painting during his convalescence, having been wounded on the Somme during World War One. His abstract-surrealist style was highly distinctive and he experimented with many mediums, including his elegant hand-carved sculptures in teak, mahogany and sycamore wood. Arthur Cyril Hilton was well-known in the Manchester art circle having been a member of the Manchester Society of Modern Painters from the 1930s, serving as its chairman during the 1950s. He exhibited regularly including solo shows at the Salford Art Gallery, Crane Kalman Gallery and exhibitions at the Manchester City Art Gallery.Condition:The sculpture is hand carved from a single piece of teak, screwed into a wooden base painted black. The sculpture appears structurally sound- the wood does not show obvious evidence for deterioration, splitting etc. There is what appears to be a naturally occuring notch in the top- refer to photographs. Some old minor wear and tear present. The base has some scuffs and chips, there is a horizontal split present- please refer to images.

Arthur Cyril Hilton (British 1897-1960) Walking on the Shoreline, signed lower left, dated 21st May 1920, watercolour, measurements 13 x 17.5 cm (i), frame 30.5 x 34 cm One of a pair mentioned in The Times, 15th September 1959, "two minutely sensitive ink-and-wash sketches (c.1920) of shore scenes, together with one only slightly formalised drawing of a stream curving between trees, reveal a skilled hand with naturalistic renderings" Provenance: The Artist, thence by descent Arthur Cyril Hilton (1897-1960). Hilton was born and lived in the Manchester area and turned to art and painting during his convalescence, having been wounded on the Somme during World War One. His abstract-surrealist style was highly distinctive and he experimented with many mediums, including his elegant hand-carved sculptures in teak, mahogany and sycamore wood. Arthur Cyril Hilton was well-known in the Manchester art circle having been a member of the Manchester Society of Modern Painters from the 1930s, serving as its chairman during the 1950s. He exhibited regularly including solo shows at the Salford Art Gallery, Crane Kalman Gallery and exhibitions at the Manchester City Art Gallery.

Arthur Cyril Hilton (British 1897-1960) Plant Form, abstract sculpture, old label beneath base, teak carving with handcarved base with leather coating on the bottom, measurements 24.4 x 11 x 16 cm, including base 28 x 11.3 x 8.7 cm Exhibited in one man show 1944- captured in photograph of the exhibition opening behind-centre group of people with the artist (standing far right) Provenance: The Artist, thence by descent Arthur Cyril Hilton (1897-1960). Hilton was born and lived in the Manchester area and turned to art and painting during his convalescence, having been wounded on the Somme during World War One. His abstract-surrealist style was highly distinctive and he experimented with many mediums, including his elegant hand-carved sculptures in teak, mahogany and sycamore wood. Arthur Cyril Hilton was well-known in the Manchester art circle having been a member of the Manchester Society of Modern Painters from the 1930s, serving as its chairman during the 1950s. He exhibited regularly including solo shows at the Salford Art Gallery, Crane Kalman Gallery and exhibitions at the Manchester City Art Gallery.Condition:The sculpture is a hand carved teak sculpture on a matching base. The overall construction appears sound, the wood does not show obvious evidence for splitting or deterioration. There are some surface nicks and wear and tear- please refer to images. The base of the sculpture has some chips and scuffs, beneath the base one corner of the leather covering has torn.

Arthur Cyril Hilton (British 1897-1960) White Apple, signed and dated 1959 lower left, artist's label verso, oil on board, measurements 51 x 61 cm Exhibited: Crane Calman Gallery, Artist's One Man Show 1959 London and Manchester Provenance: The Artist, thence by descent Arthur Cyril Hilton (1897-1960). Hilton was born and lived in the Manchester area and turned to art and painting during his convalescence, having been wounded on the Somme during World War One. His abstract-surrealist style was highly distinctive and he experimented with many mediums, including his elegant hand-carved sculptures in teak, mahogany and sycamore wood. Arthur Cyril Hilton was well-known in the Manchester art circle having been a member of the Manchester Society of Modern Painters from the 1930s, serving as its chairman during the 1950s. He exhibited regularly including solo shows at the Salford Art Gallery, Crane Kalman Gallery and exhibitions at the Manchester City Art Gallery.

Arthur Cyril Hilton (British 1897-1960) Floral Motif, signed and dated 1958 lower right, oil on board, measurements 61 x 51 cm Exhibited: Crane Calman Gallery, Artist's One Man Show 1959 London and Manchester Provenance: The Artist, thence by descent Arthur Cyril Hilton (1897-1960). Hilton was born and lived in the Manchester area and turned to art and painting during his convalescence, having been wounded on the Somme during World War One. His abstract-surrealist style was highly distinctive and he experimented with many mediums, including his elegant hand-carved sculptures in teak, mahogany and sycamore wood. Arthur Cyril Hilton was well-known in the Manchester art circle having been a member of the Manchester Society of Modern Painters from the 1930s, serving as its chairman during the 1950s. He exhibited regularly including solo shows at the Salford Art Gallery, Crane Kalman Gallery and exhibitions at the Manchester City Art Gallery.

Arthur Cyril Hilton (British 1897-1960) Wingwaves, signed and dated 1952, oil on board, artist label verso, measurements 30.5 x 81.5 cm, frame 42.5 x 93 cm Exhibited at the Society of Modern Painting, 1954, number 56 Provenance: The Artist, thence by descent Arthur Cyril Hilton (1897-1960). Hilton was born and lived in the Manchester area and turned to art and painting during his convalescence, having been wounded on the Somme during World War One. His abstract-surrealist style was highly distinctive and he experimented with many mediums, including his elegant hand-carved sculptures in teak, mahogany and sycamore wood. Arthur Cyril Hilton was well-known in the Manchester art circle having been a member of the Manchester Society of Modern Painters from the 1930s, serving as its chairman during the 1950s. He exhibited regularly including solo shows at the Salford Art Gallery, Crane Kalman Gallery and exhibitions at the Manchester City Art Gallery.

