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

A modern silver photo frame in Art Nouveau style

DC - Marvel - A collection of approximately 100 comics, some copper but mostly modern. Lot includes several key issues such as Wolverine Origins #10 March 2007 - variant cover art by Arthur Suydam; Uncanny X-Men #253 November 1989 - Storm appears 'de-aged' into a young girl; Justice League of America #36 March 1990 - first appearance of Mister Nebula, a parody of Galactus who decorates planets and first appearance of the Scarlet Skier, the herald of Mister Nebula and similar. Majority of comics appear flat and unfolded, with some general handling and wear signs, and appear generally Good - Very Fine overall. (This does not constitute a guarantee)

A collection of Modern Art catalogues

Ca. 323-31 BC. A stunning gold ring with its massive and flaring body is beautifully adorned with a ribbed band, and its shoulders are decorated with foliate designs. The borders are embellished with fine circles, and the large bezel is set with a single garnet cabochon, framed by a sixteen-petaled flower. The garnet cabochon is the centerpiece of the ring, and its captivating deep red hue truly stands out. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 17.32mm / US: 7 / UK: N 1/2; 16gProvenance: Private London collection; British art market 1990s.

Ca. 320 AD. A huge and beautiful red figure Apulian amphora. On one side is a seated, a flowering plant in an Ionic naiskos, a small temple often applied as a motif in ancient funerary art. On the reverse the "Lady of Fashion". The female head is illustrated facing left and adorned with a radiate stephane, ribbon sakkos, necklace and earrings. There are large palmettes on the sides and the back is covered with innumerable wreaths. The style of the profile female head on the reverse is close to those of the Painter of the Potenza Plates, a painter associated with the Stoke-on-Trent and Kantharos Groups. See pl. CVI,2 in Trendall and Cambitoglou, Second Supplement to the Red-figured Vases of Apulia. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:610mm / W:240mm; 5.45kgProvenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in an old European collection.

Ca. 300 BC. A finely modelled skyphos from the Gnathia region of Magnia Graecia. It is made from light brown clay, which has been covered with a rich black gloss. The vase has a large, tapering body which rests on a small, undecorated foot, and there are two small handles attached to either side. The front central decorative panel features a vine branch with leaves and fruits between the handles on both sides. The reverse features the same row of white and yellow tongues at the rim, bordered in turn by two thin parallel lines. Three hanging white tendrils flank two gold dot-rosettes. For a similar, see The Metropolitan Museum of Art, New York, Item 1971.11.2. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Please note: The item on the right in the last picture is not for sale and is there to provide an accurate representation of the size of the skyphos. Size: L:270mm / W:382mm ; 2.8Kg Provenance: Private London collection; previously with Edmund Bourke, MD., Yonkers, NY.; ex. Ye Olde Curiosite Shoppe, Arnold Saslow, South Orange, NJ., 6/25/2005.

Amarna Period, ca. 1353-1336 BC. A gold amulet in the form of a lotus petal featuring a delicately formed suspension loop on the top. This amulet has a round face, with the bottom tapering into a point to create a teardrop shape which is connected to a lotus petal. This item is in wearable condition and it comes with a modern necklace cord. Cf. Florence, D. F.; Gifts of the Nile: Ancient Egyptian Faience, p. 86, for related lotus amulets.Size: L:24.2mm / W:8.6mm ; 3.39gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s.

Ca. 525-500 BC. A large Etruscan amphora by Micali painter with double sided panels of black and red sirens are beautifully rendered as well as looming pairs of eyes and accented in ivy. The actual name of the prolific Etruscan black-figure vase-painter, is unknown. Nevertheless, consistent individual characteristics of style suggest a most unique talent. He is called the Micali Painter, having been named in honor of the Italian scholar who first published some of the vases he painted. This is a splendid example of his work Amphora stands 16" tall and has had expert museum grade restoration. It was purchased in Frankfurt, Germany in the early 1960s. Estimated Value $7,500 - 15,000. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Size: L:430mm / W:250mm ; 3.09kg Provenance: Property of a London Art Gallery; formerly acquired on the US Art market; previously in the collection of N. and E. Keefer, purchased in Frankfurt, Germany in the early 1960s.

Ca. 100-200 AD. A gold signet ring of a smooth, round band with bezel enclosing red hardstone intaglio engraved with a depiction of facing left, standing figure of Minerva (identified with the Greek Athena). She wears a long dress with beautifully flowing folds and crested helmet. In Roman mythology, Minerva is the goddess of wisdom and warfare, but also patron of arts and crafts. She is probably a goddess of Etruscan origin. Along with Jupiter and Juno, she formed the Capitoline Trinity. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 17.35mm / US: 7 / UK: O; 5.97gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 330-300 BC. A stunning cup boasting a bulbous body that sits elegantly on a low stepped base, culminating in a gently tapered neck that flows seamlessly into an everted rim. The cup is further accentuated by a pair of opposing loop handles, which add a touch of sophistication and functionality to the piece. Its central decoration features a mesmerizing interplay of shapes and lines, evocative of the sophistication and grace of ancient Greek art. Gnathian ware is a type of ancient Greek pottery that was produced in the southern Italian city of Gnathia (modern-day Egnazia) during the fourth and third centuries BC. One of the most characteristic features of Gnathian pottery is its distinctive black glaze, which is often decorated with brightly colored scenes and patterns.Size: L:112mm W:133mm ; 216gProvenance: Private UK collection; From an old London collection formed in the 1990s.

Ca. 300 BC. A stunning bracelet composed of gold coiled tubes woven together with gold wire and secured with a pin. The bracelet is further embellished with filigree and gold beads. Its intricate pattern, delicate details, and exquisite workmanship make it an eye-catching and unique piece. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: L:83.3mm / W:7.4mm ; 9.09gProvenance: Private London collection; British art market 1990s.

Ca. 323-31 BC. A finely rendered gold disc-shaped pendant, hammered from thin gold, embellished with three bands of alternating beaded and ropework decoration alongside the edge of the central amethyst cabochon. A suspension loop makes this piece wearable and it comes with a modern necklace cord. Excellent condition, but the stone is restored.Size: L:30.3mm / W:7,8mm ; 17.56gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.

