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A contemporary glass vase designed by Sydney Cash in 2000 for the Museum of Modern Art, New York, of cylinder form, decorated with applied chequer board type white line pattern over a clear ground, printed marks to base, height 16.5cm.

Marmorkopf eines Jünglings nach der AntikeHöhe: 16 cm. Höhe mit modernem Metallsockel: 24 cm.Wohl 18. Jahrhundert oder später.Heller, feinkristalliner Marmor. Die Kopfhaltung leicht geneigt, das Gesicht edel gestaltet, mag auf Vorbilder der Büsten des Kaisers Augustus zurückgehen. Halsansatz in Art eines Büsteneinsatzes gearbeitet, mit einigen kleinen Absplitterungen. Nasenspitze leicht angeschlagen. (13008614) (11)Marble head of a young man after the AntiqueHeight: 16 cm.Height incl. modern metal base: 24 cm.Probably 18th century or later.

Maître de Guebwiller, tätig um 1490, Oberrheinischer MeisterJESUS AM ÖLBERGÖl/ Tempera auf Holz.39,1 x 28,2 cm.In grünem Rahmen mit goldfarbenem Innenrand.Beigegeben sind Gutachten von Prof. Otto Fischer, Kunstmuseum Basel, 7. Dezember 1936, sowie vom Archiv Ludwig Meyer, München, 2012, und René Miller, Paris 2019.Die Szene illustriert eine Station des Leidensweges Christi, nach dem Evangelium des Lukas (22,39-46). Jesus ist hier im Gebet kniend nach rechts dargestellt, vor einem Felsen, über dem eine Engelsgestalt erscheint, die ihm einen Kelch reicht. Dieses Detail bezieht sich auf den Text, demgemäß Jesus spricht „Lass den Kelch an mir vorübergehen“. Die Jesusgestalt ist im Bild erhöht gezeigt, nicht nur im Sinne einer Bedeutungsbetonung, sondern auch, um die schlafenden Jünger dem Betrachter näher zu bringen. Am rechten Bildrand erscheinen aus dem Hintergrund bereits die Häscher, angeführt von Judas.Wie häufig in der Tafelmalerei der Zeit, hat sich auch dieser Meister an einem damals im Kupferstich verbreitetem Motiv orientiert. Es findet sich im Stichwerk des Martin Schongauer (Colmar 1445/50-1491 Breisach am Rhein) mit demselben Titel. Das von Schongauer gemalte Tafelbild war dem Meister des vorliegenden Werkes sicher noch nicht bekannt, weswegen er sich nach einem Stich bei der Farbwahl auf sich selbst stellen musste. Für das Kleid Jesu hat er ein Violett-Braun gewählt, bei den Jüngern dominieren die Farben Rot und Grün, allerdings hat er diese Kleiderfarben dem liegenden Petrus gegeben, anstatt dem mit einem Buch sitzenden Evangelisten Johannes. Auch die Detailformen, vor allem die Gesichter unterscheiden sich von der Stichvorlage erheblich. Die liegende Petrusgestalt hält kein Schwert, die Gesichter sind weit rundlicher gezeigt, wie ebenso die Felsen weniger gratige Kanten aufweisen, was dem Gemälde einen einheitlichen, für eine Künstlerhandschrift typischen Ausdruck verleiht. So präsentiert sich das Tafelbild als typisches Werk der Elsässer Kunst des ausgehenden 15. Jahrhunderts. Gemälde des genannten oberrheinischen Meisters, der vermutlich bei dem „Meister der Passion von Karlsruhe“ gelernt hat, sind äußerst selten. Der Einfluss dieses Straßburger Meisters, der um 1430/ 50 tätig war, ist jedenfalls spürbar. Gegenüber der Stichvorlage von Schongauer zeigt sich das Tafelbild bereits in modernerer Erscheinung. A.R. (†)Provenienz:Sammlung Fritz Stöcklin, Kunsthandel, Basel 1936-1946.Sammlung Dr. Georg Heinrich Thommen, Bern. (13309318) (18)Maître de Guebwiller, active ca. 1490, Master from the Upper Rhine regionCHRIST ON THE MOUNT OF OLIVESOil/tempera on panel.39.1 x 28.2 cm.In green frame with gilt inner edge.Accompanied by expert’s reports by Professor Otto Fischer, Kunstmuseum Basel, 7.12.1936 as well as by Archiv Ludwig Meyer, Munich, 2012 and by René Miller, Paris 2019.This scene illustrates one of the stations of the Passion of Christ after the Gospel according to Luke (22:39-46). Christ is depicted kneeling in prayer to the right, in front of a rock surmounted by an angel handing him a chalice. This is a typical example of late 15th century Alsatian art. Paintings by the above mentioned master from the Upper Rhine region are very rare. He was a student of the “Master of the Karlruhe Passion”, a master painter from Strasbourg, active ca. 1430/50 and his influence is noticeable here. In comparison with the engraving template by Schongauer, the panel painting already shows a more modern appearance. (†)Provenance:Fritz Stöcklin collection, art trade, Basel 1936-1946.Dr Georg Heinrich Thommen collection, Bern.

William Holyoake (British, 1834-1894)Derby Day oil on canvas61 x 51cm (24 x 20 1/16in).Footnotes:ProvenanceAnon. sale, Christie's, London, 3 February 1978, lot 215.Private collection, UK.The present lot clearly draws influence from William Powell Frith's monumental work of the same title (1856–8, Tate Britain). From the 1840s onwards, publications such as The Illustrated London News, Punch and London Society presented scenes of contemporary life through wood engravings, leading to a change in the way that modern life was portrayed by artists such as Frith. As Alex Werner notes 'by the mid-1850s...modern life painting had established itself as a type of genre art...Frith's ground-breaking works, Life at the Seaside (Ramsgate Sands), Derby Day, and The Railway Station contributed to this change1.1A. Werner, 'The London Society magazine and the influence of W.P. Frith on modern life illustration in the early 1860s', in M. Bills and V. Knight (eds), William Powell Frith: Painting the Victorian Age, Yale University Press, 2006, p. 95.)For further information on this lot please visit Bonhams.com