MARTIN ASSIG (1959 Schwelm, lebt in Berlin und Brädikow) "Ikonenhose"Mischtechnik und Enkaustik auf Holz. 1991165 x 90 cm.Verso mit Pinsel in Weiß signiert "Martin Assig", datiert und betitelt. Martin Assig studierte 1979 - 1985 an der Berliner Hochschule der Künste, als Meisterschüler Hans-Jürgen Diehls, und übernahm ebendort im Jahr 2000 eine Gastprofessur. Der mehrfach prämierte Maler, der nach eigener Aussage jede Handlung in seinen Werken ablehnt, ist kein Freund des Stillstands, doch der Hermetik. Maximale Aussagekraft erreicht der Künstler auf ungewöhnlichen Untergründen, mit ebensolchen Materialien, die er nach Belieben zu meist organischen Strukturen formt, und, sich der Enkaustik bedienend, in heißes, pigmentiertes Wachs einarbeitet. Die rätselhaften, reliefartigen Gebilde, immer auch mit Textfragmenten versehen, haben u. a. das hehre Ziel, Abwesendes im Anwesenden sichtbar zu machen. Arbeiten des Materialvirtuosen befinden sich u.a. im Kunstmuseum Basel, dem Museum of Modern Art, New York, dem Museum Reina Sofia, Madrid, dem British Museum, London, in der Hamburger Kunsthalle und der Staatlichen Graphischen Sammlung, München.

ARTHUR LUIZ PIZA (1928 São Paulo - 2017 Paris) Tatu Bola/ Fruit défendue/ Formes dispersées/ Lune noire II 4 Blatt Prägedrucke mit Aquatinta und Farbradierung auf Arches-Velin. 1959-1972.Bis ca. 88,5 x 63 cm (Blattgröße).Sämtlich signiert "Piza" und teils verso betitelt. Piza zog in den 1950er Jahren nach Paris und studierte Malerei und Grafik, außerdem Zeichnung bei Johnny Friedlaender. Die von ihm entwickelte Technik basiert auf der Gravur von Kupferplatten unter Verwendung einer Spezialtinte. Die Arbeiten des vielschichtigen Biennale- und documenta-Teilnehmers befinden sich u.a. im Museum of Modern Art in New York, im Art Institute of Chicago, der Bibliothèque Nationale sowie dem Musée National d’Art Moderne (Centre Pompidou) in Paris. "Formes dispersées" herausgegeben von L'Oeuvre Gravée, mit deren Blindstempel unten links.

THEODOR WERNER (1886 Jettenburg/Württemberg - 1969 München) Komposition X/ 55Öl auf Leinwand. 1955.24 x 33 cm.Unten rechts mit Pinsel in Schwarz signiert " Theodor Werner" und datiert. Verso betitelt und mit der Inventarnummer der Bayerischen Gemäldesammlungen "451".Provenienz: Villa Grisebach, Auktion 41, 26.11.1994, Los 324Werner studierte 1908/09 in Stuttgart bei Robert Poetzelberger und unternahm mehrere Auslandsreisen, u.a. nach Paris, wo er Privatunterricht bei Charles Guérin erhielt. Zunächst dem Impressionismus zugetan, ging Werner 1930 erneut nach Paris, blieb bis 1935 und trat der Künstlergruppe "Abstraction-Création". Der im Nationalsozialismus als "entartet" Verfemte begann seine wichtigste Schaffensperiode im Jahr 1947. Als bedeutender Vertreter für abstrakte Malerei unterrichtete er an der Berliner Akademie der Künste und wurde 1956 Ehrensenator der Hochschule der Bildenden Künste Berlin. Das "ZEN 49"-Mitglied stellte auf den ersten beiden "documenta"-Schauen aus und zog sich 1959 nach München zurück. Seine Arbeiten befinden sich heute u.a. in der Staatsgalerie Stuttgart und dem Museum of Modern Art, New York.

Art Nouveau silver kovsh, 5th Moscow Artel, 1908-1917 The spectacular silhouette stylizes a swan or a rook, with graceful curves and lines. Decorated with an engraved pattern of constructive colors in the late modern style. Moscow hallmark 84 samples of silver 1908-19017 And the stigma of 5 artels. Length 32 cm. Height 16.5 cm. Weight 483 g. Width: 32cm, Height: 16.5cm, Depth: 17.5cm, Weight: 0.5kg, Condition: Good, Material: Silver 84

(1893 Berlin - 1959 ebenda)"S.S. Morro Castle Fire". Originaltitel In Duktus, Kolorit und Lichtbehandlung äußerst dramatisch komponiertes Blatt, das den Brand des Luxusdampfers "Morro Castle" vom 8. September 1934 auf dem Weg zurück von Havanna nach New York zeigt. Das Schiff, bereits in leichter Schräglage, steht in Flammen, während im Vordergrund drei voll besetzte Rettungsschiffe versuchen, sich in Sicherheit zu bringen. Die aufwühlenden Ereignisse dieses Unglücks hält Grosz in einigen wenigen Arbeiten aus den Jahren 1934 und 1935 fest, von denen eines bereits 1941 auf der großen Retrospektive des Museum of Modern Art in New York gezeigt wurde. Grosz studierte mit einem Staatsstipendium ab 1912 an der fortschrittlichen Berliner Kunstgewerbeschule bei Emil Orlik. Als gesellschafts- und sozialkritischer Realist schilderte er das gesamte öffentliche und private Alltags- und Nachtleben. Noch vor der sog. "Machtergreifung" Ende Januar 1933 emigrierte Grosz in die USA. Dort gelangte er schnell zu hohem Ansehen, während seine Arbeiten in Deutschland zeitgleich als "entartet" verfemt wurden und somit billigst ins Ausland verkauft oder gar vernichtet wurden. Aquarell/Bütten. Verso betitelt u. dat. 1934 sowie auf dem Nachlassstempel nummeriert 1-113-3. Blatt 39,4 cm x 49,5 cm. Rahmen.Vgl. Lit.: Juerg M. Judin (Hrsg.), "George Grosz. Die Jahre in Amerika 1933-1958", Kat.-Nr. 5 (Nachlass-Nr. 1-113-2), Abb. Seite 44, Hatje Cantz Verlag, 2009.Museum of Modern Art, "Paintings, drawings, prints by George Grosz", New York 1941.Watercolour on laid paper. Estate stamp with Nr. 1-113-3, inscribed with title and dated 1934 on the reverse.