Ca. 600-400 BC and later . A necklace made of threaded mosaic glass beads of various sizes, in yellow, green, blue, red, and white with compound eyes. Arranged in gradually growing size towards the centre with bigger cobalt blue bead as a pendant. Restrung on a modern thread, suitable for contemporary wear. The Phoenician mosaic glass production was so highly regarded that it was exported across the Mediterranean and beyond, and its influence can be seen in later glass works produced by the Romans, Greeks, and various other civilizations. Cf. Christie's, Live Auction 2057, Ancient Jewelry, 9 December 2008, Lot 224.Size: L:460/920mm / W:mm ; 208.43gProvenance: Private London collection; British art market 1990s.

Ca. 500 BC. A stunning and rare D-shaped gold ring composed of a round-section hoop and an applied bezel engraved with glyphs. The engraved glyphs on the bezel are an example of the Phoenician writing system, which was used from the 16th century BC until the 2nd century AD. The Phoenician script was the precursor to the modern-day alphabet we use today, and their writing system was widely used for commercial and religious purposes. The Phoenician civilization was known for its extensive trade network, which spanned across the Mediterranean and beyond. They were skilled in metalworking, producing fine jewelry and other metal objects, such as weapons and tools. The Phoenicians were also known for their production of purple dye, which was highly valued in the ancient world.Size: D: 15.27mm / US: 4 1/2 / UK: I 1/2; 12.92gProvenance: Private London collection; British art market 1990s.

Ca. 100-300 AD. A stunning silver ring of a round, flat-section hoop and a gilded bezel setting embellished with four corner knobs. It is set with a carnelian intaglio of the Roman goddess Minerva (Greek Athena). Minerva was the goddess of wisdom, war, and the arts. Here she is depicted in a standing pose on a groundline, flanked by two short columns. She is portrayed robed, wearing her iconic Corinthian helmet, and holding a shield. The wearing of this type of ring was an act of veneration towards the goddess, as well as a powerful statement of the wearer’s own strength and wisdom. The heightened status of Minerva in ancient Roman culture is evident through the use of her imagery in jewelry, coins, and other artifacts. Minerva was seen as the patron goddess of Rome and a symbol of the city’s wealth. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 16.51mm / US: 6 / UK: M; 5.61gProvenance: Private London collection; British art market 1990s.

Ca. 100-300 AD. A gold signet ring of a smooth, round band with applied bezel set with red hardstone intaglio engraved with a depiction of facing right, standing figure of Minerva (identified with the Greek Athena). She wears a long dress, crested helmet and holds a shield and a lance. In Roman mythology, Minerva is the goddess of wisdom and warfare, but also patron of arts and crafts. She is probably a goddess of Etruscan origin. Along with Jupiter and Juno, she formed the Capitoline Trinity. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 18.80mm / US: 8 7/8 / UK: R 1/2 ; 8.43gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 100-300 AD. A rare gold, heavy signet ring composed of a round, flat-section hoop with expanded and carinated shoulders; bezel containing a carnelian intaglio depicting a hunting scene of a huntsman on horseback preparing to kill with a spear a running animal. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 16.51mm / US: 6 / UK: M; 19.13gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 100-300 AD. A flat, disc-shaped pendant decorated with scrolls and filigree around the central cabochon. The applied loop above makes this piece wearable and it comes with a modern necklace cord. This pendant was likely used as a personal adornment or possibly as a votive offering in a religious sanctuary. The sun-disc motif is an ancient symbol of power, wealth, and divine protection.Size: L:21.5mm / W:17.8mm ; 3.45gProvenance: Private London collection; British art market 1990s.

Ca. 100-300 AD. A gold finger ring of carinated, round-section band tapering to the back. Bezel set with an emerald stone. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 14.15mm / US: 3 1/8 / UK: F 1/2; 2.69gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 100-300 AD. A lovely gold pendant of a spherical body with a ribbed suspension loop and filigree adornments. Gold jewellery played a significant role in the Roman world, and was a symbol of wealth and power. It was used to decorate the clothing of the wealthy, and it was often made with intricate designs, incorporating images of gods and goddesses, animals, and other symbols of the Roman world. This item is in wearable condition and it comes with a modern necklace cord.Size: L:15.5mm / W:13mm ; 4.85gProvenance: Private London collection; British art market 1990s.

Ca. 100-300 AD. A stunning matched pair of gold earrings, each comprising a gold hook attached to a round setting with a large garnet cabochon framed with intricate ropework and filigree decoration. Three wired pendants with pearl beads hang from below the horizontal bar, which is secured to the lower edge of the garnet plaque. These beautiful pieces of jewelry would adorn the ears of women who were members of noble families. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: L:36.8mm / W:17.7mm ; 6.12gProvenance: Private London collection; British art market 1990s.

Ca. 200-300 AD. A gold ring of faceted, flat-section band tapered to the rear. Bezel contains a stone intaglio depicting a bust of Sol Invictus wearing a radiate crown. Sol Invictus - Unconquered Sun - Roman syncretic deity, combining the features of the Roman solar god Sol and the Indo Mithra. The cult was introduced by Emperor Aurelian in 274 AD. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 15.04mm / US: 4 1/4 / UK: I; 6.68gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 100-300 AD. A gold finger ring with expanding hoop, angled and facetted shoulders. Bezel is set with an oval carnelian intaglio engraved with a Cornucopia - the horn of plenty - the symbol of prosperity, abundance, and nourishment. Usually depicted as a horn-shaped vessel overflowing with fruits and vegetables. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 14.65mm / US: 3 3/4 / UK: H; 6.31gProvenance: Private London collection; British art market 1990s.

Ca. 100-300 AD. A gold ovoid pendant plaque, with ribbed suspension loop, filigree, and finely decorated edge. Central cell with carnelian cloison. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: L:38mm / W:22mm ; 6.6g.Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between the 1980’s.

Ca. 100-300 AD. A cast bronze pendant in the shape of a male captive in a seated position, with bounded hands and legs, and his head bowed in a pose of submission. The figure is pierced vertically through his back, and horizontally through his stomach. These pendants were symbols of power and dominance and were used to show the wearer's control and their position and authority. This piece comes with a modern necklace cord. Cf. Bonhams, Antiquities, 1 May 2008, London, Lot 261.Size: L:30mm / W:45mm ; 50gProvenance: Private London collection; British art market 1990s.

