We found 186094 price guide item(s) matching your search

WWII Second World War Interest - a large scale hand built model of German Kriegsmarine U-Boat U96. Plastic construction, but made and finished to a very high standard. Complete with rigging, internal cut-aways and deck detailing and guns. Mounted on a display stand. Measures approx: 140cm long.  German submarine U-96 was a Type VIIC U-boat of the German Navy (Kriegsmarine) during World War II. It was made famous after the war in Lothar-Günther Buchheim's 1973 bestselling novel Das Boot and the 1981 Oscar-nominated film adaptation of the same name, both based on his experience on the submarine as a war correspondent in 1941.

A 19th Century hand coloured Tallis map of  China and Burma circa 1851. Map drawn and engraved by Rapkin, with six small vignettes of local scenes around the borders of the map by Wrey and Allen.  The vignettes include a view of Hong Kong harbour and another of the British factories in Canton. Scale 300 miles to the inch. Also included an engraving of the Custom House at Shanghai, a Plan of the Town of Hang-Tcheou-Fou and a small hand-coloured engraving of Macau. Framed and glazed map measures approx 46x54cm.

Railwayana - a LARGE early 20th Century (1905) hand coloured North London Railway Map. The Great Northern, Piccadilly and Brompton railway and the Great Northern and City Railway. A large scale map of the railway lines around Finsbury and part of Islington that includes all the sidings, yards and nearby streets, Finsbury Park Station and Drayton Park Station, gas works, sheds and offices. Scale 50 feet to the inch. Originally surveyed 1894-95 and corrected to 1905. Presumably a railway company map used for reference. On linen, rolled. Size approximately 4.5 metres by 100 cm.

A large collection of assorted vintage Concorde memorabilia to include; large scale model, gentleman's silk tie, Davenport plates, prints signed by Terry Harrison and David J Lawrence, travel / holiday brochures, Evening Post and Western Daily Press newspaper and souvenir magazine, postcards, First Day Cover stamps, Concorde over Bristol 2003 greeting card, diecast models, VHS films, Brian Trubshaw book and other inflight souvenirs and gifts.

A boxed Lehmann L.G.B. G scale four wheeled tram/street car in yellow and white with passengers (No.2035)

An unboxed Jaguar E-Type (1:8 scale) plastic car model in light blue

A collection of sixteen boxed Gilbow Exclusive First Editions die-cast buses/coaches including Bedford OB British Rail, AEC Regal British Railways, Bedford Vega Premier Watford, AEC Regal Windover Timpsons, Bedford OB Coach, AEC RF Class Metrobus etc (all 1:76 scale)

A collection of twenty one boxed Maisto die-cast and plastic motorcycles (1:18 scale) including Ducati, Triumph, Yamaha, BMW, Honda, Kawasaki etc

An unboxed Citroen 15 Six "Traction Avant" (1:8 scale) plastic car model in black

A collection of sixteen boxed Gilbow Exclusive First Editions die-cast buses/coaches including Bedford OB Premier Watford Coach, Leyland Bere Regis Duple Coach, Bristol MW Coach, Bedford OB Devon General, Bedford Southern National Coach, Bedford SB Greenslades Super Vega etc (all 1:76 scale)

A collection of ten boxed Gilbow Exclusive First Editions die-cast buses/coaches (1:76 scale) including DSM signle door London Sightseeing coach, RMA East London Routemaster, Fleetline Shillibeer Omnibus, Leyland Titan Go Whippet, Leyland Titan 2 door Blue Triangle etc

A collection of sixteen boxed Gilbow Exclusive First Editions die-cast buses/coaches including an AEC Duple Coach, Bedford OS Royal Blue Coach, Bedford SB Duple Vega, Bedford OB Bere Regis, Bedford OB Western National, Bristol Southern National Bus etc (all 1:76 scale)

A boxed Lehmann L.G.B. G scale black steam locomotive with tender (2015) with instruction booklet

A collection of nine vintage boxed UPC (Universal Powermaster Corp.) plastic models construction kits (1:50 scale) including MK57 Hawker Hunter, Jake-Aichi E13A1, Dinah Mitsubishi, two Babs Mitsubishi's, Chuck Wagon, Covered Wagon, Tally-Ho Coach etc

A boxed NZG Case W20C Wheeled Loader (1:35 scale), along with boxed Conrad Massey Ferguson 50B digger (wheel broken) and boxed Case Vibromax (box A/F)

A boxed Lehmann L.G.B. "Wismarer Schienenbus" G scale diesel locomotive (2066) in red/cream with instruction booklet - damage to front guard

An unboxed Chevrolet Corvette Stingray (1:8 scale) plastic car model in maroon.

A boxed Lehmann L.G.B. G scale Bo-Bo diesel locomotive (2095) with instruction booklet

A George III silver oval snuff box, the body with bright cut scale work decoration, central wreath cartouche engraved with initials, the sides with ribbon banding, hallmarked by Roger Biggs, London, 1799, approx 1.22 ozt (38.3 grams), 6.5 x 3.5cm Further details: marks clear, wear commensurate with age and use 

A George III silver vinaigrette, shaped oval engraved with scale work decoration, central cartouche engraved with initials, engraved pierced gilt grille with flowers, gilt interior, hallmarked by John Shaw, Birmingham, 1813, 0.46 ozt (14.4 grams), 3.5 x 2.4cm together with another George III silver vinaigrette, the border chased with leaf and berry in high relief, engraved central recess, gilt pierced floral grille, gilt interior, hallmarked by William Lea & Co., Birmingham, 1819, 11.8 grams, 2.5 x 1.8cm (2) Further details: 

38 Lineol Wehrmachtssoldaten zu 4 cm mit grauer PAK Lineol, Masse-Blechausführung, 30er Jahre, 4 cm-Serie. 38 Wehrmachtssoldaten der kleinen Serie: 18 Musiker mit verschiedenen Instrumenten und Musikmister, 15 Marschierer mit Tornister und Gewehr, dabei auch ein Offizier den Degen gezogen, ein Soldat zu Pferd, ein Artillerist mit Ansetzer, ein stehender Geschützführer sowie zwei Kämpfende. Außerdem ein großer Granateinschlag und eine graue PAK, 1/803, Abzug gut, aber die Kanone mit starken Altersspuren. Insgesamt guter, teils sehr guter Zustand mit Spiel- und Altersspuren. 38 Lineol army soldiers, 4 cm scale, with a grey PAK 38 Lineol army soldiers, 4 cm scale, with a grey PAKLineol, Masse-Blechausführung, 30er Jahre, 4 cm-Serie. 38 Wehrmachtssoldaten der kleinen Serie: 18 Musiker mit verschiedenen Instrumenten und Musikmister, 15 Marschierer mit Tornister und Gewehr, dabei auch ein Offizier den Degen gezogen, ein Soldat zu Pferd, ein Artillerist mit Ansetzer, ein stehender Geschützführer sowie zwei Kämpfende. Außerdem ein großer Granateinschlag und eine graue PAK, 1/803, Abzug gut, aber die Kanone mit starken Altersspuren. Insgesamt guter, teils sehr guter Zustand mit Spiel- und Altersspuren. Condition: II +

Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"Saint Joseph and Child"Nun's shield. Oil on copper. Signed.11,7 x 9 cm.The LACMA in Los Angeles, has a nun’s badge in its collection by the Mexican painter Francisco Martínez (Mexico, 1687-1758) dated circa 1750, with the central theme of The Annunciation surrounded by Saints. (Inv. M.2015.142.1)As Professor Ilona Katzew, Curator and Head of the Latin American Art Department at the LACMA in Los Angeles, notes with respect to these nun’s shields:"This small-scale painting is a badge worn by nuns of the Order of the Immaculate Conception (also known as Conceptionists) in Mexico as part of their dress. Painted badges originated in Mexico in response to religious reforms introduced by the archbishop Francisco Manso y Zúñiga (ruled 1629-1635), who attempted to curtail the luxury and privilege of the convent lifestyle. He forbade nuns to wear shields made of gold, precious stones, and enamel. The nuns circumvented this rule by commissioning shields painted on copper or parchment, and set into frames made of tortoiseshell. Many of the badges were painted by the best artists of the day."This genre of devotional art was widespread during the 17th and 18th centuries in Spain and the New Hispanic world.They tended to be small pictures painted or embroidered with religious scenes, which nuns wore on their chests as they took their vows.It is in the classic portraits of crowned nuns, also with flowers, veils and other ornaments, where we can see the relevance these badges had.On occasions, artists of the calibre of José de Páez, Luís Juárez or Miguel Cabrerawho was the painter of this shield, made some of these badges.Miguel Cabrera was one of the most renowned painters in the field of eighteenth-century New Spanish painting, with an oeuvre that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented." Little is known of his youth; In fact, according to the Andrés Blaisten Museum, it is only because of the painter's will in 1768 that we know that he was a native of Oaxaca. The first news of him is from 1739, the year of his marriage to Ana María Solano, and we also know of his stint at Juan Correa's workshop in the capital of the Viceroyalty.Archbishop Rubio Salinas was Cabrera's patron, whom he named his chamber painter. He was also a painter for the Society of Jesus, for whose churches he produced numerous works.In 1753 he was appointed president for life of the Academy of San Carlos.In 1756 Cabrera published "American wonder and set of rare wonders observed and directed by the rules of the art of painting", a narrative about the image of the Virgin Guadalupe from the printing press of the Jesuit school of San Ildefonso.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756, for the temple of San Francisco Javier, is kept in the National Museum of the Viceroyalty.The Dallas Museum of Art has a Saint Gertrude the Great by Miguel Cabrera and another painting of the saint, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Likewise, there is an outstanding series of Casta paintings from 1763 that is kept in the collection at the Museo de América in Madrid. They represent the families, father, mother and son of the various castes and social strata, in situations of daily life.Reference bibliography:- Dallas Museum of Art. (n.d.). "Saint Gertrude". (2006.37). https://collections.dma.org/artwork/5328501 - Museo Andrés Blaisten. (s.f.). https://museoblaisten.com/Artista/79/Miguel-Cabrera

OSCAR MURILLO (B. 1986)Untitled (Fried Chick) 2012 oil, oil stick, spray paint and dirt on canvas 248 by 181 cm.97 5/8 by 71 1/4 in.This work was executed in 2012.Footnotes:ProvenancePrivate Collection, LAPrivate Collection, UK (acquired directly from the above in 2013) Sale: Bonhams, London, Modern & Contemporary Art, 27 June 2019, Lot 33Acquired directly from the above by the present ownerCompelling, spirited and grand in scale, Untitled (Fried Chick) (2012) is foundational work by the Colombian-born, Turner Prize nominated artist Oscar Murillo; exhibiting all the hallmarks of his energetic and spontaneous style that combines raw panels of canvas, flashes of text and colour with aggregated dirt and impressions from the studio floor. Rising to artistic maturity and institutional acclaim in monumental fashion, his inclusion in such major exhibitions as The Forever Now: Contemporary Painting in an Atemporal World at the Museum of Modern Art, New York, in 2014, in addition to solo exhibitions at the Centro Cultural Daoíz y Velarde, Madrid and the Institute of Contemporary Arts, London, has cemented Murillo's international standing as one of the foremost contemporary painters currently working; culminating in his nomination for the Turner Prize in 2019 for his exhibition Violent Amnesia at Kettle's Yard, Cambridge. Untitled (Fried Chick) is an elegant example of Murillo's collaging of surfaces and techniques that flaunts the dirt from the artist's studio floor, bringing the painting to life through its closeness to the 'authentic' detritus and rubble of Murillo's workspace. In the present work, the raw support of the canvas plays host to an almost performative mark-making, suffused with a palpable energy that channels the automatic motions of Jackson Pollock, complemented by a revisionist ideology that Murillo credits to the Neo-concretism of Lygia Clark, Lygia Pape and Hélio Oiticica. The present work comes to market following Murillo's nomination for the Turner Prize in 2019 – a significant recognition of the artist's distinguished practice and place amongst his contemporaries. An exemplary early work by Murillo, Untitled (Fried Chick) is an immense painting of masterful austerity, eliciting all of the methods and conceptual hooks that has made Murillo such an internationally lauded artist.Activating the more static, Modernist modes of abstract painting through installations, social gatherings and interactive artworks, Murillo's multifaceted practice has continued to express the artist's experiences of displacement and multiculturalism, demonstrated in the present work with a bravura charm and dynamic materiality. For Murillo, the process of painting provides a method of accumulation; composing his works through a build-up of material, of folds, marks and daubs of paint that illustrate the artist's own relationship to his itinerant lifestyle and 'layering' of identity. Born in La Paila in South East Colombia, Murillo remains deeply influenced by his roots and his arrival in London as an immigrant at the age of ten. The present work represents a superbly nuanced evocation of these themes, employing single words or phrases that encourage a reading of Murillo's paintings through the lens of cultural critique. Where words such as 'pollo,' 'yoga,' 'milk' and 'mango' appear across Murillo's oeuvre, they become aesthetic devices in tandem with their implicit meaning – impactful hand-sketched lines of text that divide the canvas in a similar vein to the paintings of Jean-Michel Basquiat. Murillo interprets his own unique style thusly: 'the words are very displaced. Like cultural displacement with performance, in painting it's material displacement, object displacement [...] I also like to think that these paintings also imply a displacement of time. They're like rugs. An unstretched painting is a kind of abstract thing, one that suggests that it perhaps has been found or comes from some other space or time. But while it has this aura of being a historical thing when placed out of context, it just comes from the studio' (the artist in conversation with Legacy Russell, 'Bomb Magazine', www.bombmagazine.org, 1 Jan 2013).This lot is subject to the following lot symbols: AR TP ▲AR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.▲ 'Bonhams' owns the 'Lot' either wholly or partially or may otherwise have an economic interest.For further information on this lot please visit Bonhams.com