William Powell Frith, RA (British, 1819-1909)Nell Gwyn signed and dated 'W.P.FRITH 1869' (lower left)oil on canvas105 x 87.5cm (41 5/16 x 34 7/16in).Footnotes:ProvenancePrivate collection, UK.ExhibitedLondon, Royal Academy, 1869, no. 291.The full title when exhibited at the Royal Academy was as follows:Nell Gwyn.Taking her place in the pit, and with her back to the orchestra, and selling oranges and pippins with pertinent wit, gratis to liberal fops who would buy the first and return the second with interest. As Rochester assures us, there was a 'wondering pit' in the presence of this smartest and most audacious of orange girls.Born near Ripon in Yorkshire, William Powell Frith studied at Sass's Academy and the RA Schools. During the 1840's Frith was a member of The Clique with Richard Dadd, Augustus Leopold Egg and John Philip.The subjects of his early works are predominantly historical and literary, often taken from Scott, Dickens and Moliere. He is best known however for his depictions of 'Modern Life' which he turned to, most notably, in works such as Ramsgate Sands which he painted after a visit to the seaside town in 1854 (Royal Collection) and Derby Day painted in 1858. These panoramic snapshots of life in Victorian times are characterized by a multitude of figures all beautifully observed and drawn. There are numerous small incidents and stories which make up the overall narrative; this ability to tell a story defined Frith's art throughout his career and made him one of the most celebrated artists of his generation.The present lot was exhibited at the Royal Academy in 1869 from where it was purchased, and it has remained in the same family ever since.For further information on this lot please visit Bonhams.com

William Stott Of Oldham (British, 1857-1900)Ophelia signed 'WILLIAM STOTT OF OLDHAM' (lower right)oil on canvas85 x 143cm (33 7/16 x 56 5/16in).Footnotes:ProvenanceThe artist's son, Millie Dow Stott Esq, until 1912.Artist's studio sale, Christie's, London, November 1913.With Charles Jackson, Manchester.Private collection, UK.ExhibitedLondon, Royal Academy, 1895, no. 679.Paris, Societe de la Nationale des Beaux-Arts, 1896, no. 1179.Berlin, VII Internationale Kunstausstellung 1897. no. 3533.Manchester, City of Manchester Art Gallery, Exhibition of works by James Charles, George Sheffield, William Stott (of Oldham), D.A.Williamson, 1912, no. 339.William Stott, son of an Oldham mill owner, went to Paris in 1878, at the age of 20, to train with the classical French painter Jean-Léon Gérôme. He adopted a realist style of painting and achieved rapid success, being medalled at the Paris Salon in 1882 for his painting The Bathing Place (Munich). He became a leading figure in the Anglo-American artists' community in Paris and for a while he was seen as one of the most progressive of English painters. In Paris, where he kept an apartment throughout the 1880s, he was exposed to the radical cross-currents of Impressionism and Symbolism and he made many influential friends in the artistic community. On returning to England, he became a follower and close friend of James McNeill Whistler until his painting of Whistler's mistress depicted naked as The Birth of Venus (Gallery Oldham) was exhibited at the RBA in 1887 and caused a rift between them. Stott turned his back on his realist roots and the stifling influence of Whistler and deliberately set out to find acceptance within the art establishment, and in particular the Royal Academy. At the time the Aesthetic Movement was in full swing and the Royal Academy, under the presidency of Fredrick, Lord Leighton, had become the undisputed sanctuary of the 'classical' strand of the Movement. As Christopher Wood noted '....the election of Leighton to the Academy presidency in 1878 did give impetus to the general swing towards classical subjects, both among younger artists wanting to make their name and among older artists ready to trim their sails to the new artistic breezes blowing in from Italy and Greece.'1In the 1890s William Stott exhibited regularly at the Royal Academy, mainly highly decorative works with subjects derived from classical mythology and literature. The present lot, painted in 1894, was Stott's 1895 entry to the Royal Academy and was subsequently exhibited at the Paris Salon of 1896. Shakespeare was a favourite source for Victorian painters, and the tragic romance of Ophelia, from Hamlet, was an especially popular subject, featuring regularly in the Royal Academy exhibitions. The most popular and iconic image of Ophelia's death was, and is to this day, John Everett Millais's 1851 painting showing the confused and tragic Ophelia floating downstream on her back in a state of mad ecstasy, arms raised in a gesture of inevitable submission. However, although Stott chose not to pastiche this image, it seems highly likely that he was prompted to take up this subject, which had almost become a 'rite of passage' among Victorian painters, by the fact that in 1894 Millais's Ophelia was presented to the National Gallery of British Art by Sir Henry Tate. It appears that Stott was much influenced by John William Waterhouse's version of the event, painted in 1889. Here, Ophelia is lying in a field of wildflowers her right arm outstretched along the ground, her left arm raised above her head. The top of her torso is twisted towards the viewer, whom she looks at with a confused stare. The similarities in the pose between Stott's portrayal and Waterhouse's 1889 version are striking, but in Stott's picture Ophelia is lying on her side on the bank of the stream and her fingertips are immersed in the water. Where Stott references back to Millais' iconic 1851 representation of the tragedy is in his meticulous and painstaking execution of the surrounding foliage and flora. Stott had never really lost the respect for form and finish instilled into him by his teacher Gérôme in Paris and in his later years, in his search for absolute beauty in the natural world, he shows an affinity with the ideals of John Ruskin, the champion of the Pre-Raphaelites. In Modern Painters Ruskin wrote, 'Go to nature in all singleness of heart...rejoicing always in the truth'. This is a credo that William Stott would have been very comfortable with in the last decade of his short life.Stott died in 1900 at the age of 42 while on a sea-crossing to Ireland. And so, his full potential as an artist was never realised.1C. Wood, Victorian Painting, London, 1999, p.222.We are grateful to Roger Brown BA., MA. for compiling this catalogue entry.For further information on this lot please visit Bonhams.com