Ca. 100-200 AD. A matched pair of gold earrings, each with a shield embellished with a small floral design and framed by gold wire with a hook and eye closure. Below each hoop is a cluster made of gold spheres. For a similar pair, see The Metropolitan Museum of Art, Accession Number: 74.51.3741. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: L:35.4mm / W:14.7mm ; 8.48gProvenance: Private London collection; British art market 1990s.

Ca. 100-300 AD. A beautifully formed one-piece gold ring with broad shoulders tapering into the band and a large bezel finely engraved with a portrait of a noble lady, possibly a member of the imperial family. She is depicted facing to the right and wearing a stephane, a type of wreath made from either metal or waxed cords and originally used to signify high status. Her hair is exquisitely braided, adding a further touch of elegance to the piece. Fashion styles for Roman women during the imperial era were often highly ornate, with clothing often featuring intricate embroidery, precious stones, and other luxurious adornments. Hairstyles were often elaborate, with styling methods such as braiding, plaiting, curling, and crimping all popular. Hair would be decorated with ribbons and wreaths, such as the stephane. Jewelry was also highly fashionable during the imperial era, with gold jewelry, including rings and earrings, being particularly popular. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 16.00mm / US: 5 3/8 / UK: K 1/2; 12.4gProvenance: Private London collection; British art market 1990s.

Ca. 100-300 AD. A finely engraved agate gemstone intaglio with a left-facing portrait of Minerva (Greek Athena), the goddess of wisdom and warfare. Shown in profile, she displays a naturalistic eye, a prominent nose, and closed lips, all framed by a wavy coiffure worn under a Corinthian-type helmet. This fine intaglio is set in a possibly later gold ring of a flat-section hoop, widening at the shoulders, which are embellished with an intricate foliate design. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 17.35mm / US: 7 / UK: O; 9.39gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.

Ca. 100-200 AD. A gold ring with a circular band, slightly flared shoulders, and a round bezel set with a carnelian gem depicting a scorpion. The ring is in excellent condition and it is suitable for modern wear. The scorpion was the emblem of the Praetorian Guard, the Roman emperor's personal army elite unit. The praetorian scorpion has long been recognised as a reference to Tiberius, who was born under the astrological sign of the Scorpio, and who first concentrated the praetorian guard in its own camp in Rome, thus giving it full corporate identity (Russell and Hellström 2020, 135). Hence, it is not inconceivable that this ring might have belonged to a praetorian guard. Cf. Russell, A., Hellström, M. (2020). The social dynamics of Roman imperial imagery. Cambridge: Cambridge University Press. Cf. Gisela M. A. Richter, Catalogue of Engraved Gems Greek, Etruscan, Roman; Metropolitan Museum of Art, New York, Plate LXII, 533.Size: D: 17.45mm / US: 7 1/4 / UK: O 1/2; 4.72gProvenance: Private London collection; British art market 1990s.

Ca. 100-200 AD. A stunning gold ring of Hening type III with a flat interior and rounded outside and the band gradually expanding to support the bezel, which is set with a garnet intaglio engraved with the portrait of a noble woman. She is depicted facing to the left, wearing a veil over her neatly arranged coiffure. The veil was an important symbol of the Roman era, worn primarily by married women and aristocrats to signify their wealth and status. Veils could be worn for modesty, to honor the gods, or simply to look fashionable. Veils were often made of fine fabrics, such as silk, linen, and wool, and could be decorated with precious stones and jewelry. They were usually cut to fit the head closely and were held in place with a headband or pins. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 15.80mm / US: 5 1/8 / UK: K; 5.12gProvenance: Private London collection; British art market 1990s.

Ca. 100-300 AD. A red oval-shaped intaglio depicting a satyr in a profile. Satyrs were mythical creatures with the upper body of a man and the horns, ears, and lower body of a goat. They were companions of the ancient Greek god Dionysus (the Romans 'Bacchus'), the god of wine, fertility, ritual madness, theater, and religious ecstasy. The intaglio is set in a gold ring comprising a thin, round section hoop and an attached bezel cell flanked by pairs of gold spheres to each shoulder. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 19.10mm / US: 9 1/8 / UK: S; 4.55gProvenance: Private London collection; British art market 1990s.

Ca. 1-200 AD. A carnelian intaglio engraved with a standing figure of Athena Parthenos. She is depicted with a spear in her right hand, a shield at her side, and a plumed helmet of Corinthian type on her head. To her side, is a flying Nike, wearing a belted chiton and holding a wreath. This fine intaglio is set in a gold finger ring of a hoop flat on the inside and rounded on the outside with pairs of incised grooves to each shoulder. For a similar intaglio, see The Michael C. Carlos Museum, Object Number 2008.031.051; Gisela M. A. Richter, Catalogue of Engraved Gems Greek, Etruscan, Roman; Metropolitan Museum of Art, New York, Plate XXXIX, 269. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 17.45mm / US: 7 1/4 / UK: O 1/2; 6.93gProvenance: Private UK collection; From an old London collection formed in the 1990s.

Ca. end of 1st century AD. A carnelian intaglio skilfully engraved with a male portrait, possibly an emperor. The figure is portrayed facing left and has a broad forehead, aquiline nose, and strong jaw muscles. The intaglio is set in a gold finger ring of a flat-section hoop. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 18.35mm / US: 8 1/4 / UK: Q 1/2; 8.18gProvenance: Private London collector, acquired on the Austrian Art market, formerly in an old USA collection formed since the 1970s.

Ca. 100-300 AD. A lovely carnelian stone intaglio engraved with a goat rearing up a palm tree, set in a gold ring of a thin hoop, slightly expanding to support the bezel. Goats have been symbols of fertility and abundance since ancient times. The Romans saw them also as symbols of luck and good fortune. They were often depicted in religious art, mosaics, jewelry, and in literature. Goats were attributed to the gods of fertility, Bacchus and Faunus. They were also a common motif in the architecture of the Roman Empire, often depicted in friezes and other decorative features. For a similar scene intaglio, see Amgueddfa Cymru - National Museum Wales, Item Number 63.228B/3.1. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase.Size: D: 19.31mm / US: 9 3/8 / UK: S 1/2; 8.21gProvenance: Private London collection; British art market 1990s.