TOM WESSELMANN (1931-2004)Monica Nude with Matisse (Black variation #3) 1987/91 signed twice and dated twice 91 on the reverse enamel on cut-out steel129.5 by 218.4 cm. 51 by 86 in. Footnotes:This work is registered in The Estate of Tom Wesselmann, New York, under no. 19S-3. ProvenanceThe Estate of the artist, New YorkGalerie Thomas, Munich Private Collection, Germany Thence by descent to the present ownerExhibitedMunich, Galerie Thomas, Tom Wesselmann, 2006, p. 29, illustrated in colourWidely considered to be one of the most prominent figures of the American Pop Art movement, Tom Wesselmann devoted his career to transforming broadly recognisable popular imagery into vivid pop artworks of different scales and mediums. During a time when artists were moving towards Abstract Expressionism and straying away from figurative painting, Wesselmann took a contrastive approach, opting instead for his now famous representations of nudes, still lives, landscapes, and everyday objects. Profoundly influenced by images in advertising, Wesselmann's distinctive style is characterised by flat colours, clean lines, and highly stylised presentations of the female figure - an effort to make figurative art as exciting as abstract art. Majestic in scale, Monica Nude with Matisse portrays the sitter in an alluring pose with her robe nearly fully opened, her sensual lips and exposed breasts intensifying the erotic intimacy and her body language conveys a sense of quiet confidence and relaxation. The distinct minimalist outlines that define the work are one of Wesselmann's signature styles, while the use of black enamel initiates a sense of energy and dynamism. Wesselmann often omits the eyes of the model, lending a sense of anonymity and letting the viewer's imagination complete the work. The interplay of Monica's nearly faceless nude figure in the foreground and Matisse's elaborate painting as a backdrop creates a sense of depth and complexity that is both visually striking and intellectually stimulating.Wesselmann's female nudes are arguably the most renowned and recognisable subject in his oeuvre. Finished in 1991, Monica Nude with Matisse is an iconic and inventive work that celebrates Wesselmann's experimentation with painted steel-cut outs. This unique piece is an enamel on cut-out steel that combines a portrait of Monica with a reproduction of Henri Matisse's Purple Robe and Anemones from 1937 that is part of the Cone Collection at the Baltimore Museum of Art. The model – Monica Serra, is one of Wesselmann's favourite and most widely used models since the early 1980s. She had a close working relationship and friendship with Wesselmann, working first as his studio assistant and later his studio manager. Steel cut-outs depicting her are amongst the most sought after on the market, and the present work is a particularly beautiful and complex example.Within his extensive body of work, Wesselmann regularly referenced the distinguished French artist Henri Matisse, particularly in his renowned Great American Nude series that was launched in 1961. He said that 'I can't talk about Matisse without talking about myself. He is the painter I most idolized and I still do' (the artist in: 13 Quotes from Artist Tom Wesselmann, www.denverartmuseum.org, 19 June 2014). His preoccupation with the artist visible throughout the Great American Nude series showcases Wesselmann's deep appreciation for Matisse's artistry and his desire to engage in a creative dialogue with the master. Wesselmann's fascination with Matisse was not limited to the female form; it also extended to the exploration of colour, shape, and composition. By citing one of the most celebrated artworks in art history in the present work, Wesselmann invites the viewer to consider the ways in which the female form has been portrayed throughout history; a visual conversation between him and his predecessor is formed, which transcends time and bridges artistic generations. In the early 1980s, Wesselmann ventured into the third dimension using shaped canvases and cut metal that nevertheless retained a sense of his signature gesture - as though he is drawing with the metal itself. He enlarged his base drawings and then worked with the fabricator to cut them out of steel and aluminium before painting them in black or colour. The double date in the present work refers to the date of conception on paper and the finished object in steel. Wesselmann's works have been widely exhibited across the globe. He had retrospective exhibitions in many major museums, including the Denver Art Museum, Cincinnati Art Museum, the Virginia Museum of Fine Arts, and The Montreal Museum of Fine Arts and his works are a staple in some of the biggest institutional collections in the world. Today, Wesselmann's steel cut series is seen as a quintessential part of his oeuvre and a medium that is closest associated with his practice. Monica Nude with Matisse is a iconic example that showcases the artist's commitment to pushing the boundaries of what a new medium could offer in a new and dynamic way. The work represents a lifetime's dedication to the study of the female nude and the search to push beyond the classic flat painting surface. Coming fresh to the market, the work offers the opportunity to acquire an extraordinary example of the artist's oeuvre, a must-see piece and a wonderful addition to any distinguished collection.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Thomas Landseer (1795 - 1880)A Bengal TigerOil on canvasProvenance:Private collection, EnglandThis newly discovered picture by Thomas Landseer depicts the Bengal tiger which was housed in the menagerie at King’s Mews in London, now the site of the National Gallery. The painting was likely made as preparation for an etching in the print series 'Characteristick Portraits of Animals' published in 1829 (fig. 1), a project which was published in parts over several years. In both the painting and the etching, we see a snarling tiger guarding its kill. In the print a second tiger has been added, which appears to be intent on stealing the deer. The scene is far removed from the London menagerie in which the tiger was housed, and instead evokes the dark forests of India which would have greatly appealed to the romantically minded British viewer. Much like his brother Edwin, Thomas Landseer made a significant amount of his income from publishing engravings of his finished pictures. It would therefore appear likely that the present picture was used as a worked-up study for the more lucrative etching which was to come. Nail marks around the edges of the canvas suggest that Landseer pinned the picture up in his studio, studying from it while he worked on the etching. The large scale of the painting suggests that the commercially minded Landseer was hoping to find a buyer for the painting after he had finished preparing the etching. Dimensions:(Canvas) 46 in. (H) x 59.6 in. (W)(Frame) 49.25 in. (H) x 62.75 in. (W)

Property of a gentlemanAttributed to Angelica Kauffman RA (1741 - 1807)A portrait of James Hugh Smith BarryOil on canvas Provenance:James Hugh Smith Barry;and thence by descent.Dimensions:(Canvas) 40.5 in. (H) x 31.5 in. (W)(Frame) 51.25 in. (H) x 41.5 in. (W)James Hugh Smith Barry, eldest son of Hon. John Smith-Barry (1725-84) and his wife Dorothy, elder daughter and co-heiress of Hugh Smith of Weald Hall (Essex), born 25 December 1748 and baptised at Great Budworth, 18 January 1748/9. Educated at Eton (1762-67) and Brasenose College, Oxford (matriculated 1767; created MA 1770) and then travelled in Europe and the Middle East, 1771-76. In Italy, he visited Rome, Naples and Sicily before travelling on with a group of friends including Lord Winchilsea and Thomas Dashwood, on a two-year tour to Malta, Constantinople and Egypt. On returning to Italy he saw Capua and Florence. During his travels he bought works of art, classical sculpture and medals 'on a lavish scale but with little discernment', although his collection included a number of important works, including the Jenkins vase (now in the National Museum of Wales). His travels were curtailed when his father stopped payment of his bills and he returned to England via Dresden and Paris in considerable debt. He travelled again in 1779, visiting Florence, Rome (where Angelica Kauffman painted his portrait) and Naples. In 1781 he bought a statue of Zeus from the Villa d'Este for £600, which was probably his most important purchase (now in the Getty Museum in California). After inheriting his father's estates and considerable wealth in 1784 he became increasingly reclusive and lived chiefly at Fota, although his collections were divided mainly between Belmont and Marbury. J.L. de Bougrenet de la Tocnaye, who visited him at Fota in 1796-97 recorded that 'his riches have so surfeited him and disgusted him with the world that he has almost totally retired from society, and lives rather a melancholy life in his island'. He was High Sheriff of Cheshire, 1795-96, but otherwise took no part in public affairs. He was unmarried, but had acknowledged issue, by his mistress Ann Tanner (b. c. 1756), for whom he rented Swerford Park (Oxon), where the children were brought up.

