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Derek Inwood (1925-2012). Oil on board, Abstract, unframed,Size approximately: 31x41cm

A GROUP OF FOUR ARCHAIC BELT HOOKSEastern Zhou/Han DynastyComprising a large iron belt hook, inlaid in gold and silver with geometric patterns, 25.3cm (10in) long; a bronze belt hook inlaid in silver with archaic and abstract patterns, 13.4cm (5 1/4in) long; a bronze belt hook inlaid with turquoise, silver and gold forming a pattern of ovoid lozenges, 19cm (7 1/2in) long; a bronze belt hook decorated with turquoise stones and traces of gilt, 18.8cm (7 3/8in) long; each cast with a beast-head finial and a raised button on the reverse of the arched body. (4).Footnotes:東周/漢 錯金銀鐵帶鉤 錯銀銅帶鉤 鎏金嵌綠松石帶鉤 及錯金銀嵌綠松石銅帶鉤 一組四件Originally used by the Northern grassland ethnic groups, belt hooks entered the Central Plains during the Spring and Autumn period. They soon became popular among the elites, evolving into a symbol of social status by the Warring States period. Compare the bronze belt hook inlaid in silver with a similar one, Warring States, illustrated in The Complete Collection of Bronzes Unearthed in China: Henan II, vol.10, Beijing, 2009, p.463, pl.505. See four related belt-hooks, Zhou dynasty, illustrated by P.K.M. Kwok, Dialogue with the Ancients: 100 Bronzes of the Shang, Zhou, and Han Dynasties, Hong Kong, 2018, pp.346-352.See also a related silver-inlaid bronze belt hook, Warring States Period, which was sold at Bonhams London, 9 May 2022, lot 265.For further information on this lot please visit Bonhams.com

A 1960S ABSTRACT RING SET WITH A AMETHYST AND SIGNED Br.J 14CT GOLD SIZE N 6.7 GMS

Miles Bodimeade - a modern carved stone sculpture of stylized head form, height 23cm, together with another stylized torso and a carved wooden abstract sculpture by Matt Bodimeade, length 41cm. Provenance: collection of notable Arundel based artist Ann Sutton O.B.E.

Vintage Betty Barclay Ladies Jacket, cream and black abstract pattern, button front, fully lined, approx. size 8-10.

A 1970's Troika Pottery 'coffin' vase with moulded abstract decoration and hand painted finish - decorator's monogram for Louise Jinks

A small Poole Pottery dish with abstract coloured glaze decoration on an orange/red ground

Marianne De Tray: a porcelaneous Studio Pottery bowl of conical form with hand painted abstract leaf decoration

A large Chinese painted pottery jar Neolithic period, Majiayao Culture, Machang Phase (2200 - 2000 BC),Painted to the ovid body with four circles of abstract cross in geometric design, with two strap handles, 40 cm high.馬家窯文化 馬廠類型 彩陶大罐

FIVE ABSTRACT OIL PAINTINGS (FOYER)

TWO MID CENTURY WALL ARTS, ABSTRACT framedthe larger 54cm x 54cmQty: 2

A 9ct gold brooch of abstract scroll design, total weight 7.5g, length 5cm.

A mid Century Danish rosewood occasional table, the top set with a beige glaze ceramic panel with abstract brown design all within a rosewood frame, raised to four square section legs, height 35cm, width 74cm, depth 74cm.CITES ARTICLE 10 LICENCE HELD

A 1950s clear cut crystal glass vase by Waterford, the tall ovoid body with polished printie panels and mitre lozenge cuts in a repeat abstract design, height 26cm, unmarked.