Marie Spartali Stillman (British, 1844-1927)The last sight of Fiammetta 'Above her garland and her golden hair I saw a flame about Fiammetta's head' (Boccaccio)signed with monogram (lower right), inscribed on an exhibition label (attached to the reverse)watercolour, bodycolour and gum arabic82 x 62cm (32 5/16 x 24 7/16in).Footnotes:ProvenanceAnon. sale, Christie's, London, 11 April 1967.With Abbott and Holder Ltd., London.Eric Smith (purchased from the above circa 1968).By family descent.Private collection, UK (gifted to the present owner, 2004).ExhibitedLondon, Royal Academy, 1876, no. 757.Manchester, Royal Manchester Institution, Exhibition of the Works of Modern Artists, 1876.Paris, Universal Exhibition, 1878, British Fine Art Section.The present lot has not been seen in public for decades, so it represents a welcome addition to the Stillman's oeuvre, at a moment when her reputation is rising. The finely painted fanciful half-length figure depicts a girl no older than early teens, wearing a rose-garland on her loose hair, who dreamily fingers a rose-entwined mandolin. The feeling is of harmony and repose. Art historian Pamela Gerrish Nunn declared of the work that it 'is surely destined to be regarded as her masterpiece [sic]'.Moreover, it belongs in a sequence of events consolidating the mutual regard between Spartali Stillman and Dante Gabriel Rossetti, as it prompted the last major canvas from the latter before his death in 1882. As observed in the 1989 publication Women Artists and the Pre-Raphaelite Movement, the existence of the present work was then known only from old exhibition catalogue listings. The exhibiting history of the work began at the Royal Academy in 1876. At the time, the significance of this work to Rossetti is indicated by the fact that, eighteen months after the exhibition, he asked Spartali to sit for him for his own version of Fiammetta. Since her reputation as a model has tended to obscure her career as an artist and since she is typically said to owe her pictorial inspiration entirely to Rossetti, it is worth noting that in this case her choice of subject evidently stimulated his own, and that by 'casting' Marie as Fiammetta, so to speak, Rossetti implicitly recognised her choice of the theme. ***Stillman and Rossetti met in the early 1860s, when she decided to pursue art practice, and through her father sought tuition from Rossetti. Given his lack of aptitude, Rossetti sensibly passed the request to Ford Madox Brown, who from 1864 welcomed her for twice-weekly sessions alongside his own children. Brown then encouraged her exhibition debut at the Dudley Gallery in 1867, and became a lifelong artistic mentor. She continued to exhibit after her marriage in 1871 to the American journalist, William Stillman, whose career as a foreign correspondent took the family to postings in Greece (Corfu) and Italy. In winter 1874-5 they visited the US, where her exhibited works were commended by Henry James in Atlantic Monthly and Galaxy. Back in Britain, when not overseas she divided her time between her parents' homes in Clapham and the Isle of Wight. Following his paranoid collapse in 1872, Rossetti stayed mainly at Kelmscott Manor, the secluded country home he leased jointly with William Morris, until in summer 1874 he returned to his London home in Cheyne Walk, and to his art practice. His translations from early Italian poetry, first published in 1861, were re-arranged and re-issued this year. The volume includes examples of Boccaccio's poetry, 'chosen for their beauty alone. Two of these relate to Maria d'Aquino, if she indeed be the lady whom, in his writings, he calls Fiammetta.' More probably, this was a fictive inamorata, the same name – 'little flame' – being given to the protagonist in Boccaccio's Elegy of Madonna Fiammetta, lamenting a faithless lover. Rossetti also used the title for a 'pot-boiler' executed around the same time as Monna Vanna and offered to George Boyce in December 1866.The present work is the first of Stillman's based on Rossetti's translations from Boccaccio, where a sonnet entitled 'The Last Sight of Fiammetta' describes what seems to be the death of the beloved:Round her red garland and her golden hairI saw a fire about Fiammetta's head;Thence to a little cloud I watch'd it fade,Than silver or than gold more brightly fair;And like a pearl that a gold ring doth bear,Even so an angel sat therein, who spedAlone and glorious throughout heaven, array'dIn sapphires and in gold that lit the air.Then I rejoiced as hoping happy things,Who rather should have then discern'd how GodHad haste to make my lady all his own,Even as it came to pass. And with these stingsOf sorrow, and with life's most weary loadI dwell, who fain would be where she is gone.In 1875 the artist sold a Renaissance-style image of her stepdaughter Lisa Stillman under the title Mona Lisa (Royal Academy, 1875, no. 719; Manchester, 1875, 40gns; untraced). So, looking forward to the 1876 exhibition season, a comparable theme was chosen for the present work, borrowing again from Boccaccio/Rossetti and in all likelihood using eleven-year-old Lisa as model. The chosen genre was that described by William Rossetti – pejoratively but accurate - as 'lovely ladies with floral accessories'; derived from Lely's Hampton Court beauties, this format became newly popular and saleable in the late nineteenth century. On 7 January 1876, Stillman ordered from the art suppliers, Robersons, a support of similar dimensions – 31 by 21 ins – prepared to her specifications with board covered in three sheets of paper – two cartridge and one seamless Whatman. This was likely for Fiammetta, because although Stillman was a painstaking artist who typically took a year or more to complete an exhibition piece, the present work has been enlarged with additional strips along the left side and lower edge. While not exact, this surely relates to her Robersons' order on 11 March, for '2 slips of wood fitted with [indecipherable] to fix on edges of drawing board covering with two surfaces of paper', at a cost of four shillings.The brushwork is notably delicate on the figure and mandolin, looser on the upper foliage and very much looser on the added strips. An undated letter from Rossetti to Brown mentions that the frame, with its reeded edge and 'Pre-Raphaelite' roundels, cost £3.10s. So, the enlargement probably relates to the availability of this frame. The picture was submitted to the RA in April. Accepted and hung, it was catalogued as 'no. 757 / The last sight of Fiammetta / Above her garland and her golden hair / I saw a flame about Fiammetta's head. – Boccaccio.' It was listed under the name 'Miss M.S.Stillman'. Amidst the scores of landscapes and still lifes in this section, it was favourably commended by W.M. Rossetti in his role as art critic, as 'one of the genuinely fine works of colour in the exhibition – warm, soft, pure flesh tints, admirably supported by the general colour scheme, the copper-yellow hair garlanded with red and pink roses, the charmingly-painted mandoline, the embowering foliage.' The overall standard at the RA that year was however not the most commendable. In 1877 Sir Coutts Lindsay launched his rival fine art show at the Grosvenor Gallery, and maybe on the strength of Fiammetta, Marie Stillman was one of two women invited to exhibit at the inaugural exhibition. Subsequently it was selected for the British Fine Art section of the Paris Universal Exhibition in 1878. Around this time, it was photographed and reproduced as a large-size sepia print, one copy being in the Bancroft Collection at Delaware Art Museum.The work also prompted Rossetti to renewed effort, despite poor health and very low spirits... For further information on this lot please visit Bonhams.com

