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Ca. 100-300 AD An oval carnelian intaglio depicting Eros, the god of love, holding a whip and sitting upon the dolphin's back, finely detailed with its pointed snout and fan tail. The intaglio set in a later Georgian pendant setting and it comes with a modern necklace cord.For similar intaglios see Richer Gisela M. A. - Catalogue of Engraved Gems - Greek, Etruscan and Roman; (Met Museum) nos. 312-314.Size: L:21mm / W:18mm ; 4.92gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 900-1200 AD A Byzantine hand grenade composed of a globular greyish vessel with a short neck, flaring shoulders, and a pointed base.Vessels such as this example are frequently interpreted as an early type of hand grenades. It is believed that these jars could have contained an incendiary agent such as the infamous "Greek fire" which was impervious to water, making them invaluable weapons in naval battles. Unfortunately, the recipe for "Greek fire was lost with the fall of the Byzantine empire, but it was likely a petrolum-based mixture.Size: L:127mm / W:87mm ; 585gProvenance: Private UK collection; formerly acquired on the European art market from pre-2000 collections.

Ca. 800-1000 AD A ceramic grenade, also referred to as a 'Greek Fire'. This hollow vessel has a piriform body, with a short neck and a domed rim. The midsection of the body is decorated with a concave band flanked by two incised horizontal lines of impressed circles.'Greek Fire' was intended to be filled with explosive liquid and a wick and used as a hand grenade. Typically, it was used in naval battles as it could continue burning while floating on the water.Size: L:134mm / W:93mm ; 500gProvenance: Private UK collection; formerly acquired on the European art market from pre-2000 collections.

Ca. 800-1000 AD A ceramic grenade, also referred to as a 'Greek Fire'. This hollow vessel has a piriform body, with a short neck and a domed rim. The body is decorated with large incised concentric circles around the body. "Greek Fire” was intended to be filled with explosive liquid and a wick and used as a hand grenade. Typically, it was used in naval battles as it could continue burning while floating on the water. For similar grenades see Arendt, W. I., Granaten des 13-14. Jahrhunderts, die an der Wolga gefunden sind, Zeitschrift fur Historische Waffen-und Kostumkunde, 11 (1926-8), p.42; cf. Arendt, W., Die Spharisch-konischen Gefasse aus Gebranntem Ton, ibid; Ayalon, D., Gunpowder and Firearms in the Mamluk Kingdom, London, 1956, p.16.Size: L:130mm / W:90mm ; 490gProvenance: Private UK collection; formerly acquired on the European art market from pre-2000 collections.

Ca. 800-1000 AD A ceramic grenade, also referred to as "Greek Fire". This hollow vessel has a piriform body with a short neck and a domed rim. It was intended to be filled with explosive liquid and a wick and used as a hand grenade. Typically, it was used in naval battles as it could continue burning while floating on the water.Size: L:150mm / W:95mm ; 815gProvenance: Private UK collection; formerly acquired on the European art market from pre-2000 collections.

Ca. 900-1200 AD A Byzantine hand grenade composed of a globular greyish vessel with a short neck, flaring shoulders, and a pointed base.Vessels such as this example are frequently interpreted as an early type of hand grenades. It is believed that these jars could have contained an incendiary agent such as the infamous "Greek fire" which was impervious to water, making them invaluable weapons in naval battles. Unfortunately, the recipe for "Greek fire was lost with the fall of the Byzantine empire, but it was likely a petrolum-based mixture.Size: L:140mm / W:97mm ; 830gProvenance: Private UK collection; formerly acquired on the European art market from pre-2000 collections.

Luristan, Ca. 900-700 BC A beautiful cast bronze sword with a tapering, bevelled blade with a raised midrib and an integral handle comprised of a crescent-shaped guard, a long cylindrical grip with two ribs, and finished with a disc pommel. Bronze weaponry production flourished in western Asia, the Aegean, and Mainland Greece from the 2nd millennium BC to about 700 BC, when it was gradually replaced by iron. Swords, spears, and arrows were important symbols of war in Greek Bronze Age societies and served as powerful reminders that authority rested in the hands of those who could earn it.Size: L:530mm / W:53mm ; 500gProvenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market formed in the 1980s.

ONE BOX OF GLASSWARE AND MISCELLANEOUS ITEMS, to include a china table lamp of white carnations, height 42cm to top of light fitting, a metallic wine bottle holder in the shape of a motorbike, John Lewis white teapot and plates, a Susan Dudley 'Devon art' plaster wall plaque of the Greek Goddess Demeter, height 39cm x length 49cm, two marble style resin plinths, height 39cm and 83cm, drinking glasses, etc (s.d) (1 box + loose)

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002),UNTITLED pastel on paper, signed and dated '79image size 54cm x 75cm, overall size 75cm x 95cm Mounted, framed and under glass.Provenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002),UNTITLED pastel on paper, signed and dated '90image size 74cm x 54cm, overall size 93cm x 71cm Mounted, framed and under glass.Provenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002),THE THIRD EYEpastel on paper, signed and dated '70image size 66cm x 50cm, overall size 93cm x 75cm Mounted, framed and under glass. Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.Condition is good overall.