Two later 20th Century Poole Pottery pillow vases, decorated with abstract patterns over the red and blue ground, heights 18cm and 26cm. (2)

A later 20th Century glass wall hanging by Keith Brocklehurst, in the form of an abstract face made from Bullseye Glass in yellow with a black and orange flash and a stylised orange lizard, together with a green example with red, green and blue abstract motifs. (2)

A later 20th Century glass wall hanging by Keith Brocklehurst, in the form of an abstract face made from Bullseye Glass in red, black and white, together with a pink, yellow and blue example decorated with a red and black lizard, widest 20cm. (2)

A 1960s/70s vintage blue chiffon midi dress with high neck, long sheer balloon sleeves, with a layered flared skirt with amethyst bias binding trim, retains neck tie, bears Marcel Fenez label, approximate size 8, together with a 1960s vintage sheer minidress with long sleeves, high neck, and flared pleated skirt with ruffle band all in a bold abstract pattern in pink, purple and yellow, approximate size 6-8. (2)

M Wilkinson - An abstract oil on canvas, signed lower right. Approx. 69cm x 69cm.

A mixed lot to include; a dragon handle Oriental Ivory water jug by Bishop, approx. 24.2cm high (cracks, crazing and wear), a modern Denby stoneware vase with abstract triangular design, approx. 26.5cm high, a modern Chinese green pottery, torso shaped vase with brown relief collar top and central medallion like amulet, unmarked, approx. 41cm high. Along with a late 19th/early 20th century lacquered wooden small cabinet with metal mounts and bird and foliage design to front doors, inside with three drawers, approx. 18cm high x 17.4cm wide (lots of wear, loss to areas, no handles, missing areas etc).

A Joseph Ribkoff dress in a silk abstract design in a colourway of turquoise, green, navy, black, orange, purple etc on a white background, size 14, fully lined, sleeveless, calf length, 1980/90. A Jean Allen dress, size 14, the top in cream satin has shoestring straps and ribbed design bodice in cream satin (slight wear under each arm), and the navy blue skirt is Empire line, metal zip (1960s). A Betty Jackson 1980s purple sleeveless dress with wide lapels, fully lined in black/graphite, with wide belt, kick pleats, two slit pockets, calf length, size 10. A Leifsdottir silk floral dress in a colourway of burnt orange, pink and royal blue poppy design on a beige background, with gathered waistband, long sleeves on an elasticated cuff and cutaway detail on high yoke, size 10. (4)

A large remnant in 100% cotton by Tibor of Stratford in the 1970s, the abstract pattern is in a colourway of turquoise and lime green on a royal blue and midnight blue background depicting water lilies, approx 2 yards.

A mid 20th Century oil on board abstract of Kumast market by Edna Nyarko Fianko (Ghanaian, C1965) in original frame, 44cm x 84c,.

Richard Barnard (Northamptonshire abstract artist, late 20th century) - seven framed and glazed watercolours, three larger entitled "Garden Party", "March Musique", and "Charwelton", four smaller entitled "Henry's Privy", "Dezanbefiote" and "Tamina & The Serpent", other untitled. (7)

  An Osprey of London leather make-up bag, useful as a purse, for small documents or even a mobile. The leather outer is fashioned in a square design with colourful lining in an abstract design. It is in its original box and never used. (1)

This handmade pendant is crafted by a master artisan using a canvas of niobium to depict an abstract flower with brilliant iridescent colors. The chain is sterling silver stamped 925 on the clasp and measures 20"L end to end, but can be adjusted shorter. Country of Origin: United StatesManufacturer: Holly YashiCondition: Age related wear.

This handmade pendant is crafted by a master artisan using a canvas of niobium to depict an abstract flower with brilliant iridescent colors. The chain is gold-washed sterling silver stamped 925 on the clasp and measures 20"L end to end, but can be adjusted shorter. Country of Origin: United StatesManufacturer: Holly YashiCondition: Age related wear.

James F T Morrison RSA RSW LLD (British, 1932-2020)Abstract landscape signed and dated 'Morrison 1965' (lower left)oil on board61 x 75cm (24 x 29 1/2in).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

A DIAMOND SET BROOCH, of abstract design, depicting two figures embracing, mounted in 18ct white and yellow gold.