Helmut Kleßen - "Surreale Landschaft", abstrakte Malerei Ein Bild des Potsdamer Malers Helmut Kleßen, ca. 60er Jahre. Die von Dali inspirierte Malerei ist auf einer Faser-Holzplatte befestigt, rechts unten signiert, auf der Rückseite wohl ein erster Versuch. Durch seine besondere Maltechnik ohne Pinsel entstehen immer neue Facetten in seinen Bildern. Es handelt sich um Aquarell- und Ölfarben, die mit Seife handverrieben und dann versiegelt werden. Speicherfund. Das Bild im Rahmen, Maße ca. 47 x 66 cm. Helmut Kleßen - "Surreal Landscape", abstract modern art Helmut Kleßen - "Surreal Landscape", abstract modern artA painting by the Potsdam artist Helmut Kleßen, ca. 1960s. Inspired by Dali, fibreboard, signed on the lower right, on the reverse probably a first attempt. Due to his unique brushless technique, ever new facets emerge in his paintings. The present work was created with water and oil colours which were applied by hand with soap and then sealed. Attic find. Framed painting, dimensions ca. 47 x 66 cm.Condition: II

Helmut Kleßen - "Erotik im Versteck", abstrakte Collagemalerei Ein großformatiges Bild des Potsdamer Malers Helmut Kleßen, 2000er Jahre. Die Malerei mit Collage auf einer Faser-Holzplatte, rechts unten signiert. Durch seine besondere Maltechnik ohne Pinsel entstehen immer neue Facetten in seinen Bildern. Es handelt sich um Aquarell-Farben, die mit Seife handverrieben und dann versiegelt werden. Speicherfund. Maße ca. 120 x 100 cm. Helmut Kleßen - "Eroticism in Hideout", abstract modern art collage Helmut Kleßen - "Eroticism in Hideout", abstract modern art collageA large-size painting by the Potsdam artist Helmut Kleßen, 2000s. Art collage on fibreboard, signed on the lower right. Due to his unique brushless technique, ever new facets emerge in his paintings. The present work was created with water colours which were applied by hand with soap and then sealed. Attic find. Dimensions ca. 120 x 100 cm.Condition: II -

Deutsches Reich 1933 - 1945 - Kunst : Gumbart: Farblithograpie mit Wehrmachtssoldaten.Darstellung von zwei Wehrmachtsangehörigen mit Stahlhelmen im Profil. Am oberen linken rand Künstlersignatur "GUMBART". Am linken unteren Rand bezeichnet: "Allianz Versicherung". Im modernen dunkelbraunen Holzrahmen mit Passepartout unter Glas. In das Passepartout eingearbeitetes Allianzwappen. 325 x230 mm o.R. (Rahmen 62 x 34 cm). The Third German Reich 1933 - 1945 - Art in The Third Reich 1933 - 1945 : Gumbart: Colour lithograph with Wehrmacht soldiers.Depiction of two Wehrmacht soldiers with steel helmets in profile. Artist's signature "GUMBART" on the upper left margin. Inscribed at lower left margin: "Allianz Versicherung".In a modern dark brown wooden frame with passepartout under glass. Allianz coat of arms worked into the passepartout.325 x230 mm without frame (frame 62 x 34 cm).

An Art Deco 'Day And Night' swivel eternity ring, unmarked white metal settings with half of central band channel set with calibre-cut rubies and other half with calibre-cut sapphires, with 2 modern round brilliant-cut diamond set swivel half bands, central band width 3.5mm, combined band width 8.7mm, size L/M, 7.1g No damage or repair, all stones present, diamonds bright white and fiery, settings slightly worn on high points, unmarked

An Art Deco 18ct gold 0.25ct solitaire diamond ring, palladium-topped birdcage setting with modern round brilliant-cut diamond, colour approx F/G, clarity approx SI1/SI2, size L, 3gNo damage or repair, diamond bright white and fiery, light wear to high points, mark clear, stamped 18ct and Pall

An Art Deco 18ct gold 0.3ct solitaire diamond ring, illusion set with modern round brilliant-cut diamond and rose-cut diamond split shoulders, platinum-topped, setting height 5.5mm, size N, 2.2gNo damage, 2 shoulder stones missing, principal diamond has a few small internal fractures and is very slightly yellow, both sides of bridge slightly worn, mark clear, stamped 18ct and Plat