Geo.V Art Deco hallmarked silver Treasury style cigar box, with strap work handle, engine turned decoration and Greek key border by Mappin & Webb Ltd, London, 1926, approx. 40.44ozt, L23.5cm D16cm H13.5cm

* PAUL REID (SCOTTISH b. 1975), CROUCHING WOMAN mixed media on paper, signed image size 40cm x 33cm, overall size 62cm x 53cm Mounted, framed and under glass. Note: Paul Reid is undoubtedly one of the great figurative painters to have emerged out of Scotland in recent years. His personalized interpretations of ancient myths have attracted a growing and enthusiastic audience, with highly successful exhibitions recently held in Edinburgh and Harrogate. A major publication of his work was published by 108 Fine Art in 2006, with an introduction written by His Royal Highness The Prince of Wales and essay by Laura Gascoigne. Paul Reid studied at Duncan Of Jordanstone College Of Art, Dundee from 1994 – 1998. He was awarded a Carnegie Trust Vacation Scholarship and the John Kinross Scholarship. His work is held in numerous public and private collections including JK Rowling and HRH Prince of Wales. In 2002, The New Statesman named him as one of the "Best of New British under the age of 35". In 2004 Paul accompanied HRH The Prince of Wales on a trip to Turkey and Jordan, completing a series of paintings and drawings based on the landscape and people of the areas visited. In 2009 he again accompanied HRH on a visit to Canada. His first public art gallery exhibition was arranged by 108 Fine Art, and toured the UK in late 2007 / 2008. The exhibition charted the development of his work over the previous ten years, with the emphasis on his series of paintings, based on ‘The Minotaur’ and, ‘Circe’. In a review by Iain Gale, “Six of the best painters point the way forward”, in Scotland on Sunday: “Since he burst on to the British art scene three years ago, shaking up received notions of what contemporary art was about, Paul Reid has been gathering a loyal audience with his unique take on the apparently redundant tradition of neo-classical painting. His art is unlike anything else you will see on the contemporary scene. While some others might imitate the old masters, Reid creates his own vocabulary and towers over his rivals through his sheer draughtsmanship and feel for paint. But there is nothing reactionary about this work. Reid is not attempting single-handedly to subvert the current trend for conceptualism, some of which he admits is powerful and valid. Rather he sees himself as part of a bigger picture, using Greek myth as it was originally intended to be used, as a metaphor through which to tap into basic human truths and mysteries.” Paul Reid is represented by The Scottish Gallery (Edinburgh).

Ca. 300-100 BCHellenistic Period A finely rendered Greek Hellenistic gold disc-shaped brooch/pendant, hammered from thin gold, with an agate eye to the centre, along the brooch the front six rows of filigrees move in a wave-like motion. The reverse remains smooth and unworked The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:54mm / W:54mm; 12.25gProvenance: Private London collection of Ancient Art; previously with a London art dealer; acquired from a Japanese collection (1970-2010).

Ca. 200-300 ADA gold ring with a plain band expanding towards an oval bezel inset with carved carnelian intaglio depicting a walking lion on a baseline. For similar lion intaglios see G.M.A. Richter, Catalogue of the engraved gems. Greek, Etruscan and Roman. The Metropolitan Museum of Art, New York, Plate LXI. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elementsSize: D: 15.27mm / US: 4 1/2 / UK: I 1/2; 1.54gProvenance: Formerly in a collection of W. Victor Hruby, 1984.

Ca. 500-700 ADA Byzantine gold ring featuring a discoid bezel joined to a solid round-section hoop, and decorated with a Greek inscription 'OMONOIA', a term that can be translated to 'harmony', 'joined as one' or most charmingly, 'thinking the same thoughts'. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.For similar see:The Metropolitan Museum of Art 18.145.42.Size: D: 13.83mm / US: 2 3/4 / UK: E 1/2; 13.7gProvenance: Formerly in a collection of W. Victor Hruby, 1984.

Ca. 100-300 ADA gold ring comprising a slender hoop with scooped shoulders, supporting raised bezel inset with carnelian intaglio engraved with a Cupid. For similar intaglio see G.M.A. Richter, Catalogue of the engraved gems. Greek, Etruscan and Roman. The Metropolitan Museum of Art, New York, Plate XLII. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elementsSize: D: 18.61mm / US: 8 5/8 / UK: R; 7.79gProvenance: Formerly in a collection of W. Victor Hruby, 1984.