A YELLOW GOLD RING, of unusual abstract form, in 14ct gold, 31.6 g., size L

ATTRIBUTED TO JESSE WATKINS (BRITISH, 1899-1980)Untitled, Abstract form signed with initials and dated 'JW 62' (verso) and further signed with initials 'JW' (to base) bronze 32.5cm high x 19cm wide ARR

A LARGE ABSTRACT BRONZE INDIAN ARCHER on a marble base. 70cms high.

Downame (George). An Abstract of the Duties Commanded, and sinnes forbidden in the Law of God, 1st edition, London: Felix Kyngston, 1620, title with woodcut printer's device, woodcut initials and headpiece, wormhole to gutters (becoming worm trails towards rear), stitching broken, inside rear cover with early ink manuscript annotations, contemporary calf gilt, text block loosening from cover, worn, small 8voQTY: (1)NOTE:ESTC S117549.George Downame, or Downham (circa?1566—1634) was an author of influential philosophical and religious works who served as Bishop of Derry during the early years of the Plantation of Ulster. He is said to have been a chaplain to both Elizabeth I and James I.

An 18ct gold John Donald abstract crucifix pendant on chain, the chain with bolt ring clasp stamped '9k', within John Donald box, total weight approx 8g

A large Chinese painted pottery jarMajiayao culture, Banshan - Machang phase, c. 2600-2000 BC.Typically painted with abstract red and black slip motifs to the rounded shoulder above a pair of loop handles, 32cm high.Provenance: Mu-Fei Collection.馬家窯文化 彩繪陶罐來源：木扉收藏。

A Finnish Björn Weckström gold and tourmaline ring in an abstract design, mounted with a tourmaline crystal, detailed ‘750 Finland’, weight 7.6g, ring size approx M1/2.

Theodore Mendez - Abstract Composition, mixed media on panel, signed and dated 1993 verso, 18cm x 23.5cm, together with two similar works by the same hand.

Sabir & Svetlana Gadzhiev – ‘Full Moon’, 21st century mixed media print with acrylic, from an edition of 15, sheet size 29cm x 39cm, within an ebonized frame, together with two ink drawings by Stan Smith and Karolina Gassner, a colour print by R.P. Brooks, three mixed media prints by Chloe McCarrick, and an acrylic abstract by Karolina Gassner.

A Trio Of House/Techno 12" to include; King Of Brazil - Forms Of Expression (1st/Only Press, TGR002); Electrospy - Voice (1994 UK, BCR001, Only 1500 Pressed); Abstract Minds - Future (1991 UK 1st/Only Press, AMS 01); All Vinyl Conditions Very Good to Very Good Plus with generic black sleeves. 

A Paul Cardew geometric and abstract teapot, cream jug and four cups and saucers

Burton, watercolour and pen, signed, dated **90, 'Earl Attlee and Ernest Hornsby', 19 x 42cm and G.B.Brocon, lithograph, dated **59, 'Abstract Harbour View', 43 x 52cm

A retro 20th century studio art pottery lamp in the manner of Troika. The lamp having a elongated neck with square base with abstract decoration the front. Signed to the base. Sold as untested. Measures approx. 75cm x 16cm 9cm. 

Contemporary oil on canvas abstract painting. Depicting a theatre front / Broadway show in a busy city with figures to front in a raining environment. Measures 120cm x 101cm

Danish Modern Design - A Danish style teak and brass floor standing standard lamp. With light fixing to top, curved wooden abstract design to metal central column with wooden circular base. Measures approx. 143cm tall

A pair of Chinese bangles with a chased abstract design, stamped with a Chinese character "2 90%" (2)total approx. weight 13.5gCondition: Bangles are misshapen, viewing recommended in person.