An Art Deco French emerald and diamond necklace/bracelet combination set, circa 1930, each bracelet set in unmarked rose gold and white metal with central graduated row of rectangular step-cut emeralds flanked either side by a row of old and single-cut diamonds, both bracelets can be combined to form a single collar necklace, largest emerald measures approx 5.85 x 3.20 x 2.45mm, total diamond content approx 5ct, apparently unmarked, both bracelets 17cm long, necklace length approx 35cm, 46.9g totalNo obvious damage or repair, all stones present, emeralds are relatively well matched and slightly differ in saturation, all have typical internal inclusions, diamonds bright and fiery with a slight yellow tint, a few have small surface chips and some have been replaced with modern round brilliant-cuts, a few cross bars on setting backings are cut and some others are missing but this does not effect the structural integrity of either bracelet, general wear to high points, clasps working perfectly, both unmarked

An Art Deco 18ct white gold 0.15ct solitaire diamond ring, illusion platinum-topped settings with modern round brilliant-cut diamond, setting height 6.9mm, size P, 2.9gNo damage, diamond relatively bright and white, settings lightly worn, mark clear, stamped 18ct and Plat

A Set of Three Border Fine Arts ''Ewe & Me'' figures by Tony Goffe, three Border Fine Art ''Wild World'' figures of Elephant, Tiger and Cheetah; four Country Artist figures, song thrush, Wren in oak, Barn Owls, and Wren on teapot lid, Border Fine Arts, figure Lady Reynard, a Jay Strongwater - chameleon figure and a similar figure, a Florence figure, six modern masquerade masks; two signed photographs of Placido Domingo, two signed artists proofs ''Snakes and Ladders'' and a Jim Shore Santa figureThe Lady Reynard figure is lacking the glass which in her hand. Otherwise the condition appears generally ok throughout. Several figures are still in their cellophane wrapping and original boxes.

Bob Harrison - a Modern Art Upcycling model - ‘Fish & Chips’, in blue; another similar, 50cm and 49cm high (2).

Bob Harrison - a Modern Art Upcycling model - ‘Spanners’, in blue; another striped, approx 47cm high (2)

Bob Harrison - a Modern Art Upcycling model - Lego-fish, in blue; another Meccano-fish, approx 47cm high (2).

Books - Bob Dylan - Art and art collector's reference - Retrospectrum, Modern Art Museum, Shanghai.

Jake and Dinos Chapman F***ing Hell, signed, limited edition 187/500, White Cube, 2008; Jake and Dinos Chapman, Injury to Insult to Injury, a boxed set of postcards, signed limited edition of 50/100, published 2015; Hell, Jake and Dinos Chapman, Saatchi Gallery, Jonathan Cape, 2003; Flogging A Dead Horse, The Life and Works of Jake and Dinos Chapman, Rizzoli, 2011, hardback with sleeve; The Rape of Creativity, Modern Art, Oxfords, sealed copy; Enjoy More, Dusseldorf Groninger Museum, 2003; Dinos Chapman, They Teach Us Nothing, White Cube, 2011; Jake Chapman, The Marriage of Reason & Squalor, paperback, Murray and Sorrell, FUEL, 2008; five Unicef limited edition Culturalties, Dinos Chapman, 265/300, certificate, boxed (no sleeve); Jake Chapman, 296/300, certificate, boxed; Peter Blake, 178/300, certificate, boxed; Selma Gürbüz, 086/300, certificate, boxed; David Shrigley, 259/300, certificate, boxed (13)

Art Books - Andy Warhol - A Retrospective, Introduction by Kynaston McShine, Museum of Modern Art; Andy Warhol Screen Tests, Callie Angel; Andy Warhol, Treasures; Portraits; Andy Warhol’s Exposures; etc

ART: THE RENAISSANCE AND AFTER: a group of high quality books to include Durer, Leonardo, Goya, Canaletto and others. Generally 'pre-modern'. c. 20 vols.

MODERN ART: a group to include Warhol, Rothko (by and about - a significant group), Braque and others. c.30 volumes or more

Muhammed Ali signed collectors card in Perspex case and a modern art badge, indistinctly signed, both with hologram ltd.ed decals (2)

A Mixed Quantity of Star Wars Toys Models Games, including: ROTJ boxed Darth Vader Rolling Skates circa 1983, size 13J, Harbert (Italy) Star Wars boxed Projector circa 1977, ROTJ fancy stationary boxed HCF set , Craft Master E.S.B. acrylic paint by number sealed circa1980, Star Wars Giant Pez C-3PO, Rose Art Star Wars Trilogy sticker studio, over 200 stickers, 8 packs Action Transfers, Parker Brothers R.O.T.J battle at Sarlacc’s Pit Game, ROTJ cloth badges, Episode I Star Wars game, ten modern action figures, 2 Scout walkers small models, ROTJ button badge carded and a Neca Tron carded figure (32 items)

Fifty One Miscellaneous Comics, including: The Rocketeer (2022) No.1,2 Lady Death Art Deco(2010) No.1-3 Broad Sword Comics Tarot(2017) No.105-111,133 Titan Comics Assassin’s Creed(2016) No.13,14 Spirit Hunters(2016) No.1,2, Plus other modern issue Miscellaneous Comics .(51 items)