Ca. 100-300 ADA cast bronze figurine of draped Jupiter (Greek Zeus) standing on a disc-shaped base. He holds a patera in his right hand and a palm branch in left. His finely detailed face is framed by a bushy coiffure and a beard.Size: L:Without Stand: 42.8mm / W:27.8mm ; With Stand: 29.91gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 100-300 ADAn intaglio of oval-shape is formed of carnelian. The etched front depicts the dignified countenance of Jupiter (Greek Zeus), the bearded king of the gods who was regarded as the ruler of both heaven and earth. His face presents with a serious expression composed of almond-shaped eyes, a slender nose, a full beard, and a shaggy coiffure bound with a thin headwrap. Size: L:13.9mm / W:12mm ; 1.26gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.

Ca. 400 BCA beautiful example of a Chalcidian helmet. The bowl is forged in one piece, featuring high-arched eyebrows below a peaked raised band; a short teardrop-shaped nose guard extends down from the raised eyes. The articulated crescentic cheek-pieces with contoured edges are attached with metal wires; a hole for the attachment of a chin-strap is visible. Chalcidian helmets are named after similar helmets depicted on pottery vases from the Euboean city of Chalcis. This type of ancient Greek helmet was a lighter and less restrictive form of the Corinthian helmet. The hinged cheek pieces were anatomically formed to fit closely to the face and tended to curve upward towards the eye, where large circular openings provided a wider field of view than the Corinthian helmets. Item comes with a professional historical report from Ancient Report Specialists. For a similar helmet complete with hinged cheek-pieces see: The Walters Art Museum, Baltimore, acc. no. 54.2468.Size: L:420mm / W:160mm ; 2850 (with stand)gProvenance: Private UK collection; formerly with K.A, acquired on the German art Market pre-2000.

Ca. 100 BC - 100 ADA bronze snake-shaped bracelet with carefully modelled head, incised scale details and tapering tail. Snake jewellery was not limited to Egypt in the Ptolemaic and Roman Periods, and, in fact, was not a traditional Egyptian sort of jewellery before the Ptolemaic Period. Jewellery decorated with snakes, appeared in Western Asia from about the eighth century BC, and spread to Greece in the fifth century BC, and came to Egypt mainly with the Ptolemaic Dynasty. In Greek culture there were certainly healing associations with snakes, but there may have been other associations, too.Size: L:43.1mm / W:70.7mm ; 55.34gProvenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1990s.

Ca. 200 BCA gold terminal pendant with a lions-head decorated with an open mouth and suspension loop. The details of the ferocious lion head are chased with stippling on the nose, whiskers and mane. For similar example from Kourion, now in The Metropolitan Museum of Art, see no. 187 in D. Williams and J. Ogden, Greek Gold.Size: L:29mm / W:17mm ; 5.41gProvenance: Private UK collection; from an old British collection formed pre 1980s.

Ca. 100-200 ADA beautifully formed D-shaped, a hollow gold ring with garnet intaglio depicting a bust of God Mercury facing left (Greek Hermes - the messenger god and patron of businessmen), carrying a caduceus with both hands in front of him. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elementsSize: D: 16.1mm / US: 5 1/2 / UK: L; 9.31gProvenance: Property of a London gentleman; formerly in a private London collection, acquired on the UK and international art markets before the year 2000.

Ca. 1000 ADA silver cruciform pendant with scalloped arms and an integral circular suspension loop. The obverse features a stylised figure of Jesus during his crucifixion, the reverse bears Greek script. The Cross, the principal symbol of Christianity, recalls the Crucifixion of Jesus Christ and the redeeming benefits of his Passion and death. The cross is thus a sign both of Christ himself and of the faith of Christians.Size: L:34mm / W:22mm ; 2.82gProvenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1990s.

Ca. 800-400 BCA finely modelled Archaic Eastern Greek or Achaemenid Empire matching pair of gold pennanular earrings. Each earring features a hinged fastening which would have been originally secured with a pin, now missing. The earrings display a slightly bulging at the centre, which can be found also on Cypriot chevron-shaped earrings, dating around the 6th century BC, antecedents of the boat-shaped variety popular in classical times. For a similar item: The British Museum, item 124059. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: Set of 2: L:25mm / W:27mm; 5.1gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.

Ca. 400 BCA carnelian oval-shaped intaglio engraved with a youthful naked male archer with arm outstretched with bow, other hand resting on shoulder. His legs bent at the knee resting behind his front foot. For comparable see: J Boardman Greek Gems and Finger Rings. Size: L:16mm / W:13.3mm ; 0.96gProvenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1980s on the UK art market.

Greek art and architecture. A box.

Greek art and architecture. A box.