An abstract seed pearl brooch of scrolling open work design, with seed pearl terminals, tests as high carat total approx. diameter 3.5cm, total approx. weight 19.9gCondition:

James Tower. (1919-1988) A footed earthenware bowl c.1955of tapering form, decorated with an abstract design of circles and dots in brown over a white tin glaze, painted signature diameter 19cm., height 12.5cm.Condition: Fine hairline crack running down the side approx. 6.5cm. otherwise free from chips or damage

A collection of 9ct gold jewellery pair of 9ct gold and pearl set oyster shaped ear-clips, of abstract design, stamped with hallmarks; 9ct gold and pearl set open-work ring, stamped with Birmingham hallmarks; 9ct gold and pearl set floral stick pin, stamped with hallmarks and a tiger brooch, with red gem set eyes, stamped with hallmarks (4)ring size N, total approx. weight 24.6gCondition:

Brian Willsher (British, 1930-2010)'Untitled', A large abstract composition layered hardwood sculpture of waisted linear form, signed in pen to underside Brian Willsher 1993height 58.8cmCondition: Good condition. No apparent issues

Maroon colored thick crystal. The Ariel technique involves trapping a layer of air within the glass, resulting in unique patterns that can resemble windows or abstract designs. Orrefors and artist signed. Artist: Edvin OhrstromIssued: 20th centuryDimensions: 4''H x 6.5''diaManufacturer: OrreforsCountry of Origin: SwedenAge related wear.

Abstract swirled, multicolored glass holders for tealights or candles. Set includes 2.5", 5.5" and 7.75"H. Kosta Boda mark. This item has its original box: 7"L x 8.5"W x 3.25"H. Artist: Anna EhrnerIssued: 21st centuryDimensions: 7.75"H x 2.75" dia.Manufacturer: Kosta BodaCountry of Origin: SwedenAge related wear.

A small brown mottled glaze vessel with an abstract geometrical pattern. Saxbo impressed stamp. Artist signed. Artist: Edith SonneIssued: 20th centuryDimensions: 2.75"W x 4.5"HManufacturer: SaxboCountry of Origin: DenmarkAge related wear.

An assortment of abstract polychrome spheres. A pink floral one made by Bart Zimmerman in 2004. An iridescent swirl created by Levay Art Glass. A Murano glass by Fratelli Toso with five pink and white millefiori beads. A single pale pink flower, and a small paperweight with red-yellow stars. The largest measures: 3.25"W x 2.75"H. Age related wear.

A small white hand painted double-spout vase decorated with an abstract leaf design in brown and black colors. Artist: B. KaiserDimensions: 3.5"L x 3"W x 5.75"HAge related wear.

Hand blown desk decor clear glass with abstract polychrome interior. Artist signed. Artist: James R. WilbatIssued: 2000Dimensions: 5.25"L x 2.5"W x 4.25"HManufacturer: Studio Art GlassCountry of Origin: United StatesAge related wear.

White hand painted polychrome double spout vessel featuring an abstract bird in black and brown colors. Artist signed on the underside. Artist: B. KaiserDimensions: 6"L x 4.75"W x 11.5"HAge related wear.

Hand painted white double-spout vessel decorated with an abstract foliate design in black and brown colors. Artist signed on the underside. Artist: B. KaiserDimensions: 5.25"L x 4.25"W x 8"HAge related wear.