19 x Numismatic Literature - British and General Interest, comprising: NORTH [J.J.] English Hammered Coinage: Vol. I Early Anglo-Saxon to Henry III c.600-1272 (London, 1980); MONTAGU [H.] The Copper, Tin and Bronze Coinage and Patterns for Coins of England: From the Reign of Elizabeth to that of Her Present Majesty (London/Paris, 1885); BOON [George C.] Coins of the Anarchy 1135-54 (London, 1988); WREN [Christopher] The Short-Cross Coinage 1180-1247: Henry II to Henry III (Herne Bay, 1992); 'Coinage and Society in Britain and Gaul: Some current problems' CBA Research Report No. 38 ed. Barry Cuncliffe (1981); 2 x Seaby's Standard Catalogue of British Coins (London, 1962 and 1971); LAING [Lloyd R.] Coins and Archaeology (London, 1969); CRIBB [Joe], COOK [Barrie] and CARRADICE [Ian] The Coin Atlas: The World of Coinage from its Origins to the Present Day (London/Sydney, 1990); FORRER [Leonard S.] The Art of Collecting Coins (London, 1955); GRANT [Michael] Roman History from Coins (Cambridge, 1958); JACOB [Kenneth A.] Coin Collecting for Beginners (London, 1958); 2 x KLAWANS [Zander H.], comprising: (1) An Outline of Ancient Greek Coins (Racine, 1964); and (2) Reading and Dating Roman Imperial Coins (Racine, 1959); YONGE AKERMAN [John] Roman Coins: The As and its Divisions (New York, 1970); ADCOCK [F.E.] Marcus Crassus Millionaire (Cambridge, 1966); 2 x YEOMAN [R.S.]: (1) Current Coins of the World (5th Edition, Racine, 1972); and (2) A Catalog of Modern World Coins 1850-1960 (10th Edition, Racine, 1972); and SCHÖN [Günter] World Coin Catalogue Twentieth Century (London, 1972)

A collection of far eastern works of art, comprising two figures, one on a plinth base 38cm high, an Indian carving depicting figures, 30cm wide, a red buddha, four modern Chinese plastic shell scenes, all approx. 8cm wide (10)

An assorted collection of ceramics, comprising a Parian ware Ewer, marked Crystal Palace art union, 35cm high, together with a glass biscuit barrel (chipped rim) with gilt decoration, a modern porcelain candlestick, marked Meissen to the underside 17cm high, and a part English Imari style tea set, comprising three cups, six saucers, a milk jug and sugar bowl with wear to the decoration, Af (qty) THE EWER HAS A SMALL CHIP TO WING TIP ON THE FIGURE TO THE FRONT. THERE IS A FIRING FAULT TO THE BASE. THERE IS STAINING TO WHOLE BUT NO OTHER OBVIOUS SIGNS OF DAMAGE OR RESTORATION

3 F/G MODERN ART PICTURES

3 F/G MODERN ART PICTURES & F/G BLACK & WHITE PICTURE OF A SHORELAND SCENE

Frank Stella (B.1936), Acrylic Painting Image Size: 47 1/2 by 47 1/2 in. (120 by 120 cm.) All measurements are approximate. Signed (reverse) Frank Stella (b. 1936) is an American painter, sculptor, and printmaker known for his minimalist and geometric works. He was born in Massachusetts and studied at Princeton University and later at the Phillips Academy in Andover. Stella's early works were characterized by their abstract and monochromatic compositions, later evolving into more complex and colorful designs. He has been associated with the Minimalist and Post-Painterly Abstraction movements, and his works have been exhibited in galleries and museums around the world, including the Museum of Modern Art in New York and the National Gallery of Art in Washington, D.C. Stella is considered one of the most important artists of the postwar period. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.

Yue Minjun (B.1962), Oil Painting Image Size: 31 1/2 by 31 1/2 in. (80 by 80 cm.) All measurements are approximate. Signed (reverse) Yue Minjun (B. 1962) is a contemporary Chinese artist known for his inventive take on self-portraiture. Grouped into the Cynical Realism movement in China, alongside artists Fang Lijun and Liu Wei, he refutes this labelling of his work. His brightly colored depictions of maniacally laughing figures are influenced both by Pop Art and Surrealism. His works act as a tacit form of social and political critique which deals with both Chinese history and the Western canon of art. "I'm actually trying to make sense of the world," he said of his work. "There's nothing cynical or absurd in what I do." Born in 1962 in Daqing City, China, Minjun studied at Hebei Normal University in the 1980s, training as a painter, sculptor, and printmaker. Bearing witness to the restrictive regime which led to the Tiananmen Square massacre of protestors, he began using his art to understand the societal changes taking place in China over the following decades. In 2008, the artist collaborated with KAWS to produce a number of figurines which blend their two distinctive styles. He currently lives and works in Beijing, China. The artist's works are held in the collections of the Denver Art Museum, the Shenzhen Art Museum, and the San Francisco Museum of Modern Art. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.

Gerhard Richter (B.1932), Oil Painting Image Size: 44 by 40 in. (111 by 101 cm.) All measurements are approximate. Signed (reverse) Gerhard Richter (b. 1932) is a German painter known for his diverse range of styles and techniques, ranging from photorealism to abstract expressionism. He was born in Dresden and studied at the Dresden Academy of Fine Arts before moving to Dusseldorf. Richter's art is characterized by his use of blurred images, muted color palettes, and layering of paint. He has been associated with the Fluxus and Capitalist Realism movements, and his works have been exhibited in galleries and museums around the world, including the Tate Modern in London and the Museum of Modern Art in New York. Richter is considered one of the most important contemporary artists working today. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.

Gustav Klimt (1862-1918), Sketch on Paper Image Size: 18 by 13 in. (45 by 32 cm.) All measurements are approximate. Signed (lower right) Gustav Klimt (1862-1918) was an Austrian painter known for his decorative and erotic paintings that were influenced by Art Nouveau and Symbolism. He was born in Vienna and studied at the Vienna School of Arts and Crafts. Klimt's art is characterized by its lavish use of gold leaf, ornamental patterns, and sensual female figures. He co-founded the Vienna Secession movement, which sought to break away from traditional academic art and embrace new artistic styles. Klimt's works have been exhibited in galleries and museums around the world, including the Belvedere in Vienna and the Museum of Modern Art in New York. He is considered one of the most important artists of the Viennese Secession. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.