Giovanni Boldini (Italian, 1842-1931)Al caffè signed and inscribed 'To Miss B. Pearce/with admiration/Boldini' (on the reverse)oil on card10.5 x 18.5cm (4 1/8 x 7 5/16in).Footnotes:ProvenancePrivate collection, Italy.Please note that this lot is accompanied by a digital certificate of authenticity issued by expert on the artist and author of his catalogue raisonné, Dr Francesca Dini.The son of an artist, Boldini undertook training in his hometown of Ferrara before moving to Florence where he lived for about a decade. Here, from 1864, he joined the Macchiaioli group of artists, now known as the greatest exponents of Realist art in Italy. The portraits painted by the young Boldini at this time - mainly of his artist friends and of some members of the Russian and English aristocracy residing in Tuscany - mark in Italy the renewal of this pictorial genre and they cemented the young Boldini's reputation. Subsequently, in 1871, he travelled to London where he sought patrons amongst English high society; however, in the same year, drawn by the light and glamour, he decided to settle in Paris. Here, he began producing small fanciful oils designed not only to capture the costumes and lifestyle found in the city's grand homes, but also to please the international clientele of the famous gallery, La Maison Goupil. During the 1880s, however, Boldini moved away from these somewhat staid subjects and instead devoted himself to the more faithful representation of his beloved Paris. Now, the French capital appears at its most vital with paintings depicting the squares and animated streets, the outdoor cafes, the transit of carriages and their horses' manes in the wind, the elegant bourgeoisie and street vendors, all characterised by a new freedom of brushstroke and modern spatiality. The present lot can be placed during this period of the artist's life.This work is an early example of his Parisian café sketches, a subject which he revisited several times. These studies seem to have been produced in preparation for one his masterworks, Scène de fête au Moulin Rouge, currently housed at the Musée d'Orsay in Paris. In the Musee d'Orsay painting, during one of the usual night sorties, Boldini stops in at the famous Parisian restaurant, made characteristic by the bright reds of the tapestries; he welcomes the clamour of the voices that mix with the sounds of music, of shimmering garlands of suspended lights that come down from the ceiling and make the glasses sparkle, illuminating the wonderful costumes; he has revelled in the attitudes of bystanders, with their desire to seduce and be seduced, as in the case of the seated gentleman to the right of the scene, who confidently perches in front of the cocotte that has approached his table, smiling at him, winking and amused. The atmosphere of this finished oil is captured in the present study, and this shows how the immediacy of these sketches could inform his more highly finished works. This painting can therefore be seen as an early idea on this theme, defined with quick brushstrokes with the characteristic Tiepolesque white lighting. The dedication placed on the back of the card brings us to the second half of the eighties, at which time Boldini - who was perfecting his new style of portraiture, highlighted by elegant figures painted on a large scale, with energetic and loose brushwork - befriended John Singer Sargent and the group of American painters active in Paris at the time, including Charles Sprague Pearce, a genre painter native to Boston who was distinguished by his gold medal at the Salon of 1883. Pearce married a French lady and remained in France for the rest of his life, so the Miss Pearce mentioned on the reverse of the card could be an American relative of the painter.We are grateful to Dr Francesca Dini for compiling this catalogue entry.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

Coupe transversale de dent de mammouth Extinct Mammoth Tooth Cross-section SlabMammuthus columbiPleistoceneSouth Carolina, USAThe Columbian mammoth (Mammuthus columbi) is an extinct species of mammoth that inhabited the Americas stretching from the Northern United States and as far south as Costa Rica. It was one of the last in a line of mammoth species, beginning with Mammuthus subplanifrons in the early Pliocene. DNA studies show that the Columbian mammoth was a hybrid species between woolly mammoths and another lineage descended from steppe mammoths; the hybridization happened more than 420,000 years ago. The pygmy mammoths of the Channel Islands of California evolved from Columbian mammoths. The closest extant relative of the Columbian and other mammoths is the Asian elephant.Reaching 4 m at the shoulders and 10 tonnes in weight, the Columbian mammoth was one of the largest species of mammoth. It had long, curved tusks and four molars, which were replaced six times during the lifetime of an individual. It most likely used its tusks and trunk like modern elephants—for manipulating objects, fighting, and foraging. Bones, hair, dung, and stomach contents have been discovered, but no preserved carcasses are known. The Columbian mammoth preferred open areas, such as parkland landscapes, and fed on sedges, grasses, and other plants. It did not live in the Arctic regions of Canada, which were instead inhabited by woolly mammoths. The ranges of the two species may have overlapped, and genetic evidence suggests that they interbred. Several sites contain the skeletons of multiple Columbian mammoths, either because they died in incidents such as a drought, or because these locations were natural traps in which individuals accumulated over time.For a few thousand years prior to their extinction, Columbian mammoths coexisted in North America with Paleoamericans – the first humans to inhabit the Americas – who hunted them for food, used their bones for making tools, and depicted them in ancient art. Columbian mammoth remains have been found in association with Clovis culture artifacts; these remains may have stemmed either from hunting or scavenging. The Columbian mammoth disappeared at the end of the Pleistocene around 11,500 years ago, most likely as a result of habitat loss caused by climate change, hunting by humans, or a combination of both. The present specimen is a thick cross-section slab cut from a tooth which exhibits a rich blue, grey and brown coloration due to mineralization. Polished on both sides, the original texture was left remaining on all sides. Measuring 19 x 8 x 2 cm This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Banksy (British, born 1974)Festival (LA Edition) Screenprint in colours, 2006, on Arches, numbered 113/500 in pencil (the total edition was 500, however only approximately 100 unsigned prints were ever printed), published by Modern Multiples Fine art Editions, Los Angeles, the full sheet, 570 x 768mm (22 1/2 x 30 1/4in)(SH)Footnotes:This work has been authenticated by Pest Control Office and will be issued with the new certificate of authenticity in due course. This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Banksy (British, born 1974)Applause (LA Edition) Screenprint in colours, 2006, on wove, numbered 113/500 in pencil (the total edition was 500, however only approximately 100 unsigned prints were ever printed), published by Modern Multiples Fine Art Editions, Los Angeles, the full sheet, 830 x 1232mm (32 7/8 x 48 1/2in)(SH)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Banksy (British, born 1974)Grannies (LA Edition) Screenprint in colours, 2006, on Arches, numbered 113/500 in pencil (the total edition was 500, however only approximately 100 unsigned prints were ever printed), published by Modern Multiples Fine Art Editions, Los Angeles, with their blindstamp, the full sheet, 570 x 765mm (22 3/8 x 30 1/8in)(SH)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Banksy (British, born 1974)Trolleys (LA Edition) Screenprint in colours, 2007, on Arches, numbered 113/500 in pencil (the total edition was 500, however only approximately 100 unsigned prints were ever printed), published by Modern Multiples Fine Art Editions, Los Angeles, the full sheet, 570 x 765mm (22 1/2 x 30 1/8in)(SH)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Banksy (British, born 1974)Sale Ends (LA Edition) Screenprint in colours, 2006, on Arches, numbered 113/500 in pencil (the total edition was 500, however only approximately 100 unsigned prints were ever printed), published by Modern Multiples Fine Art Editions, Los Angeles, the full sheet, 570 x 765mm, (22 1/2 x 30 1/8in)(SH)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

CARRERAS, complete (10), inc. Our Navy, Wild Flower Art, Tools, Airmen & Airwomen, Notable MPs (large), History of the Army, Film Stars, Film Favourites etc., in modern album, in modern album, G to VG, 475

A STYLISED BRONZE OF A PANTHER IN ART DECO STYLE AND ANOTHER OF AN OWL Modern. 31 cms max PROVENANCE: The David Stainthorpe Collection

Collectables to include Art Glass scent bottles, pewter items, a modern carved composition netsuke and a Mats Jonasson glass paperweightLocation: 3:2