AN 18K GOLD NECKLACE, BRACELET, BROOCH AND EARCLIPS EN SUITE, BY CHAUMET, CIRCA 1970 Each composed of openwork square and round links of abstract design, with polished and matt finish, earclips of square-design, each in 18K gold, each signed Chaumet, with maker’s mark 'JC' for Joseph Chaumet, French assay marks, with maker's pouch, necklace length 66.5cm, bracelet length 18.3cm, brooch length 8.7cm, width 6.2cmm, ear clips length 3.2cm (brooch can be worn as the pendant of the necklace) Established in 1780 by Marie-Étienne Nitot, Chaumet evolved into Europe's premier jeweller under his skilful craftsmanship. Successive generations, including François-Regnault Nitot and Joseph Chaumet, furthered the legacy, pioneering opulent designs and expanding clientele to include royalty. Embracing Art Deco and the Roaring Twenties, Chaumet's creations evolved with fashion while maintaining a blend of tradition and modernism, captivating a global audience. Continuing the legacy of excellence, Chaumet's esteemed designers and jewellers, including the likes of Pierre Sterlé and René Morin, upheld the Maison's iconic style while infusing it with a contemporary twist. The 1970s epitomised a time of experimentation and liberation. Across music, politics, fashion, ideals, and space exploration, every realm offered avenues for fresh encounters. Embracing change and exploring uncharted territories required the emergence of new identities, artisans, and visionary thinkers pioneering innovation. These trailblazers significantly influenced the trajectory of jewellery history, they contributed to pivotal moments through advancements in technique, the introduction of novel aesthetics, and the embrace of liberated concepts. In a bold move that reshaped the landscape of jewellery, Chaumet introduced the Arcade, a revolutionary store concept, in 1970, redefining the very essence of luxury shopping. Amidst whispers in the press, Chaumet entertained the idea of crafting a novel sales unit devoted to jewellery and contemporary living. The Chaumet brothers entrusted Agence Bernard Cognard with the task of envisioning this modern realm. The interior designer faced the challenge of giving the Arcade its own architectural identity separates from the historic boutique. They strategically placed a central showcase pillar in one of the twin arcades, creating an open space reminiscent of an art gallery. Black and Orly blond anodized aluminium materials contrasted with Place Vendôme's traditional aesthetics, while frameless windows added an ethereal touch. Inside, the Arcade was designed as a sanctuary for a modern lifestyle, with elements like beige sofas and Chinese lacquer accents blending in hues of rye, amber, and black. Inspired by decades design, the space was engineered for adaptability, with ceiling-mounted rails and wheeled display units. The Arcade symbolized a global transformation during a crucial period in the Maison’s history and the realm of French jewellery craftsmanship. Its design reflected innovative approaches to presenting, selling, and purchasing jewellery, aligning seamlessly with the evolving lifestyle of the 1970s. Despite the coordination of traditional boutiques alongside the Arcade, both units featured their collections in unified sales catalogues. What may appear counterintuitive by contemporary standards was viewed differently in that era. The Arcade spearheaded future advancements for Chaumet and other leading jewellery houses, showcasing iconic collections like Liens and Labyrinthe. At the core of this progressive approach lay experimentation, artisans were granted full creative autonomy, both within the design studio and workshop. This freedom extended to the extent that they appropriated the use of gold nuggets, dubbing their finishing technique the Arcade polish. Gold underwent various treatments, including hammering, polishing, texturing, brushing, and assuming organic forms, moulding itself to the wearer's skin. These creations, blurring the boundaries between traditional jewellery and art, challenged conventions through their innovative designs. The advertising for the Arcade embodied dynamic design, strategically crafted to ward off monotony. This evolution extended beyond mere sales catalogues, encompassing architectural concepts, graphic branding, and the structural organization of boutiques into separate sections such as Chaumet High Jewellery, the Chaumet Arcade, and the enduring Chaumet watches. The “Labyrinthe” collection, made of transformable necklace, bracelet, pendant and brooch. It was made between 1970 and 1980 and sold at l’Arcade.