Herman de Vries (Alkmaar/Niederlande 1931 – lebt in Knetzgau). „Ohne Titel“. 1972Prägedruck auf dünnem Karton. 50 × 65 cm (19 ⅝ × 25 ⅝ in.). Rückseitig signiert und datiert.Einer von 100 nummerierten Abzügen aus einer Gesamtauflage von 137 Exemplaren. Berlin, Modern Art Gallery, 1972. [3971]Zustandsbericht: Ex. 33/100. Harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Das Papier unregelmäßig leicht gebräunt und etwas angestaubt. In den Randbereichen vereinzelte hellgraue Bereibungsstreifen (bis zu 5 cm) und schwache Schmutzspuren.Wir berechnen auf den Hammerpreis 32% Aufgeld.

Carroll Dunham (1949 New Haven - lebt in New York) Three Etchings (#3). 1987.Radierung und Aquatinta auf Velin.Unterhalb der Darstellung mit Bleistift signiert, datiert und nummeriert: Carroll Dunham, 1987, HC 1/1.Blattmaß: 139,7 x 96,5 cm.In einem Objektrahmen von Minagawa Art Lines, New York freigestellt und unter Pexiglas gerahmt: 114,5 x 102 cm.Werkverzeichnis: Kemmerer/DeRosa/Dunham A10.Provenienz:Privatsammlung, Berlin.Angaben zum Künstler:• Carroll Dunham, 1949 in New Haven, Connecticut geboren, studierte am Trinity College in Hartfort und lebt und arbeitet in New York.• Waren Dunhams frühe Werke von abstrakten Formen und Mustern geprägt, begann er später, figurative Elemente in seine Gemälde einfließen zu lassen.• In den 1980er Jahren wurde Dunham mit der neoexpressionistischen Bewegung in Verbindung gebracht, die sich durch ihre kühne, gestische Pinselführung und die Verwendung lebendiger Farben auszeichnete.• Dunham ist bekannt für seine Darstellungen übertriebener und verzerrter Figuren, oft mit grotesken oder sexuellen Untertönen.• Seine Arbeiten wurden in zahlreichen Einzel- und Gruppenausstellungen ausgestellt, darunter im Whitney Museum of American Art, im Museum of Modern Art New York und in der Gagosian Gallery.

Per Kirkeby (1938 Kopenhagen 2018) Ohne Titel. 2004.Gouache auf gelber Dokumentenmappe.In der Darstellung mit Bleistift signiert: Per, und mit Gouache datiert und gewidmet: 8-5-04, to Irmelin and Reinald.32 x 24,4 cm.Unter Passepartout und Glas gerahmt: 55,6 x 45,8 cm.Provenienz:Nachlass Reinald Nohal, Mitbegründer der Paris Bar, Berlin.Story:Diese Zeichnung enstand zu Irmelins 50. Geburtstag und ist signiert von Kirkeby und seiner Frau Mari Anne. (Mari Anne und Irmelins Mutter gingen in die gleiche Schule in Oslo und sind der gleiche Jahrgang). Irmelins Mutter ist eine Mitbegründerin des Louisiana Museum of Modern Art in Humblebæk. Reinald sagte immer: "Irmelin ist im Louisanna aufgewachsen, ihre Puppen waren Giacomettis".

Anna und Bernhard Blume (1936 - 2020 und 1937 - 2011) Mrs. & Mr. Francis Bacon. 1996.Diptychon: Zwei digitale Prints, jeweils auf Papier. Unterhalb der Darstellung mit Bleistift signiert, betitelt, datiert, nummeriert und bezeichnet: Anna und Bernh. Blume, Mrs. & Mr. Francis Bacon, 96, 6/50, links bzw. rechts.Blattmaß: Jeweils 41,9 x 29,8 cm.Jeweils unter Glas gerahmt. Rahmenmaß: 43 x 30,8 cm.Provenienz:Privatsammlung, Berlin.Angaben zu Künstler und Künstlerin:• Das Ehepaar Anna und Bernhard Blume lernte sich beim Studium an der Staatlichen Kunstakademie Düsseldorf Anfang der 60er Jahre kennen. • Sie arbeiteten vor allem mit Fotografie und Video, ihr Werk ist geprägt von der Idee, das Alltägliche und Unscheinbare aufzugreifen und in einen künstlerischen Kontext zu setzen. • Sie sind bekannt für ihre "Fotoprotokolle", in denen sie komplexe Themen wie Stadtentwicklung und soziale Strukturen durch eine Serie von Fotografien darstellten. • Ihre Arbeiten wurden unter anderem bei der documenta 6, im Museum of Modern Art, New York, im Museum für Moderne Kunst, Frankfurt, im Centre Pompidou, Paris und dem Museum Ludwig in Köln gezeigt.

Polly Apfelbaum (1955 Pennsylvania - lebt in New York))* Flower Garden. 2005.Siebdruck und Pochoir auf festem Sauders Waterford Velin.Unterhalb der Darstellung mit Bleistift signiert, datiert und nummeriert: Polly Apfelbaum, 05, 2/35.Blattmaß: 61 x 48,3 cm.Herausgeber: Durhamm Press Inc., USA, verso typografisch bezeichnet. * Regelbesteuerung: Aufgeld 25% auf den Zuschlagspreis zzgl. 19% MwSt. auf Zuschlagspreis + Aufgeld.Provenienz:Angaben zur Künstlerin:• Polly Apfelbaum wurde 1955 in Abington, Pennsylvania, geboren und studierte an der Tyler School of Art der Temple University in Philadelphia. • In den 1990er Jahren wurde Apfelbaum Teil der sogenannten "Pattern and Decoration"-Bewegung, die sich für eine Wiederbelebung dekorativer Elemente in der Kunst einsetzte. • Apfelbaum ist vor allem bekannt für ihre „fallen paintings“, großformatige Installationen bestehend aus Hunderten von handgeschnittenen und handgefärbten Samtstoffstücken, die auf dem Boden arrangiert werden. • Arbeiten von ihr sind unter anderem im Museum of Modern Art, New York, im Musée d‘Art Moderne de Paris und im Whitney Museum of American Art, New York ausgestellt.