Original vintage travel poster promoting Victoria Coach Station. Colourful midcentury modern design. Victoria Coach Station in the City of Westminster is the largest coach station in London, and a terminus for medium and long distance coach services in the United Kingdom. Victoria Coach Station was commissioned by London Coastal Coaches, a consortium of coach operators, and opened on 10 March 1932 by Minister of Transport John Pybus. Wallis, Gilbert and Partners' distinctive Art Deco building was originally built with spaces for 76 coaches, and a booking hall, shops, buffet, restaurant, lounge and bar. London Coastal Coaches' headquarters and other offices occupied upper floors. Fair condition, creasing, tears, paper losses, staining. Country of issue: UK, designer: Unknown, size (cm): 77x51, year of printing: 1950s.

Ca. 618-906 AD. A large horse figure depicted in a standing pose, with its head held high and its ears alert, conveying a sense of energy and vitality. The horse's face is particularly striking, with bulging eyes that seem to be looking intently at something in the distance. The ears are raised and adorned with colorful decorations, adding a touch of elegance to the animal's appearance. The horse's snout is another distinctive feature of the sculpture, with flared nostrils and an open mouth that reveals its teeth. The mouth is finely crafted, with each tooth carefully delineated and the lips beautifully contoured. The horse's mane is also a testament to the skill of the artist, with each strand carefully sculpted and arranged to give the animal a well-groomed appearance. The saddle on the horse's back features intricate design, and the horse's trappings are completed by an elaborate harness, with dangling tassels that add movement and grace to the animal's croup. Good condition, restored. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Oxford Authentication. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate no: C122c27 will accompany this lot.Size: L:715mm / W:680mm ; 16.4kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets.

Ca. 202 BC-220 AD. A large grey earthenware figure of a female dancer wearing flowing, long-sleeved robe decorated with red inserts on the neckline. The lady has a finely detailed face showing red painted lips, a small nose, bright eyes and delicately arched eyebrows. The figure's long black hair is tucked behind her ears. The Han dynasty is the second great imperial dynasty of China (202 BC-220 AD), after the Zhou dynasty (1046-256 BC). It succeeded the Qin dynasty (221-207 BC). To find out more about the Han dynasty and its material culture, see Miller, A. R. (2021). Kingly Splendor: Court Art and Materiality in Han China. New York: Columbia University Press. For more information on dancing in Han dynasty China, see Zhi Dao. History of Dance in China, Ch. 4. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Oxford Authentication. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate C123a63 will accompany this lot.Size: L:580mm / W:235mm ; 5.63kgProvenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.

Ca. 500 AD. A terracotta tomb guardian, Zhenmushou, depicts a fierce beast seated atop a rectangular base, its bulging eyes and open mouth conveying an aura of ferocity. The three flames protruding from its back further emphasize its supernatural power. Zhenmushou served a crucial function in Chinese funerary practices, serving as a guardian to protect the deceased from malevolent spirits and evil influences. It was believed that the statue's fearsome appearance would deter any malevolent forces seeking to harm the deceased. For a similar example, see The Metropolitan Museum of Art, Accession Number: 1979.438. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:400mm / W:290mm ; 2.86kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets.

Ca. 202 BC - 220 AD. A rare and ornate pottery goose. The bird is standing on its stylised, well-defined bronze legs which support a globular body and elegantly slender neck terminating in a black-coloured head with a red beak and open, attentive eyes. The body is decorated with polychrome plumage. Geese were a major motif in Han dynasty era poetry and were typically distinguished between two types of geese, the domestic goose, and the wild goose. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:270mm / W:205mm ; 885gProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.

Ca. 618-907 AD. A terracotta figure of standing female attendant standing upright, with a hollow moulded body. The detailing of the figure is exquisite, with a finely detailed face, accentuated lips, and a hairstyle that is parted at the top of her head and ends in a double bun. The long robe that the female attendant wears is comprised of a cream-colored skirt, a reddish bodice, and a long shawl. She holds a tray with a vessel in front of her with both hands, indicating that she was likely a servant or attendant in life. This figure is a striking example of Mingqi, a burial object, that was commonly placed in tombs to accompany the deceased into the afterlife. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:270mm / W:95mm ; 835gProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.

Ca. 600 AD. A gilded bronze cruciform pendant consisting of four bulbous arms extending from a central rectangular-shaped plaque that holds an etched design at its junction. On top of the pendant is a suspension loop for attaching the piece to a necklace or other piece of jewelry. This piece is in wearable condition and it comes with a modern necklace cord.Size: L:35mm / W:25mm ; 10gProvenance: Private London collector, acquired on the UK Art market, pre-2000.

Ca. 1200-1400 AD. A bronze pendant consisting of a round plaque with a decorative edging of radiate trefoils and a raised relief of an eagle with its wings outstretched. The eagle is depicted in a lifelike manner, with details of its feathers, beak, and claws. Its head is raised and its eyes gaze into the distance. This piece is in wearable condition and it comes with a modern necklace cord.Size: L:50mm / W:40mm ; 15gProvenance: Private London collector, acquired on the UK Art market, pre-2000.

Ca. 206 BC-220 AD. A superb terracotta figure portraying a standing lady of remarkable elegance and poise. The lady's attire is a veritable feast for the eyes, featuring a striking long red flowing gown with an exquisite flared skirt that shrouds her feet, creating a sense of modesty and grace. The sleeves of the gown billow delicately, revealing a light-colored trimming that adds to the garment's overall allure. The lady's hands are hidden in the voluminous sleeves, adding an air of mystery to her demeanor. Her face is a triumph of artistic skill, with intricately detailed features that exude a sense of quiet dignity and beauty. Thin, arching eyebrows frame the lady's eyes, which are masterfully crafted with a downcast gaze that suggests a sense of introspection and contemplation. The lips are pursed in a small, subtle smile. The lady's hair is parted in the middle, meticulously combed, and loosely tied at the back, adding a touch of casual elegance to the lady's overall appearance. During the Han Dynasty the Chinese ceramic industry flourished and the production of ceramic and porcelain figurines became increasingly intricate. Figures of this type were particularly popular as status symbols depicting aspects of the upper echelons of Chinese political and social life including warriors, servants and ladies of high status. Good condition, restored. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Oxford Authentication. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate no: C121m70 will accompany this lot.Size: L:570mm / W:250mm ; 5.5kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets.