HENRI PICQ: MULTI GEM-SET AND DIAMOND TUTTI FRUTTI DOUBLE-CLIP/BROOCH, CIRCA 1930Each openwork shield-shaped clip composed of twisting vines issuing from a central ogee motif, set throughout with brilliant, old brilliant, single and baguette-cut diamonds, leaf-shaped carved rubies and sapphires and fluted emerald beads studded with diamonds, with further black enamel detail, one clip with maker's mark HP, both clips with French assay marks, length 6.2cmFootnotes:Provenance: A Private Collection of 20th Century Jewels (Lots 206 - 216)This double-clip/brooch displays the maker's mark of Henri Picq (1861-1941) whose workshop was favoured by Cartier as their principal Parisian supplier for gem-set platinum jewellery between 1900-1918. The Henri Picq workshop was renowned for their high-quality platinum jewels and later produced many of Cartier's 'Tutti Frutti' creations. Cartier 'was said to use the best platinum in Paris. It was renowned for its white, shimmering surface, an alloy of which the Picq workshop was especially proud' (see Nadelhoffer, H., 'Cartier', Thames and Hudson, 1984, p.59).Cartier's Indian-inspired 'Tutti Frutti' jewels are some of the firm's most celebrated and recognisable designs. Cartier first began experimenting with Indian-inspired jewels as early as 1901 when the firm produced a necklace for Queen Alexandra. In 1911, Jacques Cartier first visited India for the Delhi Durbar, a two-week mass event celebrating the coronation of George V, a dazzling scene where the giving and receiving of jewels played an important role in the ceremony. This was the beginning of a long and fruitful relationship between Cartier and the East, resulting in numerous purchases of rare, historic Indian jewels in Delhi, Calcutta and Bombay. The ancestral carved gems that Jacques Cartier first brought back to Paris inspired the creative genius of Louis Cartier and their designer, Charles Jacqueau, who created light, airy platinum frames that were strong enough to hold them in a variety of geometric arrangements, producing a riot of colour. During the 1920s, Indian princes went to Cartier to have their family jewels and ancestral gems redesigned into modern European jewels. American and European clients simultaneously fell in love with Cartier's Indian-inspired creations that were rooted in antiquity while looking refreshingly modern, capturing the spirit and exuberance of the Jazz Age. The first 'Tutti Frutti' jewel to be shown publicly was a bracelet at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in 1925 and the firm's 'Tutti Frutti' creations continued to flourish throughout the 1930s. During this next decade, Cartier began to move away from the austere geometry of the early Art Deco period towards more sinuous motifs with vibrant combinations of colour and texture.For further information on this lot please visit Bonhams.com

A modern loaded silver baby-rattle, Douglas Pell, London 2002, and a small silver Christening mug, London 2003, 1.2oz (40g), in gift-boxes, to/w an ep baby's rattle with Art Nouveau embossed decoration (3)

Daniel Thomas Egerton (British, 1797-1842)Portrait of a ranchero and his horse, Mexico signed, inscribed and dated 'D.T. Egerton. Mexico.1833' (lower right) oil on canvas41 x 51.1cm (16 1/8 x 20 1/8in).Footnotes:Daniel Thomas Egerton (1797-1842) was born in London and would train at the informal Academy of famed royal physician, art patron and watercolourist Thomas Monro. Like Turner before him, under Monro, Egerton was granted access to a vast art collection and allowed to perfect his draughtsmanship as a student and copyist. Very little of his early works are still in existence, but his skill in drawing can be seen in his etched satirical illustrations for the book of 1824, Fashionable Bores or Coolers in High Life. These illustrations highlight the pomposity of life amongst the upper-classes of London and perhaps give some indication to his early disillusionment with life in London. In the same year that this was published he would begin exhibiting at the newly formed Society of British Artists, later the Royal Society of British Artists, where he would continue to show work up until 1829.In 1831 Egerton would embark on his first trip to Mexico, perhaps attracted by opportunity and adventure following the Spanish departure in 1821 or simply in search of new landscape to explore through his work. He would spend five years travelling the country, recording his findings through sketches which he would later develop into a limited series of thirteen large scale oils and watercolours. He exhibited these at the Society of British Artists between 1838-1840 upon his return from Mexico in 1836. The same scenes would also be depicted in his set of lithographs published in 1840 under the title Egerton's Views in Mexico; being a series of twelve coloured plates executed by himself from the original drawings, accompanied with a short description. This print series would prove hugely popular and went towards funding his next trip to Mexico in the same year. In 1842, after having settled on the outskirts of Mexico City, Egerton and his young companion would be murdered under suspicious circumstances.This striking portrait was painted during Egerton's first visit to Mexico and depicts the ranchero and his horse as seen from The Valley of Mexico, showing the volcanos Iztaccihuatl and Popocatepetl in the distance (the second and third highest peaks in the country). The subject of rancheros and their horses is hugely important in Mexican culture. From the beginning of the 19th century onwards, both have been described in literature and paintings as the Mexican figures par excellence. Like most popular subjects in Mexico and Latin-America, the European romanticism took them into the high social sphere, perhaps not as individuals, but as stereotyped artistic subjects. In this form the rancheros were included in the repertoire of all traveller artists, like Egerton. From a more modern point of view, this painting is a wonderful example of Egerton's understanding of Mexico, bringing together the elements of landscape, history and tradition.We are grateful to Dr Pablo Diener for his assistance with cataloguing this work.For further information on this lot please visit Bonhams.com

Kwong Yeu Ting (Chinese, 1922-2011)Abstract boats signed 'Kwong Yeu Ting' (lower right)oil on board49.8 x 120.7cm (19 5/8 x 47 1/2in).Footnotes:ProvenanceWith Mi Chou Gallery, New York.Anon. sale, Skinner, Boston, 18 May 2012, lot 513.Kwong Yeu Ting was a modernist artist born in Macau in 1922. He studied at the Kansas State University in the United States before moving to London in 1956 to start his painting career. He moved to Hong Kong the next year, where he joined the modern art movement. Yeu Ting said 'To me the joy is in painting a picture. I'm not concerned with what happens afterwards. It's like when you travel - it's the journey that will interest you not the destination'.For further information on this lot please visit Bonhams.com

Kwong Yeu Ting (Chinese, 1922-2011)Abstract boats on a beach signed 'Kwong Yeu Ting' (lower right)oil on board49.8 x 135.3cm (19 5/8 x 53 1/4in).Footnotes:ProvenanceWith Mi Chou Gallery, New York.Anon. sale, Skinner, Boston, 18 May 2012, lot 512.Kwong Yeu Ting was a modernist artist born in Macau in 1922. He studied at the Kansas State University in the United States before moving to London in 1956 to start his painting career. He moved to Hong Kong the next year, where he joined the modern art movement. Yeu Ting said 'To me the joy is in painting a picture. I'm not concerned with what happens afterwards. It's like when you travel - it's the journey that will interest you not the destination'.For further information on this lot please visit Bonhams.com

Two Modern Art Metal Wall Hangings, Each 84cm wide

A WROUGHT IRON ART NOUVEAU CONVERTED OIL LAMP, height 137cm, two standard lamps with shades, four frameless wall mirrors, a beaten brass umbrella stand, with a quantity of brolleys, and a modern red rug 196cm x 141cm (condition:-worn edge to one corner of rug) (10+)

15 JAZZ LPs inc. Mahavishnu Orchestra, Nina Simone, Modern Jazz Quartet, Charlie Parker, Billie Holiday, Johnny Hodges, Art Tatum, Buddy Rich, Oscar Peterson, etc.