Greek art and architecture. A box.

Greek art and architecture. A box.

Greek art and architecture. A box

Two boxes of books on Greece, Turkey, the classical world, Greek art, architecture, history, travel etc, including Minoan and Mycerean art, Greek War of Independence 1821-1833, History of Greece under Turkish Rule to Independence, Freya Stark 'Iona', Smyma 1922, Greece against the Axis, etc etc.

After John Henning the elder (British, 1771-1851): A set of second quarter 19th century cased plaster relief tablets depicting reductions of panels from the Parthenon and Phigaleian entablature friezescirca 1840comprising forty eight tablets contained in eight stackable pine trays within a pine box with hinged front and a removable lid, The pine box: 41.5cm wide, 28cm deep, 18cm high (16in wide, 11in deep, 7in high) Each tray 37.5cm x 25.5cm Footnotes:During the 18th and 19th centuries the interest in classical sculpture was at its height and many original examples and copies adorned country houses and art academies all over Britain. The famous Parthenon frieze formed part of Lord Elgin's collection of Greek sculpture that was first displayed in England at Elgin's London home on the corner of Park Lane and Piccadilly to invited guests from 1808 onwards.John Henning, a Scottish born artist, was one of the first to access the collection and like most who saw it was struck by the beauty of the pieces. He embarked on a project of making models of the Parthenon and Phigaleian friezes, restoring the missing elements, an undertaking which he felt was not only useful for his own artistic gain, but also for pecuniary reasons. His initial studies in ivory were unsuccessful and so he intaglio carved slate which he used as moulds for plaster casting, producing small tablet sections which were sold in boxes. Working for Josiah Wedgwood at the time, Henning took twelve years to complete the reliefs.Henning was known to sign his copies as well as number and label them according to the original location of the friezes on the Parthenon.For further information on this lot please visit Bonhams.com

An Art Deco Chinoiserie lacquered standard lamp. the cream ground with painted and gilt decoration on a square base with a Greek key border, height 162cm.

.PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. An excellent folio softcover edition of the catalogue issued to accompany an exhibition of Pablo Picasso's works of 1969-70 at the Palais des Papes from 1st May to 30th September 1970, held in conjunction with the 24th Festival d'Avignon and curated by Yvonne Zervos, published by Cahiers d'Art, Paris, 1970. The catalogue features an essay, in French, by Christian Zervos, and two colour plates, 165 monochrome plates of paintings and a further 45 of drawings. The presentation copy is beautifully signed and inscribed by Picasso in blue ink to the front free endpaper, 'Pour Marie, Picasso', and dated 4th June 1970 in his hand. Picasso has artistically transformed the first word of the inscription with two concentric circles, perhaps representing a flower. The final numeral of the date is similarly enhanced by Picasso. With an oblong 12mo partially printed label from the Galerie Alphonse Chave in Vence neatly affixed to the verso of the front free endpaper. Bound in the original paper wrappers with blue printed title and spine. A magnificent example of Picasso's signature incorporating an original piece of art. Some very light, extremely minor staining and age wear to the paper wrappers, otherwise VG Yvonne Zervos (1905-1970) French gallery owner and wife of Christian Zervos with whom she was a co-director of Cahiers d'Art. An expert on Picasso, she organised the exhibition of over 200 works by the artist held in Avignon, the promotional poster for the event posthumously honouring Zervos by proclaiming that she conceived and developed the exhibition in tribute to Picasso. Christian Zervos (1889-1970) Greek-French art historian, critic, collector, writer & publisher who founded the magazine Cahiers d'Art and also published a catalogue raisonne on the work of Picasso.

An Art Deco Continental Carved Marble Plaque, Side Portraits of Greek Goddess Salacia, 28cms Square

Zwei attische schwarzfigurige Lekythen. Frühes 5. Jh. v. Chr. Schulterlekythos der Hahnen-Gruppe. H 15,1cm. Auf dem Körper Mänade zwischen zwei Satyrn, auf der Schulter Hahn zwischen Efeublättern. Fuß mehrfach gebrochen und geklebt, fehlende Mündung ergänzt und retuschiert. Weißgrundige Zylinderlekythos. H 15cm. Herakles und der kretische Stier. Fehlende Mündung und Henkel ergänzt und retuschiert, kleine Farbretuschen. 2 Stück! Mit Kopie des Sotheby´s-Kataloges! Provenienz: Aus der Hamburger Sammlung André Hüsken; ex Sotheby´s New York Auktion 8. Juni 1994, Los 375 ( from the Cutler Collection, Scottsdale, Arizona ). Ausgestellt in der Ausstellung The Cutler Collection of Ancient Greek Ceramics im Phoenix Art Museum vom 13. Oktober 1984 bis zum 15. Januar 1985. Zur Hahnen-Gruppe s. E. Haspels, Attic black-figured lekythoi (1936) S. 67 f.; J. D. Beazley, Attic Black-Figure Vase-Painters (1956) S. 466 ff.