Property of a GentlemanHerend Porcelain collectionPair of green fish scale canoodling ducks, with gold beaks - marked Herend Hungary with crest, stamped 5036A red fish scale ram with gilded horns - marked Herend Hungary with crest, numbered 399A green fish scale unicorn with gilded horn etc. - Herend Hungary - stamped 691 green fish scale rabbit - marked Herend Hungary with crest, numbered 162 red fish scale rabbits - marked Herend Hungary with crest, numbered 176Dimensions:2.75 in. (H) x 3 in. (W)2.25 in. (H) x 3 in. (W)2.5 in. (H) x 3 in. (W)4 in. (H) x 1.5 in. (W)2.5 in. (H) x 1 in (W)

ANTONI TÀPIES (1923-2012)Marró desplegat 1974 mixed media on canvas laid on board195 by 170 cm. 76 3/4 by 66 15/16 in.This work was executed in 1974.Footnotes:ProvenanceGalerie Maeght, ParisAimé Maeght Collection, Paris/St-Paul de VenceAcquired directly from the above by the previous owner in 1976Gift from the above to the present ownerExhibitedBarcelona, Galeria Maeght, Tàpies, obra recent, 1975, no. 42 Zurich, Galerie Maeght, Tàpies Peintures Gouaches, 1975, n.p., no. 2, illustrated in black and whiteSaint-Paul de Vence, Fondation Maeght, Tàpies, 1976, p. 34, no. 76, illustrated in colourBarcelona, Fundació Joan Miró, Antoni Tàpies (Obra 1956-1976), 1976, p. 102, no. 74, illustrated in colourMadrid, Museo Español de Arte Contemporáneo, Antoni Tàpies Exposición Retrospectiva, 1980, p. 80, illustrated in colourAmsterdam, Stedelijk Museum, Antoni Tàpies, 1980, p. 25, no. 44, illustrated in colour, p. 44, no. 44, illustrated in black and white LiteratureJosé Marín-Medina, Tàpies/Meditaciones/1976, Madrid 1976, p. 127, illustrated in colourAnna Augustì, Tàpies The Complete Works Volume 3: 1969-1975, Barcelona 1992, p. 421, no. 2824, illustrated in colourCompletely fresh to the market and widely exhibited, Marron desplegat, from 1974 embodies Antoni Tàpies' investigations into the use of raw materials to find 'profound wisdom in the simplest of objects' (the artist in: The Unesco Courier, 'Interview with Antoni Tàpies', June 1994, p.5). Executed in the early 1970s, the work comes from a seminal period in the artist's oeuvre. A clear example of Tàpies' matiérisme (matter art) paintings, which he began in 1955, the present work carries thick impasto, created by sand, paper and other everyday earthly materials – features often seen in his mixed media works. His thick textures, plain tones and use of unconventional tools have become characteristic to the artist and are recognisable globally. The textually rich approach, focuses on exploring the transformative qualities of matter. Like in Marron desplegat, this was often seen in the artist's large-scale works, compellingly evoking solidity and depth through the beautifully layered finish.Starting as a Surrealist artist and strongly influenced by Max Ernst, Joan Miro and Paul Klee, Tàpies quickly pivoted towards abstraction and can be credited with introducing abstract art into Spain. He saw his abstract work as a 'mechanism', or in other words, 'a system that makes it possible to change the spectator's way of looking and to bring him or her closer to a state of contemplation of reality at its deepest level', allowing the artist 'to achieve the inner illumination ...[and] perceive the depth of reality' (the artist in: The Unesco Courier, 'Interview with Antoni Tàpies', June 1994, p. 5). As an artist whose personal style carries strong associations to Art Informel, using his medium in non-conforming traditional ways, Tàpies allowed the viewer to understand the power of 'matter' in all its different forms, as seen by the multiple layers peeking through in Marron desplegat.At the time of the present work's execution, Tàpies held a very strong position in the international art scene. Having already had various exhibitions globally in the previous decade, and an important retrospective presented at the Musée National d'Art Moderne in Paris the year before, Tàpies was embarking upon a seminal time in his career. The confidence in his technique and medium is evidently mirrored in his strong and large gestural marks on the work. Unseen by the public in nearly half a century, and variously exhibited all around Europe, including at the Stedelijk Museum in Amsterdam, Antoni Tàpies Marron desplegat is a true testament to the artist's genius. The artist's hand and process of creation is visible in the intended pencil marks peeking through the white paint, and the brown paint drips lyrically falling on the picture plane. Marron desplegat strongly welcomes contradictions with its geometrical earth-toned shapes, alongside deconstructed components and organic forms. These materialise and become alive on the picture plane as abstract and representational concepts interlace, highlighting the artist's balanced relationship between impulsive creation and contextual stimuli. As Tàpies desired to be both the creator and viewer of his art, the symbolic nature of his work is especially ambiguous since he worked in an almost automatic way. The juxtaposition in the present work hints at Tàpies' politically charged upbringing surrounded by Catalan nationalist conflicts and the Spanish Civil war. His art stemmed from creating beauty where there was destruction. By altering connotations linked to dust and rubble – matters which he was surrounded by during his young years and post-war Europe – Tàpies offers visions of hope and positivity. Marron desplegat, embodies a heavy history, and a powerful, sublime mythos of transformation. The natural ephemera of this striking work, openly shows the viewer all its layers of destruction and creation, suffering and reality, and carries with it its exquisite imperfections. Tàpies' standing in the Post-War art canon has been cemented by prices for his works achieving up to seven figures in recent years. His exploration of media and his clever technique to actively engage the viewer, has earned him a reputation as one of the most internationally recognisable abstract artists today.This lot is subject to the following lot symbols: * AR TP* 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.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