Ca. 1600 AD. A gold thin band with ridged shoulders, a large conical shaped bezel with sapphire, held by four gold planks holding the sapphire in place. The band rounded and modelled with incised moulded decoration. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 16.1mm / US: 5 1/2 / UK: L; 5.6g.Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 1400 AD. A gold ring with a slender round-section hoop, plano-convex bezel with an inset cabochon stone. Cf. Chadour, A.B. Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 562. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. This analysis will accompany the purchase. Size: D: 19.10mm / US: 9 1/8 / UK: S; 3.3g Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between the early 1960s to 1990s.

Ca. 386-534 AD. A grey pottery tile is rectangular in shape, with a recess on one face. It features a relief depiction of a seated Buddha under a chaitya arch. The Buddha is shown in the Royal Ease pose, which is characterized by one leg crossed over the other, with the hand resting on the knee. His right hand is in the Abhaya mudra, a gesture of fearlessness and protection. His head is surrounded by a blue-painted halo. Pottery tiles like these were often used in ancient China as architectural decorations for Buddhist temples and other religious structures. They were placed on walls, pillars, and doorways, and were used to convey religious and spiritual messages to the faithful. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:320mm / W:185mm ; 6.39kgProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.

Ca. 618-907 AD. A terracotta female musician figure standing upright on top of the integral base, exuding a sense of poise and elegance. Her attire is composed of a green skirt and pink bodice, covered with a reddish shawl, which adds a touch of vibrancy to the overall appearance. The finely detailed facial features in black pigment offer a glimpse into the skillful techniques of the Tang Dynasty artisans. The pulled coiffure, ending in a double bun, was a popular hairstyle of the time and is captured beautifully in this sculpture. The musician holds sheng (mouth organ) in front of her with both hands, suggesting that she is in the midst of performing. During the Tang Dynasty, music was an integral part of court life and was performed on various occasions, including banquets, religious ceremonies, and festivals. Musicians were highly respected and were ranked according to their performance level, with the highest ranking members receiving better treatment than their lower-ranking counterparts. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:350mm / W:90mm ; 1.25kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets.

Ca. 618-907 AD. A hollow molded terracotta figure features a lady kneeling in a graceful posture, wearing a long robe consisting of a cream skirt, red bodice, and a long green shawl. Her face is finely detailed in black pigment, with her lips accentuated in red. Her hair is pulled up to form a topknot, giving her a refined appearance. The lady holds a Sheng instrument in front of her with both hands. The Sheng is a traditional Chinese musical instrument that belongs to the category of reed pipes. It consists of a vertical wind chamber with numerous pipes that produce a variety of tones. This figure is a Mingqi, which is a Chinese term used to refer to objects that were buried with the dead to accompany them to the afterlife. These objects were believed to serve the same function in the afterlife as they did in the earthly realm. The Mingqi were made in large numbers during the Tang Dynasty, and they were highly valued by the people who buried them with their dead. Figures of musicians were placed in the tombs of wealthy individuals to provide them with entertainment in the afterlife. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:215mm / W:110mm ; 905gProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets.

Ca. 386-534 AD. A finely moulded grey pottery tile features Buddha within an arched recess. Buddha sits with his right foot outstretched and left foot arched, backed by a halo and wearing a rich red robe. His right hand is raised at shoulder height, with the arm bent and the palm facing outward to form the Abhaya Mudra or Gesture of Fearlessness. The Northern Wei dynasty was a strong supporter of Buddhism, and this is reflected in their artistic creations, including the production of tiles with Buddha images. These tiles were used to decorate temples and monasteries. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:330mm / W:165mm ; 3.51kgProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s.

Ca. 618-907 AD. A lovely musician lady depicted kneeling with a pan flute in her hands. She wears a long flowing gown with a red skirt and cream bodice. The lady is delicately made up with red lip paint, delicate arching brows, and an elaborate hairdo. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:225mm / W:140mm ; 965gProvenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.

Ca. 618-907 AD. A beautifully decorated bronze mirror with a small fluted loop framed by a plain roundel around which four animals (dragon, bird, tiger, and turtle) representing the four cardinal directions radiate. The Four Symbols are four mythological creatures in the Chinese constellations. They are the Turquoise Dragon of the East, the Vermilion Bird of the South, the White Tiger of the West, and the Black Tortoise of the North. Each one of them represents a direction and a season, and each one has its own characteristics and origins. They have been depicted in many myths and tall tales, and also appear in many modern manga and anime. For a similar example, see The Yale University Art Gallery, 1969.55.6.Size: L:110mm / W:110mm ; 300gProvenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.

Ca. 202 BC-220 AD. A hollow-formed terracotta rabbit figurine with black pelt, and coral-pink pigmentation on the nose and ears. The rabbit is depicted sitting on all fours with his ears pricked up. In Chinese tradition, the rabbit is the luckiest of animals and symbolises elegance, beauty, and mercy. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Oxford Authentication. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Restored.Size: L:290mm / W:270mm ; 3.75kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets.

Ca. 618-907 AD. A pottery set of three female musicians playing various instruments. The ladies are depicted in dynamic positions with their bodies bent to the side. They wear Sancai glazed floor-length dresses, with pointed shoes peaking out from under the robe. Their black hair is combed into a double-side top-bun hairdo, and unglazed faces feature nicely outlined eyes, brows, nose, and smiling lips. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Intact, excellent condition. Size: L:295-310mm / W:95-125mm ; 850-970g Provenance: Property of London Ancient Art Gallery, formerly in the Collection of E. Bourke, MD.,Yonkers, NY.