* PAUL REID (SCOTTISH b. 1975),CROUCHING WOMANmixed media on paper, signedimage size 40cm x 33cm, overall size 62cm x 53cm Mounted, framed and under glass.Note: Paul Reid is undoubtedly one of the great figurative painters to have emerged out of Scotland in recent years. His personalized interpretations of ancient myths have attracted a growing and enthusiastic audience, with highly successful exhibitions recently held in Edinburgh and Harrogate. A major publication of his work was published by 108 Fine Art in 2006, with an introduction written by His Royal Highness The Prince of Wales and essay by Laura Gascoigne. Paul Reid studied at Duncan Of Jordanstone College Of Art, Dundee from 1994 – 1998. He was awarded a Carnegie Trust Vacation Scholarship and the John Kinross Scholarship. His work is held in numerous public and private collections including JK Rowling and HRH Prince of Wales. In 2002, The New Statesman named him as one of the "Best of New British under the age of 35". In 2004 Paul accompanied HRH The Prince of Wales on a trip to Turkey and Jordan, completing a series of paintings and drawings based on the landscape and people of the areas visited. In 2009 he again accompanied HRH on a visit to Canada. His first public art gallery exhibition was arranged by 108 Fine Art, and toured the UK in late 2007 / 2008. The exhibition charted the development of his work over the previous ten years, with the emphasis on his series of paintings, based on ‘The Minotaur’ and, ‘Circe’. In a review by Iain Gale, “Six of the best painters point the way forward”, in Scotland on Sunday: “Since he burst on to the British art scene three years ago, shaking up received notions of what contemporary art was about, Paul Reid has been gathering a loyal audience with his unique take on the apparently redundant tradition of neo-classical painting. His art is unlike anything else you will see on the contemporary scene. While some others might imitate the old masters, Reid creates his own vocabulary and towers over his rivals through his sheer draughtsmanship and feel for paint. But there is nothing reactionary about this work. Reid is not attempting single-handedly to subvert the current trend for conceptualism, some of which he admits is powerful and valid. Rather he sees himself as part of a bigger picture, using Greek myth as it was originally intended to be used, as a metaphor through which to tap into basic human truths and mysteries.” Paul Reid is represented by The Scottish Gallery (Edinburgh).

A Roman carnelion intaglio set in a modern gold ring Circa 2nd Century A.D.Engraved with a grazing quadruped, set in a Greek style gold box ring with twisted band, scrolling and filigree decoration around the sides and a running gorgon in repoussé on the underside of the base, intaglio 1.5cm long, ring size I, 10.2gFootnotes:Provenance:London art market.Theodore Sarmas (1938-2018) Collection.Gifted to the present owner in the 1990s.For further information on this lot please visit Bonhams.com

A Greek marble alabastron Circa 5th Century B.C.With broad disc rim and single pronounced ridge encircling the upper part of the body, tapering to a rounded base, 10.5cm highFootnotes:Provenance:With Charles Ede Ltd, London. George R. Francoeur Collection, Bloomfield Hills, MI., USA. George R. Francoeur Collection, sold to benefit the George R. Francoeur Scholarship Fund at Cranbook Academy of Art; Hindman Auctions, Chicago, 16 June 2020, lot 36.Private collection, Switzerland.Published:Charles Ede Ltd, Catalogue 162, May 1996, no.46.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Greek black-glazed two-handled vessel South Italy, circa 5th-4th Century B.C. The ovoid body with vertical ribbed decoration, the handles composed of two strips bifurcating to form spurs where they join the flaring rim, 9cm highFootnotes:Provenance:German private collection.With Charles Ede Ltd, London.Acquired from the above on the 25 June 2007.For an example of the type but with one handle see, The Metropolitan Museum of Art, New York, acc.no.1983.571.4.For further information on this lot please visit Bonhams.com