GEORG BASELITZ (B. 1938)Magentaaufgang 2005 signed, titled and dated 17.V.05 on the reverseoil on canvas250 by 200 cm.98 7/16 by 78 3/4 in.Footnotes:ProvenanceGalerie Thaddaeus Ropac, Salzburg/Paris (GB 2083) Vonderbank Art Galleries, BerlinPrivate Collection, EuropeSale: Sotheby's, London, Contemporary Art Day Auction, 15 October 2007, Lot 314Private Collection, Europe Acquired directly from the above by the present ownerExhibited Paris/Salzburg, Galerie Thaddaeus Ropac, Georg Baselitz - Spaziergang ohne Stock, 2005, p. 25, illustrated in colour Berlin, Vonderbank Art Galleries, Georg Baselitz, 2006, p. 27, illustrated in colourMonumental in scale and breath-taking in its visual effect, Magentaaufgang from 2005 is an outstanding work by the celebrated contemporary German artist Georg Baselitz. Suspended upside down, a dense forest of majestic trees extends dramatically from the top of the canvas in the artist's instantly recognisable and expressive style. The towering trees stretch down the surface, creating a profound movement of verticality whilst a spark of bright magenta illuminates the ghostly white tree trunks against a stark black background. This assertive focus of pure colour immediately draws the viewer's gaze upwards to what would ordinarily be the sky, thus giving the name to the composition as auf gang possibly referring to a rising sun. From 1969 Baselitz explored a revolutionary technique of painting the subject matter upside down, thereby literally turning the viewer's comprehension of the subject on its head in a ground-breaking and unconventional way of seeing. Pushing the boundaries not only for the viewer but also for himself in terms of construction, the first work that Baselitz painted upside down was fittingly of a woodland landscape titled The Wood on Its Head from 1969 and is poetically revisited here in the present work. By inverting figures and landscapes, Baselitz is able to achieve a form of radical and innovative abstraction whilst oscillating the line of figuration in his own distinctive and lyrical language. Magentaaufgang was first exhibited at Baselitz's solo show Georg Baselitz Spaziergang Ohne Stock in 2005 at Thaddaeus Ropac. A central theme of this exhibition was the analysis and study of Edvard Munch (1863 – 1944) and his artistic methods. Renowned for his expressive compositions that discussed human angst, psychological disturbance and atmospheric landscapes, the famed Norwegian artist had a great influence on German expressionism, resonating strongly with artists such as Ludwig Kirchner and Karl Schmidt-Rottluff in the late 19th and early 20th Centuries. After years of travelling abroad, Munch purchased an estate in Ekely near Oslo where he would spend most of his time from 1916 until his death in 1944. This period was incredibly productive but also rather revolutionary for Munch as it was here that he was inspired by the changing seasons of his garden and the imposing trees in the adjacent woods. This exposure to nature resulted in monumental pieces as he was able to explore larger formats due to open air studios unencumbered by the restrictions of a small studio, and an experimentation with a brighter colour palette that would saturate his compositions. The trees in Magentaaufgang and other works in this highly regarded series are inspired by Munch's time at Ekely. Yet it is not only the subject of nature that stirred Baselitz creatively; there is also an expression of freedom that he emulates from Munch's later liberal style and the air of haunting nostalgia that permeates Munch's body of work. When standing in front of this large canvas, one can imagine being engulfed by the trees in a moving sensory and atmospheric experience. Steeped in memory and rich with nostalgia, the present painting, like all of Baselitz's work, is a biographical vision and a personal memoir. As a young man, Baselitz applied to forestry school and this fascination and passion bleeds through the surface and calls to mind sentimental depictions of an enchanted forest, such as the German fairy tale of Hansel and Gretel. One of the most influential artists of our time, Georg Baselitz was a leading figure in shaping a new identity for art in Germany after the Second World War, as a response to the trauma and loss from the first half of the 20th Century. Drawing upon art history and his own extensive oeuvre Baselitz rejected abstraction in favour of more recognisable subject matter, embracing the European arm of Neo-Expressionism. With works residing in museums internationally, including Fondation Beyeler, Basel; Kunsthalle Hamburg, Hamburg; The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; and the Tate Gallery, London to mention only a few, this represents an opportunity to acquire a work of exceptional quality by one of the most prominent and celebrated European artists of the modern era.This lot is subject to the following lot symbols: * AR TP* 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.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Tamiya: a vintage boxed Vosper Fast Patrol Boat scale model kit; together with two other model kits; a Corgi Toys H.D.L. Hovercraft, No. 1119 in box; a Kitmaster locomotive model kit; and another diecast aircraft. (6)

Model Aircraft Kits: a collection of various scale model kits, to include a sealed Vickers Valiant B.1 by Contrail; two examples by Hasegawa; Monogram; and others. (13)

Airfix: a sealed Concorde 1/72 scale model kit Ref:11050; together with five further vintage Concorde model kits by Airfix; and one other. (7)

Airfix: a collection of fourteen various scale aeronautical Airfix kits, to include: a Fairey Rotodyne and a Vickers VC.10 K2 Tanker, all unmade and boxed. (14)

Racing Bikes: a collection of forty scale model champion racing bikes by De Agostini, majority in plastic boxes, with a quantity of related magazines.

Airfix: a large collection of Airfix scale soldiers, some in original boxes and partially painted; together with similar examples by Tamiya; and a large quantity of plastic figures and animals, to include examples by Timpo; together with a Viking Ship wooden model kit (partially built).

Star Trek: U.S.S. Enterprise, two unmade boxed scale models, one by Bandai. (2)

Yorkshire.- Teesdale (Henry) To the Nobility, Gentry & Clergy of Yorkshire, this map of the county constructed from a survey commenced in the year 1817 & corrected in the years 1827 & 1828 is respectfully dedicated by the proprietors, large scale county map in 3 non-uniform sections, engravings with original hand-colouring, if joined total approx. 1840 x 2230 mm (72 1/2 x 87 3/4 in), each section dissected and mounted on linen, light off-setting and surface dirt, folding with green ends and edged with green linen, presented in green book-style slipcase, gilt, very worn, 4to, 1828.

Four consecutive views depicting the first close up photographs of another world taken by the crash lander Ranger 7 on its way down to the lunar surface, Ranger 7, 31 July 1964.Vintage gelatin silver prints on fibre-based Kodak paper, 20.3 x 25.4 cm (8 x 10 in), with NASA captions and A Kodak Paper watermarks on versos, (NASA Kennedy Space Center), (4).Footnote: NASA's lunar assault began with a spectacular breakthrough: the "crashlander" Ranger 7 was the first space probe to send close-up pictures of the Moon before it impacted on the lunar surface on July 31, 1964. Ranger 7 photographed its way down to target in a lunar plain, named Mare Cognitum (the Known Sea) following the success of the mission, south of the Crater Copernicus, at latitude 10.35°S and longitude 20.58°W. The clock, frame numbers, and four buttons across the top of the picture are related to the recordings of the films at the Goldstone station of the deep space network. The black markings on the photograph are used to provide scale measurements."The Ranger VII lunar lander was the first true success in the United States' early quest to explore the Moon and heralded a new era of exploration that saw dramatically more mission successes than failures. [...] The images, which showed the lunar surface in stunning detail, were the harbinger of future human exploration of the Moon." (https://www.jpl.nasa.gov/missions/ranger-7/)  

Lunar photographic ortophotomap of the Descartes region, prepared by U.S. Defence Mapping Agency Topographic Center for NASA from Apollo 15 and Apollo 17 photography, with legend, November 1974, 64.5 x 64.5 cm (39 x 39 in), scale 1:250,000, boldly INSCRIBED and SIGNED "Fantastic! Oh, that first foot on the lunar surface is super! Charles Duke, Apollo 16 LMP"

Lunar photographic ortophotomap of the Littrov region, prepared by U.S. Defence Mapping Agency Topographic Center for NASA from Apollo 15 and Apollo 17 photography, with legend, October 1974, 64.5 x 64.5 cm (39 x 39 in), scale 1:250,000, boldly INSCRIBED and SIGNED "The valley of Taurus-Littrov - home of the final stops of Apollo, Dec 11-14, 1972 Gene Cernan, CDR Apollo XVII"

Lunar photographic lunar shaded relief of the Theophilus Crater region, prepared by U.S. Defence Mapping Agency Aerospace Center for NASA prepared from Apollo and Lunar orbiter photography, September 1978, 64.5 x 64.5 cm (39 x 39 in), scale 1:1,000,000, INSCRIBED and SIGNED "Contact! Stop! Whomp! Wow man, look at that. Old Onion is finally here, Houston. Fantastic! Charles Duke, Apollo 16 LMP"

A LARGE CONTINENTAL MULTI-BLADE PENKNIFE OF EXHBITION TYPE, 20TH CENTURY with over one hundred and thirty folding blades and accessories including awls, borers, saws, corkscrews, tweezers, scissors, comb, fork, magnifying glass, scribes, bodkins, and bradawls, and fitted at each side with a harlequin design scale in contrasting mother-of-pearl and shell, 13.0 cm (closed) LiteratureDavid Hayden-Wright, The Heritage of English Knives, Atglen, Pennsylvania, 2008, p. 76 Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

A QUEEN VICTORIA DIAMOND JUBILEE PENKNIFE; TWO GEORGE V AND QUEEN MARY CORONATION PENKNIVES; AND APPROXIMATELY SIXTY FOUR SMALL NOVELTY AND TOURIST PENKNIVES, 20TH CENTURY the first with two folding blades, mother-of-pearl scales with jubilee inscription, in its chamois case; the second and third with portrait medallions cast in low relief on the scales; the fourth with four folding elements, inscribed ‘Explosives Kyncoh’ on one scale; the fifth a folding pencil and penknife, Joseph Rodgers & Sons, formed as a musket; the sixth inscribed New England Newspapers Supply Co., Worcester Massachusetts’; the seventh inscribed Mitchells & Butlers Ltd Brewery, Cape Hill Birmingham, and approximately sixty further small penknives, the first: 8.2 cm closed (67) Part proceeds to benefit the Acquisition Fund of the Arms and Armor department, The Metropolitan Museum of Art, New York.