An Art Deco style modern desk top light with chrome finish

A selection of modern art glass including owl form vase, footed cranberry dish and Mdina glass bowl

A modern table lamp in an oil light design having brass column support with an Art Deco design beaded shade

A selection of modern Mdina, Perthshire and similar art glass paper weights

A modern art glass vase having pink and purple body with metallic gold flecks hand blown with stepped foot and ground base.

A modern Caithness Skyhigh 613/750 limited edition art glass paper weight with a large diamond cut glass prism.

AFTER MARK ROTHKO, Untitled, depicting an abstract image, modern art print, framed, 120cm x 65cm.

A hand-painted 'Ecurie Ecosse Jaguar Le Mans' garage display shield and an XX 120 themed sculpture,both modern, the painted metal shield in the form of the Ecurie Ecosse emblem, celebrating back-to-back Le Mans wins for Jaguar D-Type in 1956 and 1957, 93 x 82cm, the XK 120 sculpture in Art Deco style, cold-cast resin and aluminium composite, 67cm long. (2)This lot is subject to the following lot symbols: ◊◊◊◊ £60 + VAT uplift and storage at £12 + VAT per lot per dayFor further information on this lot please visit Bonhams.com

Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Himmel über Madeira. 2001. Aquarell/Bütten. 51 x 73 cm. Ungerahmt. L. u. sign. und dat. S. Sprotte Madeira 2001. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.

Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Mohn. 2002. Eitempera/Bütten. 57 x 38 cm. Ungerahmt. L. u. sign. und dat. Sprotte 02, auf Unterlage montiert. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.

Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Impression. 1966. Tempera. 34 x 27,5 cm. L. u. sign. und dat. S. Sprotte 66, unter Glas gerahmt, ungeöffnet. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.

Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Vor dem Gewitter. 1997. Aquarell. 61 x 46 cm. Ungerahmt. L. u. sign. und dat. S. Sprotte 97. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.

Günther Uecker (Wendorf/Meckl. 1930). Wie Weiss ist wissen die Weisen. Fünf Prägedrucke. 32 x 22,5 bis 23 cm. Vier Drucke mit Bleistift sign. Uecker, diese verso num. 141/200, in zwei Rahmen unter Glas gerahmt, ungeöffnet. Mit Begleitband mit Texten von Eugen Gomringer. Original-Leinenschuber - Bedeutender deutscher Nachkriegskünstler, bekannt durch seine dreidimensionalen Nagelbilder. U. studierte in Wismar sowie an den Kunstakademien Berlin-Weißensee und Düsseldorf. 1961 wurde er Mitglied der Gruppe 'ZERO' und wandte sich vermehrt der kinetischen Lichtkunst zu. Daneben entwarf er mehrere Bühnenbilder und nahm an den Documenta III, IV und VII teil. Bis 1995 hatte U. eine Professur an der Düsseldorfer Akademie inne. Mus.: Düsseldorf (Museum Kunstpalast), London (Courtauld Institute of Art), New York (Museum of Modern Art), Paris (Centre Pompidou) u. a. Lit.: Brockhaus 'G. U. - Graphein' (2002), Ortheil 'G. U. - Wasser Veneziana. Aquarelle von G. U.' (2005) u.a.

Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Schwerer Himmel, rauhe See. 1997. Öl/Hartfaser. 66 x 50,5 cm. Ungerahmt. L. u. sign. und dat. Sprotte 97. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.

Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Violette Woge. 1989. Gouache. 69 x 48,5 cm. R. u. sign. und dat. Sprotte 89. Zustand Min. wellig. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.

Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Blütenmeer. 1995. Öl/Papier. 50 x 36 cm. Ungerahmt. L. u. sign. und dat. Sprotte 95. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.

Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Kiefernzweig. 1995. Aquarell. 61 x 42,5 cm. Ungerahmt. R. u. sign. und dat. S. Sprotte 95. Zustand Min. Papierläsionen. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stilleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.

After Agathon Léonard, French (1841-1923), Danseuse à l'Écharpe (Play of the Scarf), 20th century, bronze, wired as a lamp, inscribed A.Leonard, 59cm high.Sometimes called Léonard Agathon van Weydevelt he was a French Art Nouveau sculptor. He regularly exhibited across France, and was made a chevalier of the Légion d'Honneur in 1900. Some of his best-known works are studies of dancers, such as La Cothurne (Tragic Pose from Le Jeu de l'escharpe), modeled in 1895 and cast in 1900. The Play of the Scarf, executed in a characteristic fin-de-siècle manner and rendered originally in gilt, showed a dancer in a flowing gown with a billowing scarf held above her head. This piece was produced in 1897, was inspired by the renowned dancer, Lois Fuller and was displayed as a table centerpiece at the 1900 World's Fair at the Pavillon de Sèvres in Paris. This example is not gilded and may have been cast at a slightly later date. Condition reportThe bronze is re-assuringly heavy! The electrics are working in the saleroom but are not certified. Note the modern screw which has been used to fit I assume a replacement light fitting. The first casts of this famous bronze were gilded and these come to sale from time to time. I was unable to find a comparable bronze with brown patina. While the piece is inscribed, there is no obvious foundry mark. I was hoping Suisse freres were the foundry but cannot confirm that. The work is in generally good condition. It appears to have some age, based on wear to base and overall patination. I am not dating the piece but it appears to pre date 1970. From estate of a Scottish family.Overall and elegant and attractive work of art.