A Roman bronze balsamarium of Antinous Circa 2nd Century A.D.Hollow cast and depicted in herm bust form, emerging from an acanthus plant, wearing a necklace with a central pendant, the hair thick and wavy, his eyes with articulated pupils, the top of the head open, with hoops remaining for the hinged lid, now missing, 10.1cm highFootnotes:Provenance:German private collection, acquired in the 1980s.With Royal Athena Galleries, New York, 2010.English private collection.Anonymous sale; Bonhams, London, 24 October 2012, lot 110.American private collection, acquired from the above sale.Published:Mark Merrony (ed), Mougins Museum of Classical Art, Mougins, France 2011, page 138, no.27.Antinous was the Greek youth from Bithynia who was beloved of the Emperor Hadrian and deified by him after his premature death. For a similar balsamarium, cf. S. Walker and M. Bierbrier, Ancient Faces. Mummy Portraits from Ancient Egypt, London, 1997, pp.192-3, no.262.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A large Roman marble sarcophagus relief panel Antonine Period, circa late 2nd Century A.D.The front section of the sarcophagus carved in high relief with two confronted sea-centaurs in the centre flanked by two nereids each riding a hippocamp, bordered by two similar scenes of a nereid grasping a hippocamp and swimming towards the edge of the panel away from a sea-centaur, multiple erotes cavorting among the figures and swimming in the waves with fish, forming the groundline, 210cm x 45.5cmFootnotes:Provenance: English private collection.Hampel Fine Art Auctions, Munich, September 20th, 2012, nos.663 and 664, illus.Jean-David Cahn, Basel, acquired at the above sale.Sir Peter Jonas (1946-2020) Collection, acquired from the above in May 2013.Not to be confused with Tritons, the Ikhthyokentauroi (Ichthyocentaurs) were a pair of centaurine sea-gods with the upper bodies of men, the lower forequarters of horses and fishtails, their brows crowned with a pair of lobster-claw horns. The pair of fish-centaurs were called Bythos (Sea-Depths) and Aphros (Sea-Foam), they were brothers of the wise centaur Chiron and like him were perhaps regarded as wise teachers.The brothers have mixed origin stories with some saying they are the sons of Poseidon and Amphitrite, or even the Titan Kronos and Nymph Philyra. They are also said to be derived from the Fish-Deities of Syrian mythology which carried Astarte ashore after her birth. In Greek mythology they are also credited with witnessing the birth and assisted in the upbringing of Aphrodite. As a reward for the above the brothers were placed amongst the stars as the constellation Pisces.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 Lot 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

A Greek core-formed glass oinochoe Eastern Mediterranean, mid 6th-early 4th Century B.C.Of dark blue glass, the trefoil mouth edged in yellow, with short neck, the ovoid body with opaque yellow and turquoise spiral trailing, on a pad base with applied arched handle, 7.5cmFootnotes:Provenance:Maurice Mathieu Collection formed in the 1950s.Auction Art Rémy le fur & Associés, Paris, Antiques Art Egyptien, Collection Maurice Mathieu, 10 Oct. 2012, lot 137.Acquired by the present owner from the above.For further information on this lot please visit Bonhams.com

A Large Group of Christie's, Bonhams and Antiquities Dealer Catalogues Including Christie's London Antiquities catalogues dated 16 March 1977, 22-25 April 1978, 20 May 1981, 13 July 1983, 11 July 1984, 12 December 1984, 16 July 1985, 10 December 1985, 16 July 1986 (x2), 10 July 1987, 8 June 1988 (x2), 13 December 1988, 6 June 1989, 12 December 1989, 11 July 1990 (x3), 12 December 1990, 10 July 1991, 2 December 1991 (x2), 8 July 1992, 9 December 1992 (x2), 7 July 1993, 7 December 1994, 25 November 1997, 8 April 1998, 23 September 1998, 27 October 2004, 27 October 2009 and Classical Sculpture from Marbury Hall, 10 July 1987 (x2), The Collection of the Late Henning Throne-Holst, 8 June 1988, Ancient Near Eastern Texts from the Erlenmeyer Collection, 13 December 1988, The Erlenmeyer Collection of Cretan Seals, 5 June 1989, The 'Canford' Assyrian Reliefs, 6 July 1994; Christies New York Antiquities catalogues dated 14 June 1979, 19 June 1985, 14 June 1993, 15 December 1993, 10 June 1994, and Important Tribal Art and Antiquities from the Collection of William A. McCarty-Cooper, 19 May 1992; Bonhams London Antiquities Catalogues dated 4 July 1995, 30 April 1996, 4 July 1996, 26 November 1997, 22 September 1998, 14 May 2003, 29 April 2004, 28 October 2004, 26 October 2007, and The Geddes Collection, 15 October 2008, A Library of Islamic & Indian Art and Antiquities Reference Books, Part I Islamic, 8 October 2009, Part II Antiquities 28 October 2009, The Antiquities sale, de Louxor à Rome, voyage d'un passionné, 7 October 2021; Gorny & Mosch catalogues comprising Hochwertige Münzen der Antike, 17 March 2008, Hochwertige Münzen der Antike Sammlung Karien, 13 October 2008, Antike Münzen und Lots, 13-14 October 2008, Slg. Hüseyin A. Dogan Medaillen auf die tükische Geschichte, 15-16 October 2008, Slg. Russland, 17-18 October 2008; and catalogues from Münzen und Medaillen comprising nos 34 (6 May 1967), and 60 (21 September 1982); Herbert Cahn, Auktion 1 (15 June 1998); Timeline Auctions, 9-12 September 2015 and 24-27 May 2016; Superior Galleries, Fine Antiquities Action, 8-9 June 1993; NFA Classical Auctions, Egyptian, Near Eastern, Greek and Roman Antiquities, 11 December 1991 and Scarabs and Design Amulets: a Glimpse of Ancient Egypt in Miniature, 11 December 1991; Hesperia Arts Auction Ltd, Antiquities, Part I and II, 27 November 1990; Ariadne Galleries, Byzantium: The Light in the Age of Darkness, 2 November 1988-31 January 1989; Ariadne Galleries, Idols: The Beginning of Abstract Form, 30 November 1989-31 January 1990; David Aaron Gallery, IV, 2020, Jean-David Cahn, Tiere und Mischwesen, Katalog 11, December 1999; Münzen und Medaillen, Sonderliste O, December 1972; Edward H. Merrin Gallery, The Majesty of Ancient Egypt and the Classical World, 1986; The Summa Galleries Inc, Catalogue 1: Ancient Art, December 1976; Frederick Schultz/Ancient Art, Egyptian Art: the Essential Object, 28 May-25 June 1987; L'Ibis Gallery Ltd, Deities and Dignitaries in Ancient Egyptian Art, 1989; Gawain McKinley Ltd., Ancient Glass and Glazed Wares, Year 3; Gawain McKinley Ltd., Ancient Glass and Glazed Wares, Year 1; Rupert Wace Ancient Art, Summer 1990; Daedalus Gallery, Selections from the Opening Exhibition; Daedalus Gallery, Father Deities, 24 October-1 December 1990; Palladion, Antike Kunst, Katalog 1976; Nefer Gallery Ancient Art nos 1, 4 (1986) and 9 (1991); R. Nichols, Greek Gods & Goddesses in Miniature: an Exhibition of the Chesterman terracotta collection, 1978; The Fitzwilliam Museum, Classical Heritage: Greek and Roman Art from the Cambridge College Collections, 1978; (QTY)This lot is subject to the following lot symbols: TPTP Lot 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