Hannah Höch (1889 Gotha - Berlin 1978) Bewegte Formen II. 1961.Farbkreide auf Papier.Unten links in Blau monogrammiert und gewidmet: H.H.21 x 31 cm.Provenienz:Privatsammlung, BerlinGalerie Nierendorf, BerlinAngaben zur Künstlerin:• Hannah Höch, 1889 in Gotha geboren, studierte an der Kunstgewerbeschule Berlin • Als eine der wenigen Frauen in der Dada-Bewegung setzte sie sich kritisch mit der patriarchalen Gesellschaft und Geschlechterrollen auseinander und hinterfragte das Konzept der „Neuen Frau“ in der Weimarer Republik. • Gemeinsam mit ihrem damaligen Partner, dem Künstler Raoul Hausmann, entwickelte sie die Technik der Fotomontage. • Seit 1996 wird jährlich der nach ihr benannte Hannah-Höch-Preis vom Land Berlin verliehen • Das Museum of Modern Art in New York City befasste sich ausführlich in diversen Ausstellungen mit der Berliner Dada-Gruppe um Hannah Höch

Pat Steir (1938 Newark - lebt in New York) Waterfall. 1992.Aquatintaradierung auf Velin.Unterhalb der Darstellung mit Bleistift signiert, datiert und nummeriert: Pat Steir, '92, 15/45.Blattmaß: 70 x 37,5 cm.Unter Glas gerahmt. Rahmenmaß: 70,7 x 38 cm.Provenienz:Privatsammlung, Berlin.Angaben zur Künstlerin:• Pat Steir wurde 1940 in Newark, New Jersey geboren und studierte Drucktechnik am Pratt Institute, New York und Malerei und Komparatistik am Boston University College of Fine Arts. • Sie leitete von 1965 bis 1969 als künstlerische Direktorin des Verlags Harper & Row und war Mitarbeiterin der feministischen Magazine Printed Matter, Heresies und Semio-Text • Am bekanntesten ist Steir für ihre Serie „Waterfall“ (1987 -2000), bis zu 11 Meter breite Bilder, die von der Chinesischen Malerei des 8. und 9. Jahrhunderts und Tibetischer Philosophie inspiriert sind. • Steir war Teilnehmerin der documenta IX, ihre Arbeiten sind unter anderem im Metropolitan Museum of Art, Museum of Modern Art, Solomon R. Guggenheim Museum, Whitney Museum of Modern Art (alle New York), der National Gallery of Art, Washington D.C. und der Tate Gallery, London zu finden.

Takehisa Yumeji, 1884-1934, Fireworks, Woodcut Print Takehisa Yumeji is the first teacher of the artist Feng Zikai. A great writer, Kawabata Yasunari who admired Yumeji and said that his goals were always aligned with Yumeji's achievements. It's incredible that Lu Xun, Zhou Zuoren, Ye Lingfeng and many other famous Chinese artists are all his loyal fans. Surprisingly, the dream of these famous people was not a beautiful woman, but a male painter.The word painter or artist is far from enough to describe Takehisa Yumeji's art achievements. He's also a poet, novelist, singer, framing designer and more. Monji had many identities, and in each of them, he left behind a staggering number of creations. Paintings with poems, poems with paintings, poems with music, serialized novels with illustrations, songbooks, picture book bindings, human figures and pattern designs. This cross-border, mix-and-match creative gesture allowed Yumeji to break through the border between so-called pure art and practical art such as design and craft, and has since opened up a new era in the world of Eastern painting.More importantly, the beauty of his paintings attracts the most attention. Unlike the common Ukiyo-e style of women, the women in Yumeji's paintings seem to be more emotionally subtle and introspective, and they have an exclusive term called "Yumeji-style beauty".The poet Atsuo Oki once commented, "These women, no matter which one they are, all have melancholy faces, with large round eyes, long eyelashes, and a sad, despondent look, with a fragile beauty that is hard to describe."Today, even in Japan, the original beauty paintings of Yumeji are rare and precious. Image size: 5 by 3 1/2 in. (12.2 by 8.2 cm.) All measurements are approximate. Takehisa Yumeji (1884-1934), was a leading figure in the Taisho Romanticism movement which combined Western romanticism with native Japanese styles during the Taisho Period (1912-1926). He was a painter, writer, poet, bookbinder and illustrator whose drawings of women with thin bodies and large eyes filled with melancholy were known as Yumeji Bijin-ga. During the height of his popularity he was called the "modern Utamaro" and the Japanese "Toulouse-Lautrec and Edvard Munch". His prints epitomized the relationship between popular art and the woodblock. He is the printmaker "who best exemplifies the Taisho era." WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE.