Gigantische CD-Sammlung Jazz, Blues und BoogieSehr viele davon in ungeöffnetem Neuzustand. 1) 141 x Oscar Peterson, teilweise mehrere CDs in einer Schachtel, verschiedene Besetzungen. - 2) Miles Davis, The Complete Recordings 1945-1960. - 3) Louis Armstrong, His life, his music, his recordings, 30-CD-Box. - 4) Modern Jazz, 100-CD-Box, original recordings. - 5) 2 x Jazz Piano History, 20-CD-Set. - 6) Benny Goodman, 20-CD-Box. - 7) The Best of Boogie Woogie, 10-CD-Box. - 8) 19 x Jazz Ballads, Volume 2 to 20. - 9) Ella Fitzgerald, The Concert Years. - 10) Cannonball Adderley, 10 CDs. - 11) Duke Ellington, 10-CD-Set. - 12) Horace Silver, 10 CDs. - 13) Lionel Hampton, 10-CD-Box. - 14) Astor Piazzolla, The Collection. - 15) Dizzy Gillespie, 10-CD-Set. - 16) 9 x Cannonball Adderley, verschiedene Besetzungen. - 17) 2 x The Ultimate Jazz-Archive, jeweils 3.179 Titel. - 18) 6 x Erroll Garner. - 19) 3 x Django Reinhardt. - 20) 120 weitere CDs, Interpreten u.a.: Michel Petrucciani, Quincy Jones, Count Basie, Jimmy Smith, Art Blakey, Red Nichols, Stan Getz, Jacques Loussier, Coleman Hawkins, John Coltrane, Glenn Miller, Bill Evans, Jools Holland, Caroline Dahl, Silvan Zingg, Vince Weber, Dave Brubeck und Christian Bleiming. - Dabei: Dual MC 150 SI, Kompaktanlage zum Abspielen der CDs. Start Price: EUR 350 Zustand: (2/1-2)Extensive Collection of Jazz, Blues and Boogie CDsMany in unopened / unused condition. 1) 141 x Oscar Peterson, including several CDs in one box, various line-ups. - 2) Miles Davis, The Complete Recordings 1945-1960. - 3) Louis Armstrong, His life, his music, his recordings, 30-CD box. - 4) Modern Jazz, 100-CD box, original recordings. - 5) 2 x Jazz Piano History, 20-CD set. - 6) Benny Goodman, 20-CD box. - 7) The Best of Boogie Woogie, 10-CD box set. - 8) 19 x Jazz Ballads, Volume 2 to 20. - 9) Ella Fitzgerald, The Concert Years. - 10) Cannonball Adderley, 10 CDs. - 11) Duke Ellington, 10-CD set. - 12) Horace Silver, 10 CDs. - 13) Lionel Hampton, 10-CD box set. - 14) Astor Piazzolla, The Collection. - 15) Dizzy Gillespie, 10-CD set. - 16) 9 x Cannonball Adderley, various line-ups. - 17) 2 x The Ultimate Jazz-Archive, 3179 tracks each. - 18) 6 x Erroll Garner. - 19) 3 x Django Reinhardt. - 20) 120 further CDs, including: Michel Petrucciani, Quincy Jones, Count Basie, Jimmy Smith, Art Blakey, Red Nichols, Stan Getz, Jacques Loussier, Coleman Hawkins, John Coltrane, Glenn Miller, Bill Evans, Jools Holland, Caroline Dahl, Silvan Zingg, Vince Weber, Dave Brubeck and Christian Bleiming - Including: Dual MC 150 SI, compact system for playing the CDs. Start Price: EUR 350 Condition: (2/1-2)

An Art Deco style bronze figure of a dancer, on a marble base, 65cm highThis is a modern reproduction. Condition is ok.

An Art Deco style bronze figure of a lady, seated holding a mirror, on a marble base, 28cm high, together with a bronze portrait medallion, of a Centurion, in an ebonised frame, 18cm high (2)Art Deco lady - is dirty but appears go be intact. Modern. Plaque - is dull in colour and slightly loose in the frame, but appears to be intact. May have some age, but difficult to be sure.

A pair of modern silver photograph frames, with Art Nouveau style decoration, 20cm high (2)

A Pair of Modern White Opaque Glass Ceiling Lights in The Art Nouveau Manner, of ovoid form with brass fittings, approximately 28cm wide.

RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Three friends".Pencil on paper.Signed and titled in the lower right corner.Size: 25 x 19 cm; 48 x 40 cm (frame).Opisso was a painter, draughtsman and cartoonist. In his youth he took part in the modernist environment of Barcelona, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí in the works of the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his home town at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).

FRANCESC SERRA CASTELLET (Barcelona, 1912 - Tossa, 1976)."Girl sleeping" and "Girls".Two charcoal sketches and coloured pencils on paper.Signed in the lower right-hand corner.Sizes: 33 x 37 cm; 46 x 51 cm (frames).A painter and draughtsman, Francesc Serra spent his youth in Granollers, Barcelona. Although he briefly attended the La Lonja School in Barcelona, he is basically a self-taught artist. He held his first exhibition in 1932 at the Sala Parés in Barcelona, and took part in the Salones de Primavera (Spring Salons) between 1934 and 1936. In 1936 and 1937 he was a special guest of the Carnegie Institute in Pittsburgh, USA. He continued to hold solo exhibitions in Barcelona, mainly at the Sala Gaspar. A great admirer of Degas, he was particularly influenced by his favourite subject, the female. He also sporadically tackled other themes, such as urban landscapes, of which the series of Paris, which he presented in 1951, is particularly noteworthy. Likewise, with his portraits of the lead mine he came close to the sensitive realism of Ingres. He won several prizes, including the Sant Jordi prize in Barcelona (1953) and the first medals at the National Exhibitions in Madrid (1957) and Barcelona (1960). He brought together several unpublished drawings under the title "Dibujos de Serra" (Drawings by Serra) (1973), with a foreword by Santos Torroella. A staunch defender of realism in art and of traditional figuration as opposed to the avant-garde, he published the essay "La aventura del arte contemporáneo" (1953), with a preface by Rafael Benet. He is represented in the Museums of Modern Art in Madrid and Barcelona and in the Museums of Fine Arts of l'Empordà and Sabadell.

FRANCESC SERRA CASTELLET (Barcelona, 1912 - Tossa, 1976)."Young man", 1970.Oil on canvas.Signed in the upper right corner.Defects in the frame.Measurements: 82 x 65 cm; 106 x 88 cm.Painter and draughtsman, Francesc Serra spent his youth in Granollers, Barcelona. Although he briefly attended the La Lonja School in Barcelona, he is basically a self-taught artist. He held his first exhibition in 1932 at the Sala Parés in Barcelona, and took part in the Salones de Primavera (Spring Salons) between 1934 and 1936. In 1936 and 1937 he was a special guest of the Carnegie Institute in Pittsburgh, USA. He continued to hold solo exhibitions in Barcelona, mainly at the Sala Gaspar. A great admirer of Degas, he was particularly influenced by his favourite subject, the female. He also sporadically tackled other themes, such as urban landscapes, of which the series of Paris, which he presented in 1951, is particularly noteworthy. Likewise, with his portraits of the lead mine he came close to the sensitive realism of Ingres. He won several prizes, including the Sant Jordi prize in Barcelona (1953) and the first medals at the National Exhibitions in Madrid (1957) and Barcelona (1960). He brought together several unpublished drawings under the title "Dibujos de Serra" (Drawings by Serra) (1973), with a foreword by Santos Torroella. A staunch defender of realism in art and of traditional figuration as opposed to the avant-garde, he published the essay "La aventura del arte contemporáneo" (1953), with a preface by Rafael Benet. He is represented in the Museums of Modern Art in Madrid and Barcelona and in the Museums of Fine Arts of l'Empordà and Sabadell.