1998 Ducati 996cc 916 SPSRegistration no. R848 YPXFrame no. ZDMH100AAWB001084 (see text)Engine no. ZDM996W4*001151*•Limited edition number 693•Used sparingly•Regularly serviced 'Is the 916 sexy? Like no inanimate object has any right to be. It's cliché-ridden, but it's Italian, red, sculpted from sheer speed and Da Vinci nudes, demanding, expensive, sometimes cantankerous and it wears the soporific aphrodisiac of success effortlessly.' – Bike magazine.Introduced for 1994, the Massimo Tamburini-styled 916 superbike and its subsequent evolutions captured the motorcycling public's imagination and established Ducati as one of the world's foremost brand names. Universally recognised as icons of automotive art, Ducati motorcycles have been exhibited in some of the world's foremost museums, including the Guggenheim in New York and the Museum of Modern Art in San Francisco. Within a short time the original 916 Strada had been superseded by the Biposto (two-seat) version and the higher-specification SP. The latter's engine remained at 916cc but added twin fuel injectors and bigger valves to the package for increased power and torque. The SP reverted to a single seat unit (with white number boards) while gaining superior Öhlins rear suspension. Next came the ultra-exclusive 916 SPS ('Sport Production Special') derivative of which only 1,462 examples were made (plus 202 of the UK-only 'Fogarty Replica' version). Despite the name, the 916 SPS enjoyed the advantages of an over-bored engine displacing 996cc and delivering a mighty 132bhp at the rear wheel. The cost new was an equally staggering £18,400. Of all the members of the 916 family, the SPS and closely related 'Fogarty Replica' are considered the most collectible. Number '693' of the limited edition, the 916 SPS offered here currently displays a total of only 16,925 kilometres (approximately 10,500 miles) on the odometer. Although the machine has been used sparingly, it has been regularly serviced (including the all important belt change) and MoT'd. Kept dry stored in the garage on trickle charge, the Ducati was last started in March 2023 (video of the machine running available on request). Lack of use is the reason for sale. There is a Datatool System 3 and alarm installed (receipt on file) and the machine comes with the original silencers (and programme chip); chain guard; clutch cover/guard; paddock stand; and trickle charger.Documents include a V5C; service record/notes; bills and invoices: MoT record; MoT certificates (most recent expired 13.04.2023); and a Ducati 916 SPS Owners Manual. It should be noted that the V5C records the frame number as 'ZDM4100AAWB001084' (a typographical error). Keys present.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com

A modern five inch desk globe, on a metal stand, 31cm high, together with an Art Deco style model of a plane (2)

An Art Deco Frosted Glass Dish, signed D'Avesn, moulded with stylized swallows, together with two Daum style glass centrepieces, other Modern a pair of cut glass tazzas, a Copeland planter and a pair of Rington jars and covers (qty)

TAKANORI OGUISS (1901-1986)Marchand de couleurs ('Sunlight Savon') signed 'Oguiss' (lower right); signed and inscribed 'Marchand de couleur [sic] Oguiss 103 rue de Vaugirard Paris 6e' (on the reverse)oil on canvas60 x 73cm (23 5/8 x 28 3/4in).Painted circa 1929-1932Footnotes:The authenticity of this work has been confirmed by Emiko Oguiss Halpern. This work will be included in the forthcoming Takanori Oguiss catalogue raisonné, currently being prepared by Les Amis d'Oguiss.ProvenancePrivate collection, South Australia; their sale, Leonard Joel, Melbourne, 3 November 1976, lot 208.Private collection, Melbourne (acquired at the above sale).Intent on offering a candid and unpretentious glimpse into the heart of Paris, Takanori Oguiss delighted in its quaint and humble urban landscapes. He did not embellish imperfect details, in fact, he revelled in them, the battered brickwork, tattered placards, and weathered walkways. His work reminisces on the blueprint of Paris in its twilight years, prior to the assembling of glossy apartment blocks, shopping centres and wide boulevards. The physical remnants of wear in his scenes therefore evoke a nostalgia for old Paris, now a dim and distant memory. Peering into the crumbled and cluttered exterior of an ordinary Montparnasse shop, Marchand de Couleurs bears testament to this. Even the distorted perspective of the scene alludes to the meandering alleyways, now concealed within the arrondissements of contemporary Paris.In the present work, Oguiss sketches en plein air and forms a rich impasto layer, applying his paint in thick strokes and quick daubs. This creates a sense of urgency, an attempt to capture a scene on the brink of change. Though there appear to be no figures within this cropped composition, the shopfront is bursting with life. On display is an eclectic mix of colourful hardware tools and painting utensils, combined with flashy advertisements, hand-painted onto wooden blocks. Oguiss presents a charming local scene, with a variety of goods crammed into worn wooden cabinets, while the excess dangle in clusters from the awning.Declared the epicentre of Modern Art, Paris in the early twentieth century became a magnet for artists all over the world, including Oguiss. Born in Inazawa, Japan in 1901, he first studied at the Tokyo School of Fine Arts where he participated in numerous exhibitions. However, 1927 marked a pivotal shift in his artistic career, as he ventured to Montparnasse, Paris. As a pupil of Léonard Tsuguharu Foujita, he swiftly became an integral member of the Parisian avant-garde and began working in one of the ateliers of the 'Montmartre aux artistes'. He frequented La Ruche, a popular space for young artists, while also participating in esteemed exhibitions such as the Salon d'Automne and the Salon des Indépendants. Through his work, Oguiss sought to emulate the artists of the École de Paris, in particular Maurice Utrillo and Maurice de Vlaminck. This is evident in Marchand de Couleurs, as he employs a quintessential Post-Impressionist oil technique with his thick application of paint, patterned brush strokes and vivid colour. What is striking however is that he combines this with the renowned Japanese concept of wabi-sabi, a celebration of the imperfect and impermanent. The work therefore exists as a compelling fusion of aesthetics and attests to twentieth century Paris, as a concoction of cultures, in a period of flux.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