1930 Buick Series 60 Model 64 Sport Roadster Engine no. 2458372331.4 ci., SOHC Inline 6-Cylinder Engine98bhp at 2,800rpm 3-Speed Manual Transmission4-Wheel Leaf Spring Suspension4-Wheel Drum Brakes*Rare example of GM Art and Colour sports design*Untouched, original example *Potential Preservation Class exhibitBUICKUnder the stewardship of General Motors' President William C. Durant, Buick production rose dramatically. The company introduced its first 6-cylinder car in 1914 and for a period in the 1920s the range would consist entirely of sixes. A detachable cylinder head, strengthened chassis and axles, and 4-wheel brakes were new introductions on the 6-cylinder line for 1924, the last year of Buick's base-model four. Replacing the latter for 1925, the Standard Six boasted a new, overhead-valve engine displacing 191cu in and producing 50bhp, while the larger Master Six came with a 255cu in, 70bhp unit. The duo was restyled for 1926 and given larger engines of 207 and 274cu in respectively and continued almost unaltered throughout 1927. For this season, the cars were visibly distinguishable by their slightly rounded radiator edges and on Fisher bodies such as this car, a dual swage molding.It was at this point that the Buick received the attention of rising star Harley Earl. Earl's mammoth contributions to General Motors' looks had begun with the LaSalle then the glorious post-1928 Cadillacs. He was on a roll when he began work on the new Buick line up, under the command of one of its most dynamic leaders, Harlow 'Red' Curtice. Curtice saw that Buick's slide was induced by complacency and their styling was looking old-fashioned, also he was keen to revamp the cars in an effort to purge unnecessary weight and to improve their performance. Their all-new line up debuted in 1929 and was the first series to have been styled in their entirety by the GM Art and Color Department, further improvements followed for 1930. THE MOTORCAR OFFEREDThe 1930 Model 64 was one of Buick's more racy models, the sport roadster, which arrived first this year and accounted for a mere 2006 units, a fraction of the 181,743 of all models shipped, making it relatively rare. They set their owners back some $1,585 in standard form, with the optional extras of wire wheels, chrome grille guard, side mounts, whitewall tires, luggage rack, fog lights and wind wings, almost all of which were clearly chosen by the first owner of this car. Buicks were certainly a focus of the collection, but this is by far the newest in this stable, 'new' being relative of course, and by time rather than condition. The car is an incredible example of its marque and model, a true time-warp car and in many respects, it is quite remarkable that it survives at all. It wears a New Jersey license plate for 1930, which seems likely to be original to the car and is a clue to its early history. Beyond this point, we are uncertain of its subsequent trail, until more recent times. However, regardless of any documented chain of ownership, the car and its condition speaks volumes about what that path might have amounted to, one would imagine a very limited number of custodians and most likely a long period of being laid up. That time would also more than likely have straddled the early days of the hobby through to more modern times, and in doing so eluded the former trends of restoring such cars. The car was formerly in the collection of James and Helen Staats of New Hope, PA, and carries a registration sticker for PA in 1981/2. The Staats being noted active HCCA and specifically Curved Dash Olds campaigners, it is likely that the shared admiration of 'CDO's' connected them with the father and son ownership of the Two Generations Collection. Clearly never having been restored, the car seems to retain its original paint, trim finishes and even its top. Its appeal is in the way in which it has weathered its 93 years, the paintwork in a khaki brown, pinstriped in red is worn in places, but still presentable, while it is the interior of both the driving compartment and the rumble seat is almost entirely intact and displays the materials with which these cars were built, but are rarely replicated when restored. The seats are in good order generally, and the driver's door has the provision of a panel behind which tools are stored, there are a couple of missing handles, but none that detract hugely from its overall presentation which with careful cleaning and preparation would no doubt enable the car to be welcomed in any of the popular preservation classes at concours events around the country. In its past tenures it has been neither altered nor restored, long may that continue... Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

A group of metal wares, including an Art Deco style nude female sculpture, 33cm high, a modern Bayard brass carriage clock, 8 by 6.5 by 12cm high, a barometer, a chromed figure of a greyhound, various small brass and other metal ornaments, and a sculpture of a racing horse and jockey. (1 box)

AN AMUSING WOOD MASK NETSUKE OF A LONG-NOSED TENGUUnsigned Japan, 19th century, Edo period (1615-1868)Published: Bulletin Franco Japonais, no. 50, October 1996, p. 26, no. 50.Expressively and amusingly carved as a tengu with its long nose bent to one side, his face contorted in a pained grimace, the eyes with large pierced pupils evoking a distraught expression, the details deeply carved and heightened by skillful staining.HEIGHT 4.2 cmCondition: Excellent condition with minor wear. Provenance: Kunsthandel Klefisch, 24 June 1995, Cologne. European collection P. Jacquesson, acquired from the above.Tengu masks are popularly used at tengu festivals held all over Japan, from Tengu Matsuri on Mt. Tengu in Hokkaido, to the Shimokitazawa Tengu Festival in Tokyo. While the tengu Matsuri is a more traditional affair, the Shimokitazawa festival is a modern take on setsubun, where beans are thrown to ward away evil. People dressed as tengu take to the streets, visiting shops and homes to throw their beans of evil's bane to bring good luck and fortune.In netsuke art, the tengu mask often takes on a phallic meaning due to its long nose. In the present netsuke, however, this symbolism has been inverted, as the nose does not protrude outward but is bent to the side, a surely painful and emasculating experience which nonetheless elicits amusement.Literature comparison: Compare a related wood netsuke depicting Hyottoko, also with a long nose twisted to one side, albeit with a stern expression, illustrated in Bushell, Raymond (1985), Netsuke Masks, pls. 254.Museum comparison: Compare a related wood netsuke by Kokeisai Sansho, also depicting a long-nosed tengu with similar expression, 5.4 cm high, dated late 19th to early 20th century, previously in the collection of Raymond Bushell and now in the Los Angeles County Museum of Art, accession number M.91.250.341, illustrated in Bushell, Raymond Netsuke (1975) Familiar & Unfamiliar, p. 146, no. 315 and Bushell, Raymond (1985), Netsuke Masks, pl. 327. Compare also a related wood netsuke by Deme Uman, also depicting a long-nosed tengu, 5.7 cm high, dated 19th century, previously in the Trumpf collection and now in the Linden-Museum Stuttgart, inventory number OA 18947, illustrated in Patrizia Jirka-Schmitz (2000) Netsuke: Trumpf Collection, vol. 2, Linden Museum, 2000, p. 217, no. 432.