A DIAMOND AND GOLD ZODIAC PENDANT, BY FRED PARIS, CIRCA 1975 The rectangular plaque depicting the Aries zodiac sign, the horn highlighted with brilliant-cut diamonds, within a textured gold frame and bale, mounted in 18K gold, signed Fred, with maker's mark 'Sté LFV' for Lasbleiz Fournier Vitiello, French assay mark, length (including bale) 5.3cm Lasbleiz Fournier Vitiello was a Parisian workshop founded in 1962 and worked for prestigious jewellery houses such as Fred, Van Cleef & Arpels, René Boivin amongst others. Striking a balance between timeless tradition and contemporary flair, the renowned French heritage jeweller FRED is celebrated for its distinctively classic yet innovative aesthetic and unparalleled craftsmanship. Founded in 1936 by Fred Samuel, the brand embodies his vision of integrating Jewellery seamlessly into everyday life, a philosophy that continues to shape FRED's design ethos. Born in 1908 in Argentina to a family deeply involved in the diamond, pearl, and multi-coloured stone trade, Samuel cultivated a passion for cultured pearls and emerged as a trailblazer in the industry. Influenced by the maritime landscapes and vibrant hues of his Argentine upbringing, his designs exuded a vivid vitality. In the 1970s, French culture experienced a dynamic and diverse period in design, Jewellery, and fashion. This era was marked by a fusion of traditional elegance with avant-garde experimentation, reflecting the cultural shifts and social movements of the time. In Jewellery design, there was a move towards more unconventional and bold styles. Artisans began to experiment with new materials and techniques, leading to the emergence of avant-garde and abstract Jewellery pieces. FRED continued to set trends with their innovative creations. There was a growing interest effortlessly chic and carefree style, with trends such as bohemian chic and disco glamour gaining popularity. On August 12, 1976, the day dawned with relentless rain. For months, the entire FRED team had diligently prepared for the grand opening of their boutique at the Loews Hotel in Monte Carlo, situated within the principality. Fred Samuel himself meticulously oversaw every detail, from the paintings and wallpaper to the woodwork, windows, and furniture. A special highlight was planned for the esteemed presence of Her Serene Highness, Princess Grace of Monaco, renowned as one of the world's most beautiful and illustrious women. Graciously, the princess accepted the invitation to grace the evening with her presence, accompanied by her eldest daughter, Princess Caroline, then nineteen years old. Notably, Princess Grace had recently witnessed the success of the musical A Chorus Line on Broadway during her visit to New York. In a spontaneous gesture, Samuel arranged for an impromptu stage to be constructed atop the hotel's rooftop swimming pool and engaged a professional troupe to entertain Princess Grace with this special interlude. However, the relentless rain threatened to disrupt the plans. Thankfully, just as the clock struck seven in the evening, the downpour ceased. An hour later, the official car announced the arrival of the two princesses, exuding supreme elegance. In commemoration of this auspicious occasion, Fred Samuel presented Princess Grace with a Scorpio zodiac necklace adorned with meticulously paved rubies. The Princess' penchant for star signs had long been public knowledge: In 1956, Hollywood astrologer and horoscope columnist Carroll Righter was photographed visiting Kelly on the set during the filming of one of her last films, “The Swan.” Shortly after her engagement to Rainier. Righter dedicated one of his columns in the Chicago Tribune to championing the pair’s astrological compatibility, providing details of Kelly’s horoscope over “the last several years.” Then on Saturday November 15,1969, the American film star-turned-princess threw herself one of the most peculiar and extravagant birthday parties in history. Centred around the eighth astrological sign, with a strictly scorpion only guestlist. Mercifully, spouses of Scorpios were also permitted, as were Kelly’s family members. For Fred Samuel, the grand opening of his boutique at the Loews Hotel in Monte Carlo is an apotheosis. “Monte-Carlo marked the course of my career with particular brilliance. It symbolized a key moment in the development of our company and, more secretly, the place where the light of the stones was somehow restored to me. For a moment, I rediscovered the dazzlement of childhood and it seemed to me that beyond and beyond the war, the two halves of my life came together to simply affirm its vocation to the light!”

mixed medial on board, abstract village landscape, signed 'T Yeo' lower left, 20 by 24.5cm, framed and glazed Provenance: Acquired directly from the artist in the 1970's.