SALVADOR DALÍ (1904-1989)Visage féminin pour l'hologramme 'Submarine Fisherman' signed 'Dalí' (lower left)oil on glass11.4 x 14cm (4 1/2 x 5 1/2in). (within the mount)Painted in 1972Footnotes:The authenticity of this work has been confirmed by Nicolas Descharnes.ProvenanceDr. Maury P. Leibovitz Collection, Connecticut (possibly acquired directly from the artist through M. Knoedler & Co., circa 1972).Private collection, US, UK and Greece (by descent from the above in 1992).Private collection, UK (by descent from the above).ExhibitedNew York, M. Knoedler & Co., Holograms Conceived by Dalí, 7 April - 13 May 1972 (as part of the hologram installation titled 'Submarine Fisherman').LiteratureS. & L. Lissack, Dalí in Holographic Space, Charleston, 2013 (illustrated p. 12; illustrated pp. 18 & 23 as part of the hologram installation titled 'Submarine Fisherman').S. Lissack, 'Dalí in Holographic Space, Salvador Dalí's contributions to art holograms', in Spie. The international society for optics and photonics, online article, January 2014 (illustrated as part of the hologram installation titled 'Submarine Fisherman').Salvador Dalí's enthusiasm for holography was proudly declared in his introduction to the catalogue for the important 1972 Knoedler Gallery exhibition dedicated to his holographic exploration: 'all artists have been concerned with three-dimensional reality since the time of Velázquez, and in modern times, the analytic cubism of Picasso tried again to capture the three dimensions of Velázquez. Now with the genius of Gabor, the possibility of a new Renaissance in art has been realized with the use of holography. The doors have been opened for me into a new house of creation' (Dalí quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 1).This interest started in the late 1940s with the discovery by British-Hungarian scientist, Dr. Dennis Gabor, that a three-dimensional image could be recorded on a two-dimensional space. It took several years and a few technical advancements before holograms finally took the shape they have today: a transparent photographic plate which has recorded a phenomenon of diffraction of light of a three-dimensional object. Then, when illuminated at a certain angle by a beam of light, the plate reproduces a relief image of the photographed object. This major discovery earned Dennis Gabor the 1971 Nobel Prize in Physics.Coincidentally, that year also marked Dalí's introduction to holography, when South African artist Selwyn Lissack approached him at the St. Regis Hotel in New York. Lissack recalls Dalí's immediate enthusiasm for the medium and what seemed like the endless possibilities it created, with laser lights now becoming the artist's brush. The hotel suite at the St. Regis became Lissack and Dalí's impromptu studio office as 'Dalí was thrilled with the notion of working with a medium which gave him the ability to create beyond the confines of linear space' (S. Lissack, 'Dalí in Holographic Space', in SPIE. The international society for optics and photonics, online article, 1 January 2014).The present work, Visage féminin pour l'hologramme 'Submarine Fisherman', is part of Dalí's second holographic work, executed under the guidance of Selwyn Lissack: Submarine Fisherman. It consisted of a holographic installation mixing different media: first, a holographic plate of a diver was isolated in a metallic box with laser. This was then incorporated within another larger box which had a separate source of lighting shining onto a transparency of Pablo Picasso's masterpiece, Les Demoiselles d'Avignon. This second box projected the image around the hologram – contained within the first box - like stained glass. Finally, Dalí painted an oil portrait of a Catalan girl on a glass plate – the present work – which he superimposed over the holographic plate. The multi-layered result showed the portrait of the Catalan girl projected over the hologram of a diver in the sea, superimposed on the reproduction of Les Demoiselles d'Avignon. The superposition of the oil portrait and the hologram was measured by Dalí so that the nose of the girl would coincide with the elbow of the diver in the holographic image projected. Dalí thus produced a three-dimensional image while mixing media and merging artistic and scientific dimensions, at the crossroads of painting, sculpture, and photography. Selwyn Lissack, who witnessed the creation of Submarine Fisherman, recalls that he 'stood mesmerized as Dalí created a perfect merging of three-dimensional space on a two-dimensional plane' (S. & L. Lissack, Dalí in Holographic Space, Charleston, 2013, p. 23).Dalí's choice of imagery for the final hologram was no coincidence and the individual images each have their own importance. Picasso's Les Demoiselles d'Avignon depicts prostitutes in a Spanish brothel on Avignon Street in Barcelona, and Dalí's Catalonian face is thought to be one of the young girls, her visage certainly reminiscent in appearance to the figures in Picasso's work, with her abstracted features and Cubist appearance. For Dalí, the underwater world, with its deep and dark waters, was the place of all buried secrets and a perfect metaphor for the human subconscious. As such, the diver is projected onto the Picasso, which we can interpret as a materialisation of the deeply buried sexual desire in the human psyche. This interpretation is further confirmed by the luscious red lips which recall Dalí's lifelong obsession with Mae West, a sex-symbol and an often recurring motif in his oeuvre. Visage féminin pour l'hologramme 'Submarine Fisherman' is an extremely rare piece, as Dalí only ever conceived of six other holograms. Thus, creating a new way of painting using light and technology and contributing to a new artistic paradigm, Dalí's process recalled the Renaissance geniuses who had been revolutionising painting with camera obscuras. The Nobel Laureate Dr. Gabor himself saw in Dalí, 'a genius [...], creating a new art of which old, great painters may have dreamed, but which could only be realized by combining art with the most modern technology' (Gabor quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 2).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