A GROUP OF THREE ARCHAISTIC CONG-FORM BEADSChina, 20th century. All of square section, carved as miniature congs, each register is finely incised with characters. The opaque stones of a celadon tone with paint application to mimic surface alteration.Condition: Very good condition with minor wear and minuscule nibbling here and there. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Weight: 35.3 g Dimensions: c. 2.6 cm each

A RARE TANG DYNASTY BRONZE MIRROR WITH WOLFESChina, presumably Tang Dynasty (618-907). Of circular form, the central knob surrounded by three canine creatures chasing each other, all within an outer border of joined arcs. Condition: Fine condition, commensurate with age, presenting well. With wear, a crack to one arc, minor nicks, and tiny losses. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 315 g Dimensions: Diameter 13 cm

A GROUP OF NINE TIBETAN AGATE DZI AND BUDDHA EYE BEADSTibet, 19th century or earlier. Comprising six cylindrical Dzi beads of different sizes, with two, three and nine eyes, the opaque agate stones of red and brown colors. Together with three Buddha eye beads of domed circular form, the stones with brown, white, and gray stripes. Dzi beads are considered to provide positive spiritual benefit. They are mostly worn as protective amulets, sometimes ground into a powder to be used in traditional Tibetan medicine. Artisans who made the dzi embellished the beads lines and shapes using ancient methods such as darkening with plant sugars and heat, bleaching and white line etching with natron and protecting certain areas with grease, clay, wax, or a similar substance. Condition: Good condition with traces of wear and natural imperfections. One Dzi bead with cracks and some losses. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 111.7 g Dimensions: Length 1.4 cm - 5.1 cm

AN INSCRIBED SHANG DYNASTY 'ORACLE BONE' TURTLE PLASTRON, JIAGUWENChina, Shang Dynasty (1600 BC - 1046 BC). The lower shell of a tortoise showing engraved inscriptions arranged in orderly rows. The characters belong to the earliest systematic Chinese written language (pictograph script) that still survives. These characters were created over three thousand years ago!Condition: Good age-related condition with expected wear and weathering. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 382 g Dimensions: Length 30 cm

A FINE LOT WITH SEVEN LOPBURI AGATE BEADSThailand, Lopburi period, c, 13th century. Comprising five tubular beads of different lengths, the half-translucent stones of dark-chocolate hues with milky-white inclusions, the larger fully translucent and of an interesting color palette of gray tones. Together with two wing or comb shaped semitranslucent pectorals, the stones are brilliantly polished and show attractive variegated tones of dark-chocolate and caramel with milky white and gray inclusions, drilling through the sides.Condition: Good condition with some notches and minor weathering commensurate with age. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 120 g Dimensions: Length 3.6 cm - 8.1 cm

A LOT WITH TWO AGATE ´ANIMALS´ TALISMANSBurma / Myanmar, Pyu city states (200-1000 CE). The larger depicting a tiger with the back arched and the front paws extended forward as it is preparing to pounce its prey, the smaller carved as a humped bull with long horns standing foursquare. Both carved from semitranslucent agate of reddish-orange colors with gray bands and few amber hued inclusions, bearing a central drilling showing ancient toolmarks and allowing for suspension as a pendant.Condition: The smaller in good condition with some wear, the larger with a reattached breakage to the front paws. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 22.6 g Dimensions: Length 2 cm - 5.8 cm

TWO SMALL PYU 'ELEPHANT' TALISMANSBurma / Myanmar, Pyu city states (200-1000 CE). The larger carved from rock crystal, the translucent stone of good clarity with some natural inclusions, the smaller carved from an opaque grayish stone. Both depicting an elephant with a short and lowered trunk and pierced through the mouth and tail allowing for suspension as a pendant. The holes show ancient toolmarks and are handmade and irregular.Condition: Good condition with minor traces of age and wear, the stone with natural flaws. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 78.1 g (total) Dimensions: Length 3 cm - 4.8 cm

16 DECORATED PYU AGATE BEADSBurma / Myanmar region, Pyu city states, c. 7th - 9th century. Comprising 13 translucent tubular and barrel shaped beads carved from agate and decorated in white slip with parallel lines, the stones of red and orange hues, as well as three beads of different shapes carved from dark agate and decorated in white slip with geometric designs. Condition: Good condition commensurate with age. Natural imperfections to the stone. Few beads with small chips. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 71.7 g (total) Dimensions: Length 1 cm - 5.2 cm

A LARGE LINGBI SCHOLAR'S ROCK, GONGSHI, QING DYNASTY OR EARLIER 清代或更早大型靈璧供石China, 1644-1912 or earlier. The organic form well-balanced, with furrows and hollows as well as two large central perforations. The stone of a deep gray color overall and with distinct calcified veining.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Overall good condition. The stone with minor dents, losses and cracks, as well as natural fissures and inclusions. Extensive wear, naturally grown patina overall. The wood base with expected minor age cracks, small chips, and light surface scratches.Dimensions: Height circa 75 cm (excl. stand), circa 84 cm (incl. stand)With an old fitted wood stand supported on four short feet and carved with a naturalistic surface on top imitating rockwork. (2) Auction result comparison:Type: RelatedAuction: Christie's New York, 15 September 2011, lot 1301Price: USD 35,000 or approx. EUR 44,500 converted and adjusted for inflation at the time of writingDescription: An unusual large black lingbi rock in the form of a standing phoenixExpert remark: Compare the related form and color of the stone. Note the size (97 cm).清代或更早大型靈璧供石中國，1644-1912年或更早。供石美感平衡，有溝槽和凹陷以及兩個大的穿孔。整體呈深灰色，具有明顯的鈣化脈絡。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：總體狀況良好，有輕微凹陷、缺損和裂紋，以及天然裂隙，大面積磨損，整體自然包漿。木質底座有輕微老化裂縫、小缺損和輕微的表面劃痕。 尺寸：高約75 厘米 (不含底座)，約 84 厘米 (含底座) 一個木底座，四短足，並模仿岩石的頂部，表面雕刻自然。(2) 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2011年9月15日，lot 1301 價格：USD 35,000（相當於今日EUR 44,500） 描述：靈碧石 專家評論：比較相近的外形和石色。請注意尺寸 (97 厘米)。

A SOAPSTONE SCHOLAR'S ROCKChina, 20th Century. The green stone horizontally orientated and outlined with mountain peaks. With a fitted wood stand.Condition: Very good condition with minor wear. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two books on Asian art, Goa Made. An Archaeological Discovery, about large-scale archaeological project carried out together with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Weight: 3052 gDimensions: Height 14 cm, length 25.5 cm