A collection of reference books and auction catalogues on glass P. Fossing, Glass Vessels Before Glass-Blowing, 1940; S. Matheson, Ancient Glass in the Yale University Art Gallery, 1980; F. Fremersdorf, Die Römishcen Gläser Mit Schliff, Benalung und Goldauflagen aus Köln, Band VIII, 1967 (x2); F. Fremersdorf, Das Naturfarbene Sogenannte Blaugruene Glas in Köln, Band IV, 1958; F. Fremersdorf, Römische Gläser mit Fadenauflage in Köln, Band V, 1959; F. Fremersdorf, Römishces Geformtes Glas in Köln, Band VI, 1961 (x2); F. Fremersdorf, Die Römischen Gläser Mit Aufgelegten Nuppen in Köln, Band VII, 1962; Musée du Luxembourg, A l'aube de la France: La Gaule de Constantin à Childeric, February-May 1981; A. von Saldern, Ancient Glass in the Museum of Fine Arts Boston, 1968; P. La Baume, Glas der Antiken Welt I, 1975; E. Riefstahl, Ancient Egyptian Glass and Glazes in the Brooklyn Museum, 1968; D. Harden, Catalogue of Greek and Roman Glass in the British Museum, Vol. I, 1981; A. von Saldern, Glass 500 B.C.-A.D. 1900: The Hans Cohn Collection, 1980; D. Harden et al., Masterpieces of Glass, British Museum 1968; W. Warmus, Emile Gallé: Dreams into Glass, Corning Museum, 1984; D. Whitehouse, English Cameo Glass in the Corning Museum of Glass, 1994; Kunstmuseum Luzern, 3000 Jahre Glaskunst: von der Antike bis zum Jugendstil, 1981; A. von Saldern, Glas-Antike bis Jugendstil, 1995; P. La Baume and J. Salomonson, Römische Kleinkunst Sammlung Karl Löffler, Band III, 1976; Y. Israeli, Ancient Glass Museum Haaretz Collection, 1964; O. Doppelfeld, Das Kölner Diatretglas und die Anderennetz-Diatrete, 1961; Ancient Glass from the Alfred Wolkenberg Collection, Exhibition October 1964-January 1965; M. Vanderhoeven, Verres Romains Tardifs et Mérovingiens du Musée Curtius, 1958; G. D. Weinberg, Glass Manufacture in Hellenistic Rhodes, 1971; M. Newby and K. Painter, Roman Glass: Two Centuries of Art and Invention, 1991; D. Barag, Catalogue of Western Asiatic Glass in the British Museum, Vol. I, 1985; S. Goldstein, Pre-Roman and Early Roman Glass in The Corning Museum of Glass, 1979; G. Eisen, Glass, Vols. I and II, 1927; M. Kovacek, Glas aus 5 Jahrhunderten, 1993; P. Lasarus, Cinzano Glass Collection, 1974; T.S. Buechner et al., Stanislav Libenský, Jaroslava Brychtová: a 40-Year Collaboration in Glass, 1994; C. Sheppard and J. Smith, Engraved Glass: Masterpieces from Holland, 1990; R. Charleston et al., The Glass Circle 1, 1972; Antiquarium Ltd, Reflections of Antiquity Ancient Glass through the Ages, 1989; J. Price, Glass Vessel Production in Southern Iberia in the First and Second Centuries A.D.: A Survey of Archaeological Evidence, 1987; Brooks Memorial Art Gallery, Ancient Glass from the Alfred Wolkenberg Collection, October 1964-January 1965; The Toledo Museum of Art, Museum News, Ancient Glass, Vol. 20, No. 3, 1978; The Corning Museum of Glass Annual Report, 1990; Gallery Mikazuki, An Exhibition of Ancient Near East, Mediteranian Art and Archaeology, 28 March-9 April 1977; Gallery Mikazuki, An Exhibition of Ancient Glass and Glazed Ware collected by G. McKinley and K. Ishiguro, 14-26 July 1975; Smithsonian Institution, Ancient Glass in the Freer Gallery of Art, 1962; Sheppard & Cooper Ltd., An Exhibition of Glass of the Roman Empire, 4-12 December 1976; Sheppard & Cooper Ltd., Roman and Re-Roman Glass An Exhibition, 9-25 November 1978; Sheppard & Cooper Ltd., Glass: the Eighth Wonder of the Ancient World, 1994; Sheppard & Cooper Ltd., Glass of the Dark Ages, 1995; Sheppard & Cooper Ltd., A Collection of Glass from the Etruscan Tombs; Gawain McKinley Ltd., Ancient Glass and Glazed Wares, Year 3 (x2); Gawain McKinley Ltd., Ancient Glass and Glazed Wares, Year 1 (x2); Michael Ward Inc., Ancient Glass and Its Legacy, 1986; Sotheby's London Antiquities Catalogues The Constable-Maxwell Collection of Ancient Glass, 4-5 June 1979; The Krug Collection of Ancient Glass Part II, 7 December 2981; Ancient Glass, 20 November 1987; Important Ancient Glass from the Collection formed by the British Rail Pension Fund, 24 November 1997; Christies London Antiquities Catalogues Ancient Glass, 5-6 March 1985; The Alfred Wolkenberg Collection of Ancient Glass, 9 July 1991; Ancient Egyptian Inlays from the 'Per-neb' Collection, Part II, 7 July 1993; Antiquities and Islamic Works of Art, Sotheby's New York, 2 May 1975 (QTY)This lot is subject to the following lot symbols: TPTP Lot 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