CARL MOLL (1861-1945)Der Park von Schönbrunn mit Blick zur Gloriette signed 'C. Moll' (lower right)oil on panel34.3 x 35.6cm (13 1/2 x 14in).Painted circa 1910Footnotes:ProvenanceArthur Schnitzler Collection, Vienna (acquired directly from the artist on 6 December 1913).Heinrich & Lilly (née von Strakosch-Feldringen) Schnitzler Collection, Vienna (by descent from the above in 1931). Private collection, Vienna and US (by descent from the above). Private collection, Los Angeles (by descent from the above).Exhibited(Probably) Vienna, Galerie Miethke, Kollektiv-Ausstellung Max Kurzweil und Carl Moll, March 1911.LiteratureA. Schnitzler, 'Samstag, 6. Dezember 1913', in Tagebuch, December 1913.C. Cabuk, Carl Moll. Monografie und Werkverzeichnis, online catalogue, no. GE 256 (illustrated).Depicting the immaculately pruned Baroque gardens of Schönbrunn Palace, a UNESCO World Heritage site and to this day one of Vienna's most iconic, scenic and important cultural locations, the present works are undeniably bursting with Austrian cultural significance. Painted by Carl Moll circa 1910, the works have not been seen publicly in more than a hundred years, remaining as cherished heirlooms in the Schnitzler family since the day they were acquired directly from the artist by Arthur Schnitzler, on Saturday 6 December 1913.Widely unacknowledged outside of his native Austria, Arthur Schnitzler was in fact arguably one of the most important European authors of the twentieth century. A contemporary of Sigmund Freud, Ludwig Wittgenstein and Stefan Zweig, his writings were landmarks of European Modernism. As an accomplished doctor in his pre-writing years and as a regular correspondent with Freud, Schnitzler was fascinated by the human psyche. He often explored dreams and the unconscious in his writings; most notably, he was the first German-speaking writer to pen fiction using the Freudian stream-of-consciousness technique. As a subject for his writings, Schnitzler sought to dissect and comment on the hypocrisy of bourgeois life in Vienna, simultaneously exploring society's hidden impulses and motivations. As had been done to his infamous contemporary, Egon Schiele, he was in fact branded a pornographer after the release of his play Reigen, in 1900. Perhaps his depiction of a supposedly morally superior Viennese society exposed and shown to be as promiscuous and sexually driven as the common man, cut too close to the bone. After his death in 1931, Schnitzler's works were subsequently subjected to the Nazis, who deemed them Entartete ('Degenerate') and burned them. Stanley Kubrick's final film, Eyes Wide Shut, is based on Schnitzler's 1926 novella, Traumnovelle.As Arthur Schnitzler was to literary modernism, Carl Moll was a leading proponent of the Austrian avant-garde. A founding member of the Wiener Secession and close friend of Gustav Klimt, he was an integral artist to the development of Modernism in Austria at the turn of the century. Whilst certainly remaining more conservative in his style, opting to emulate more the French Impressionists and Pointillists, he was nevertheless a very prominent proselytiser for younger, more Expressionistic, artists. He would thoroughly encourage important galleries such as the Belvedere to show Modern Austrian art and was extremely active in supporting these displays, even after his separation from the Secession in 1905 with Klimt and other important members. One of his most notable contributions to the exhibition scene was the first Viennese show of Vincent van Gogh's work. Moll clearly appreciated the young artist's skill and in fact included Van Gogh's Portrait of the artist's mother in his 1906 self-portrait. He placed the work above a version of George Minne's Small Kneeling Youth, a beautiful marble figure, clasping themselves under the burden of sorrow at the dawn of the Modern age.The present two works are classically Modern-Austrian in their square format, a shape favoured by the Secessionist artists and immortalised by Moll, as well as the likes of Klimt, Schiele and Koloman Moser. Indeed, the present panels are particularly reminiscent of the small 'jewel-like' Bretter that Schiele was gifted by Arthur Roessler during his time in Krumau and Neulengbach, in 1911. These smaller panels enabled Schiele to engage in a more spontaneous working method due to their manoeuvrable size; especially the ability to work en plein air. This immediacy and intention to capture the light and the moment is especially prevalent in both of these depictions of Schönbrunn. In lot 8, identified by the edge of the famous Gloriette building in the south of the gardens, Johann Wilhelm Beyer's 1777 statue of Bacchantin and the long westward shadows cast over the tall hedgerows, Moll has evidently set up his easel near the Taubenhaus, on the edge of the wide Grosses Parterre that runs between the hilltop and the palace. He quietly captures a serene summer's morning, with people ambling their daybreak stroll; a pair of elegantly dressed ladies in their summer blouses seated in the centre, perhaps quietly discussing the latest in the Viennese art scene. A more solitary but nonetheless tranquil view in lot 9, the gentle flow of one of the two Najadenbrunnen fountains can be seen, caught in a ray of sun, whose beams have trickled through the branches to dapple the shaded foreground. It is most likely the Östlicher Najadenbrunnen, or Eastern Naiad Fountain, just down from the Taubenhaus.The palace was originally intended as a hunting lodge, however swiftly developed into a palatial residence over the course of the eighteenth century. Evidenced in its popularity to the present day it has remained a favoured recreational amenity for the Viennese populace since its creation. Its connection to the Imperial Monarchy of Austria-Hungary meant that the subject was particularly en vogue for collectors of the time and in fact Moll was focusing on the gardens of Schönbrunn in the 1910-1911 period for an exhibition at the Galerie Miethke, Kollektiv-Ausstellung Max Kurzweil und Carl Moll. The present two works are part of this group and were most likely shown in the exhibition, though their number in the catalogue is difficult to discern. Other panels from the series are held by the Neue Galerie Graz, Van Gogh Museum, Amsterdam, and other private collections, with works from Moll's entire oeuvre held in almost all of Austria's leading public collections.Arthur Schnitzler, whilst focusing his written themes on cross-examining the conservative classes of high-brow Vienna, clearly was also taken by the beauty of these works shortly after their creation. Having kept a meticulous diary from the age of 17 until two days before his death in 1931, his flowing dialogue offers us a snapshot into his visit to Moll's studio with his wife, Olga Gussmann: '6/12 With O. at Antiquitäten Berger's. - Then at Moll Hohe Warte, in the studio. His pictures (Schönbrunn, Venice, Göding) very fine. Choice? [...] We took five pictures with us, want to keep 2 of them. [...] Julius, Helene, Richard Paula Gustav with us in the evening. The Moll pictures were very pleasing.' (A. Schnitzler, 'Samstag, 6. Dezember 1913', in Tagebuch, December 1913). It was in fact Schnitzler's dedication to note writing that later saved the life of his then ex-wife, Olga (listed as 'O.' in the aforementioned diary). With the rise of the Nazis and the subsequent persecution of Jews and those deemed Entartete, she escaped Vienna by convincing Cambridge University - the guardians of Schnitzler's notes and archives - that she was the only person who could... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Modern silver box, of circular form, the cover mounted with an an Arts & Crafts enamel panel of a fruiting vine by H G Murphy, circa 1920, hallmarked Jon Braganza, London 2018, H4.5cm D8cm, approximate gross weight 7.84 ozt (244 grams)Henry George Murphy was a silversmith and jeweller known for his work in the Arts & Crafts and Art Deco styles. This enamel panel was acquired in the dispersal sale of Murphy's Falcon Studios at 58 Weymouth St, Marylebone, and is also featured in Paul Atterbury and John Benjamin's book Arts and Crafts to Art Deco The Jewellery and Silver of H G Murphy (page 29). Condition Report:General light wear, predominantly in the form of surface scratches and nicks.Hallmarks clear and legible.