Accidents & First Aid.- Earle (Henry) Two Lectures on the Primary and Secondary Treatment of Burns, only edition, 2 engraved plates, 8pp. publisher's catalogue at end, ex-library copy with stamp to title, contemporary half calf, 1832 § Sage B.G.) Expériences propres a faire connoitre que l'Alkali Volatil Fluor est le Remedie le plus efficace dans les Asphyxies, third edition, half-title, marginal staining, final leaf defective at lower corner (repaired) and with library stamp to verso, modern calf-backed marbled boards, uncut, Paris, 1778 § Hall (Marshall) Prone and Postural Respiration in Drowning.., first edition, frontispiece and illustrations, ink signature to head of title, original cloth, recased, 1857 § Struve (C.A.) A Practical Essay on the Art of Recovering Suspended Animation..., 6pp. advertisements at end, modern cloth, 1801, the first and third rubbed; and c.20 others on accidents, first aid and domestic medicine, 4to & 8vo (c.25)

NO RESERVE Camper (Petrus) Dissertation Physique...sur les différences réelles que présentent les traits du visage chez les hommes de différents pays et de différents âges..., 10 engraved plates, 5 folding, 1791; Discours...sur le moyen de représenter d'une manière sûre les diverses passions qui se manifestent sur le visage, folding engraved portrait by R.Vinkeles, 11 engraved plates, 5 folding, 1792, together 2 works in 1 vol. (the second bound first), edited by Adrien Gilles Camper, first editions in French, half-titles, old ink inscriptions to half-title of Discours, contemporary half green morocco, spines with gilt bands, rubbed, rubbed, corners worn, [Waller 1728 & 1724], 4to, Utrecht, B.Wild & J.Altheer⁂ Two influential works by the Dutch physician and physiologist, one of the first to take an interest in comparative anatomy. The first mentioned work is on craniology and introduced the facial angle or "Camper's angle", comparing the angle of the human face of modern peoples to classical statues. The second item concerns the scientific representation of the human form in art and the similarity of expression in humans and animals.

A modern bronze figure in the Art Deco style of a young woman dancing on a marble base, signed "Nic B?", 32 cm high

A box of 233 Royal Mail vintage and modern first day covers. To include: Comedians, Art, Roman Britain, British Theatre, Horses and Time Travel.

A collection of vintage and modern postcards and greeting cards. To include Edwardian examples and RP's. Subjects include British holiday destinations, boats and ships and fantasy art.

DAVID HOCKNEY; a signed coloured lithograph poster, 'The Metropolitan Museum of Art, David Hockney Mount Fuji and Flower Department of Modern Art', signed in ink lower right, 90 x 60cm, framed and glazed. PROVENANCE; purchased from Christies Fine Art, and supplied with certificate of authenticity. 

BANKSY; giclée print on 308GSM museum quality Hahnemuhle Fine Art paper, 'Post Modern Vandal/Girl with Heart-Shaped Float (Blue) (2021)', published by Post Modern Vandal (USA), embossed stamp signature and hand numbered 47/85, sheet size 43 x 33cm, with certificate of authenticity, unframed. (D) Provenance: from a private Cheshire collector.Additional InformationVery light wear but overall in good condition. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

***PLEASE NOTE THESE EARRINGS WERE RETAILED BY HEMMERLE AND MADE BY A FRENCH ATERLIER*** A FINE PAIR OF TURQUOISE AND DIAMOND PENDANT EARRINGS, RETAILED BY HEMMERLE, CIRCA 1970 Of chandelier design, centrally set with an oval-shaped cabochon turquoise, framed by brilliant-cut diamonds, to an articulated cascade of similarly-shaped turquoises, accented throughout with brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 6.00cts total, unsigned, with maker's case, length 5.3cm Accompanied with Hemmerle's catalogue from 1974, in which the earrings are illustrated, page 12 Hemmerle was established in Munich in 1893 when two brothers Josef and Anton Hemmerle took over the business of goldsmith Elchinger, a specialist in making medals and insignia. They renamed the firm Gebrüder Hemmerle and steadily developed an outstanding reputation for their reproductions of antique pieces, in particular their filigree and enamel work. In 1895 they were appointed purveyors to the Bavarian Court and became renowned for the jewels created for the Prince Regent and noble families of Bavaria. The calibre of their work was recognised, and they were awarded many prizes at such prestigious events as the Paris World Fair of 1900. In 1904 they moved into new premises on the fashionable shopping boulevard of Maximilianstrasse, where they have remained ever since. The second generation joined the family business after the end of WWI and very quickly Joseph Jr. and Carl Hemmerle were fully involved. Carl took control of the company after the death of his cousin but was later joined by his wife Lore and together they produced the first of the company’s collections. Their son Stepan, a trained goldsmith gained experience with other European jewellery houses before joining the family business, along with his brother Franz. The 70’s were a particularly fruitful time for the company, Stefan’s technical expertise coupled with his bold creative vision, catapulted the company into an international brand. The artistic creativity between 1979 and 1996 was celebrated in the book ‘Art of Nature’, illustrating Hemmerle’s beautiful jewels inspired by nature, such as insects, animals and flowers. Soon after the centenary celebrations, the company began to break away from creating traditional fine jewellery. With Stefan and his wife Sylveli at the helm, they developed a style that remains recognisably and uniquely their own. Stefan’s design was strongly influenced by the Bauhaus, he created unconventional fine jewellery mixing diamonds and precious stones with humble metals such as copper, brass, steel, iron and even wood. Experiments in oxidation and modern, non-traditional finishes were juxtaposed with the use of centuries old techniques. The tight design and perfect craftsmanship, makes the unusual highly desirable and the ideal choice for women looking for something different. Hemmerle began to exhibit at prestigious Art Fairs in both Europe and America, including Basel, Maastricht and Palm Beach. A redesign of the Munich boutique took place in 1998, to better reflect the modern jewellery. Now in the fourth generation, the family run business is under the guiding hand of Stefan’s son Christian and his wife Yasmin, with this duo continuing to inspire with ever innovative designs. “Our own philosophy resonates with poetry - originality, beauty, boldness, creativity and technical understanding all go into making a Hemmerle jewel” - Christian HemmerleCondition ReportTurquoise: All well matched - one with minor discoloration located on the side of the stones - not obvious Diamonds: approx. 6.00cts total, unable to assess colour due to yellow mount, estimated clarity VSFor pierced ears - possibly later postsStamped 750 on the reverseUnsigned - with maker's case and photocopy of Hemmerle's catalogue where the earrings are illustrated (available to view on our website)Normal signs of wear, overall in good conditionTotal gross weight approx. 28.30g 

Two Royal Worcester china candle snuffers:  "Howard" & "Toddy", height 9.5cm; A Meissen style group, A Unicorn Studios pair of Art Nouveau style figures; 3 modern white figures