A PAINTED TERRACOTTA FIGURE OF A FERTILITY GODDESS, INDUS VALLEY CIVILIZATION, CIRCA 3000-2000 BCScientific Analysis Report: A thermoluminescence sample analysis has been conducted by Arcadia, Tecnologie Per I Beni Culturali, Milan, dated 8 April 2014, reference no. 269D. The result is consistent with the suggested period of manufacture. A copy of the signed thermoluminescence analysis report accompanies this lot.The deity seated with outstretched legs, holding a child in her arms with joined hands, the child's head of triangular section similar to the mother goddess' long nose, flanked by pierced eyes, the face framed by long strands of hair and large ears, an incised necklace around her neck, wearing a cowl around her head and shoulders, with details painted in black and red.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition, commensurate with age. Extensive wear, minor losses, expected old fills and repairs, nicks, scratches, signs of weathering and erosion, encrustations, and structural cracks.Weight: 1,294 gDimensions: Height 22 cmThe Indus Valley Civilization was a Bronze Age civilization in the northwestern regions of South Asia, lasting from 3300 BCE to 1300 BCE, and in its mature form from 2600 BCE to 1900 BCE. Together with ancient Egypt and Mesopotamia, it was one of three early civilizations of the Near East and South Asia, and of the three, the most widespread. Its sites spanned an area from northeast Afghanistan and much of Pakistan to western and northwestern India. The civilization flourished both in the alluvial plain of the Indus River, which flows through the length of Pakistan, and along a system of perennial monsoon-fed rivers that once coursed in the vicinity of the Ghaggar-Hakra, a seasonal river in northwest India and eastern Pakistan. The cities of the ancient Indus were noted for their urban planning, baked brick houses, elaborate drainage systems, water supply systems, clusters of large non-residential buildings, and techniques of handicraft and metallurgy. Mohenjo-daro and Harappa very likely grew to contain between 30,000 and 60,000 individuals, and the civilization may have contained between one and five million individuals during its florescence. It is also known as the Harappan civilization, after its type site Harappa, the first to be excavated early in the 20th century in what was then the Punjab province of British India and is now Punjab, Pakistan. The discovery of Harappa and soon afterwards Mohenjo-daro was the culmination of work that had begun after the founding of the Archaeological Survey of India in the British Raj in 1861. There were earlier and later cultures called Early Harappan and Late Harappan in the same area. The early Harappan cultures were populated by Neolithic cultures, the earliest and best-known of which is Mehrgarh, in Balochistan, Pakistan. Harappan civilization is sometimes called Mature Harappan to distinguish it from the earlier cultures.Literature comparison: Compare three related terracotta fragments of mother goddess figures, dated 2500-2000 BC, in the British Museum, registration number 1939,0619.205. Compare a related terracotta figure of a seated mother goddess, 13.3 cm high, dated ca. 3000-2500 BC, in the Metropolitan Museum of Art, accession number 2001.305. Compare a related terracotta figure of a seated mother goddess, 8.6 cm high, dated ca. 3000-2500 BC, in the Metropolitan Museum of Art, accession number 2001.306.

A PAINTED TERRACOTTA FIGURE OF A HUMPED OX, MOHENJO-DAROIndus Valley Civilization, ca. 2600-1900 BC. Well modeled standing foursquare on a rectangular stepped base, a snake writhing along the edge of the base and the ox's front legs, the head with pierced eyes and muzzle, further modeled with a short tail, the terracotta detailed with neatly painted geometric designs.Provenance: Bruno Cooper, Norwich, United Kingdom, 2010. Paolo Bertuzzi, acquired from the above. A copy of the original invoice from Bruno Cooper, dated 4 December 2010 and addressed to Paolo Bertuzzi, stating a purchase price of EUR 3,500 or approx. EUR 4,600 (adjusted for inflation at the time of writing), accompanies this lot. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition, commensurate with age. Extensive wear, minuscule nicks, losses, expected old fills and repairs, signs of weathering and erosion, encrustations.Weight: 610.2 gDimensions: Length 17.5 cmThe Indus Valley Civilization was a Bronze Age culture in the northwestern regions of South Asia, lasting from 3300 BCE to 1300 BCE, and in its mature form from 2600 BCE to 1900 BCE. Together with ancient Egypt and Mesopotamia, it was one of three early civilizations of the Near East and South Asia, and of the three, the most widespread. Its sites spanned an area from northeast Afghanistan and much of Pakistan to western and northwestern India. The civilization flourished both in the alluvial plain of the Indus River, which flows through the length of Pakistan, and along a system of perennial monsoon-fed rivers that once coursed in the vicinity of the Ghaggar-Hakra, a seasonal river in northwest India and eastern Pakistan. The cities of the ancient Indus were noted for their urban planning, baked brick houses, elaborate drainage systems, water supply systems, clusters of large non-residential buildings, and techniques of handicraft and metallurgy. Both Mohenjo-Daro and Harappa likely grew to a size of 30,000 and 60,000 individuals, and the civilization may have contained between one and five million total population during its florescence. It is also known as the Harappan civilization, after its type site Harappa, the first to be excavated early in the 20th century in what was then the Punjab province of British India and is now Punjab, Pakistan. The discovery of Harappa and soon afterwards Mohenjo-Daro was the culmination of work that had begun after the founding of the Archaeological Survey of India in the British Raj in 1861. There were earlier and later cultures called Early Harappan and Late Harappan in the same area. The early Harappan cultures were populated by Neolithic civilizations, the earliest and best-known of which is Mehrgarh in Balochistan, Pakistan. Harappan civilization is sometimes called Mature Harappan to distinguish it from the earlier cultures.Mohenjo-daro is an archaeological site in the province of Sindh, Pakistan. Built around 2500 BCE, it was the largest settlement of the ancient Indus Valley Civilization, and one of the world's earliest major cities, contemporaneous with the civilizations of ancient Egypt, Mesopotamia, Minoan Crete, and Norte Chico. With an estimated population of at least 40,000 people, Mohenjo-daro prospered until around 1700 BCE. The city was abandoned in the 19th century BCE as the Indus Valley Civilization declined, and the site was not rediscovered until the 1920s. Significant excavation has since been conducted at the site of the city, which was designated a UNESCO World Heritage Site in 1980, the first site in South Asia to be so designated.Literature comparison: Compare a related terracotta figure of a bull, 7.5 cm long, also dated 2600-1900 BC, in the British Museum, registration number 1986,1018.2009. Compare a related terracotta figure of a lion, 10 cm long, in the Lahore Museum, Pakistan, no. P1479.

A THREE-TIERED WHITE AND RUSSET JADE CONG, LATE LIANGZHU CULTURE 良渚文化末期白玉琮China, c. 2600-2300 BC. Of square section, each corner worked with three registers of stylized animal masks, the four corners divided by gently recessed vertical bands to the center of each side. The originally opaque white jade now of a white, creamy beige and reddish-black tone with numerous dark veins, scattered speckles and russet patches. Provenance: Daniel Milano, Paris, 2002. Paolo Bertuzzi, acquired from the above. A copy of the original invoice from D. Milano, dated 20 October 2002, describing the present lot as a Jade Cong from the Liangzhu culture, and stating a purchase price of EUR 9,500 or approx. EUR 14,000 (adjusted for inflation at the time of writing), accompanies this lot. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy, and the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Condition overall commensurate with age, with extensive weathering, erosion and associated losses, areas of calcification and alteration, smoothened chips, and natural fissures, some of which have developed into cracks over time. Displays magnificently, with the colors of the jade in remarkable natural harmony.Weight: 230 gDimensions: Height 8.2 cm Expert's note (added 20.2.2023): Compare with a two-tiered cong-form bead published in Liangzhu Wen Hua Yu Qi (see image section). Both examples carved from a very similar pitted, creamy-colored stone with iron and burgundy inclusions.The present jade displays the distinctive characteristics of cong vessels from the Liangzhu culture, with a square outer section around a circular inner tube, decorated with stylized masks neatly arranged on each of the four corners.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 November 2017, lot 2710 Price: HKD 8,500,000 or approx. EUR 1,138,000 converted and adjusted for inflation at the time of writing Description: An exceedingly rare nine-tiered jade cong, late Liangzhu culture, circa 2600-2300 Expert remark: While this cong is larger (23.5 cm) than the present lot, the stylized masks are less rudimentarily carved. The similar colors of the stone and especially the closely related marks of weathering and erosion indicate that this example and the present lot may have been excavated not far away from each other.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 27 November 2019, lot 2721 Price: HKD 275,000 or approx. EUR 35,500 converted and adjusted for inflation at the time of writing Description: A fragment of a green jade cong, Liangzhu culture, circa 3300-2300 BC Expert remark: Compare the related signs of weathering and erosion. Note the smaller size (5.5 cm) and that this cong is only a fragment.Auction result comparison:Type: RelatedAuction: Christie's New York, 25 September 2020, lot 1701Price: USD 8,125 or approx. EUR 9,100 converted and adjusted for inflation at the time of writingDescription: A mottled opaque jade or hardstone four-tier cong, Neolithic Period, Liangzhu Culture, 3rd millennium BCExpert remark: Compare the related decoration. Note the slightly larger size (12.8 cm), the related signs of weathering and erosion, and the description of the material as "jade or hardstone".良渚文化末期白玉琮中國，公元前 2600-2300 年。内圓外方筒形禮器，每個角都有獸面紋。不透明的玉料現在呈現出白色、乳白色和紅黑色調，帶有深色紋理、散落的斑點和赤褐色斑塊。 來源：Daniel Milano，Paris，2002年。Paolo Bertuzzi購於上述收藏。隨附D. Milano2002年10月20日出具的賬單複印件，上面描述為良渚文化玉琮，價格為 EUR 9,500，相當於現在的 EUR 14,000 (根據通貨膨脹情況)。Bertuzzi (1943-2022年) 是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：總體狀況良好，大面積風化、侵蝕和缺損，有鈣化和蝕變區域，一些天然裂紋已經隨著時間的推移發展成裂縫。 整體色彩斑駁，與玉石的色彩渾然天成。 重量：230 克 尺寸：高8.2 厘米 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2017年11月29日，lot 2710 價格：HKD 8,500,000（相當於今日EUR 1,138,000） 描述：公元前2600-2300年良渚文化玉琮 專家評論：此琮尺寸較大(23.5 厘米)，雕刻較簡單。相似的玉石顏色，特別是非常相近的風化和侵蝕的痕跡表明，此玉琮和現拍品可能是在距離彼此不遠的地方被挖掘出來的。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2019年11月27日，lot 2721 價格：HKD 275,000（相當於今日EUR 35,500） 描述：公元前3300-2300年良渚文化綠玉琮殘片 專家評論：比較相近的風化和侵蝕的痕跡 。請注意尺寸 (5.5 厘米)較小，且為殘片。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2020年9月25日 價格：USD 8,125（相當於今日EUR 9,100） 描述：公元前三世紀良渚文化新石器時代玉或硬石琮 專家評論：比較相近的裝飾。請注意尺寸 (12.8 厘米)稍大，相近的風化和侵蝕的痕跡， 以及可能是玉或硬石。

A LOT WITH EIGHT ANCIENT CHINESE JADE BEADSChina, presumably Neolithic, 3rd millennium BC. Different in size and of irregular cylindrical shape, the opaque stones of a variegated green and light brown color with cloudy white inclusions. Broad central drillings showing ancient toolmarks.Condition: Very good condition, with wear and weathering. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 629.5 g Dimensions: Length 4.2 cm - 5.6 cm

A PAIR OF DARK GREEN JADE COLLARED DISCS, BI, LATE SHANG DYNASTY 商末一對玉璧China, c. 1200-1050 BC. Of circular form, the central aperture carved with a rounded rim projecting from both sides of the flat disc. The dark green stone covered in opaque white calcification. (2)Provenance: Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition with old wear, signs of weathering and erosion, white calcification overall, and small chips to the rims which have smoothened over time. The stones with natural fissures.Weight: 42.4 g and 40 g Dimensions: Diameter 10.6 cm and 10.9 cmLiterature comparison:Compare a closely related jade bi disk with collar, dated to the late Shang dynasty, 1200-1050 BC, in the British Museum, registration number 1937,0416.252.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 18 March 2014, lot 133 Estimate: USD 20,000 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: A jade collared disc (bi), Shang dynasty Expert remark: Compare the closely related form with a similar rounded collar. Note the slightly larger size (16 cm) and different color.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 23 September 2020, lot 573Price: USD 15,120 or approx. EUR 17,000 converted and adjusted for inflation at the time of writingDescription: A jade disc, Shang dynastyExpert remark: Compare the closely related form, collar, and size (10.7 cm). Note the different color.商末一對玉璧 中國，公元前1200-1050 年。扁圓，中心孔刻有圓形邊緣。深綠色的石料覆蓋著不透明的白色鈣化物。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：狀況良好，有磨損、風化和侵蝕的跡象，整體鈣化呈白色，邊緣有小缺口，隨著時間的推移已經變得光滑。石料有天然裂縫。 重量：分別爲42.4 克與40 克 尺寸：直徑10.6 厘米與10.9 厘米 文獻比較： 比較一件非常相近的公元前1200-1050年商代晚期玉凸唇璧，收藏於大英博物館，館藏編號1937,0416.252。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2014年3月18日，lot 133 估價：USD 20,000（相當於今日EUR 24,000） 描述：商玉凸唇壁 專家評論：比較非常相近的外形和相似的凸唇。請注意尺寸(16 厘米) 稍大和不同顏色。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2020年9月23日，lot 573 價格：USD 15,120（相當於今日EUR 17,000） 描述：商玉環 專家評論：比較非常相近的外形、凸唇和尺寸(10.7 厘米)。請注意不同顏色。

A TIGER-SHAPED PENDANT, SPRING AND AUTUMN PERIODJade. China, Eastern Zhou, Spring and Autumn, 6th - 5th century BCPublished: Filippo Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, pp. 176-177, no 194.Finely carved as a tiger with slightly arched body, curling tail and paws. Two holes are drilled in the tail and in the head. The design is rather sketchy, with just a couple of indentations to suggest the mouth and chin that are highlighted by the curls incised on the surface. The body is completely covered with variously shaped scrolls, some resembling stylized dragon heads, interspersed with striped bands and scale-like motifs. These additional elements of the design suggest that the pattern is actually a mixture of different though unrecognizable animals. The translucent stone is of green tone with brownish shadings and areas of calcification.A tiger-shaped jade carved with a similar surface decoration was excavated in 1992 at Yimen, Baoji, Shaanxi, from a 6th century tomb (M2:128) of the Qin state, which eventually unified China at the end of the Warring States period. Still in 1992, two other examples, identical to the one from Baoji, were discovered in southern China in a late Spring and Autumn tomb at Hushuguan, Zheshan, near the city of Suzhou, Jiangsu province, within the realm of the ancient Wu state.LENGTH 7 cmProvenance: Private Collection of Irene and Wolfgang Zacke (1942-2022).

Brass sovereign scale and brass mesh card case