A group of books on Ancient Jewellery Including: M. Pfrommer, Untersuchungen Zur Chronologie Früh-und Hochhellenistischen Goldschmucks, 1990; A. Greifenhagen, Schmuckarbeiten in Edelmetall, Band I, 1970; A. Greifenhagen, Schmuckarbeiten in Edelmetall, Band 2, 1975; A. Chadour, Rings: The Alice and Louis Koch Collection, Vol. I, 1994; A. Chadour, Rings: The Alice and Louis Koch Collection, Vol. 2, 1994; K. Weitzmann, Age of Spirituality: Late Antique and Early Christian Art, Third to Seventh Century, 1979; The Metropolitan Museum of Art and The Los Angeles County Museum of Art, From the Lands of the Scythians: Ancient Treasures from the Museums of the U.S.S.R 3000 B.C.-100 B.C., 1975; D. Strong, Greek and Roman Gold and Silver Plate , 1966; G. Eogan, The Accomplished Art: Gold and Gold-Working in Britain and Ireland during the Bronze Age, 1994; The Dumbarton Oaks Collection Harvard University, 1955; A. Fol et al., The New Thracian Treasure: from Rogozen, Bulgaria, 1986; Michael Ward Inc., Jewels of the Barbarians, 1985 (12)This lot is subject to the following lot symbols: TPTP Lot 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

Marina Abramović My Skin, 2022 Unique Pigment Print Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Since the beginning of her career in Belgrade during the early 1970s, Marina Abramović has pioneered performance as a visual art form. She created some of the most important early works in this practice, including Rhythm 0 (1974), in which she offered herself as an object of experimentation for the audience, as well as Rhythm 5 (1974), where she lay in the centre of a burning five-point star to the point of losing consciousness. These performances married concept with physicality, endurance with empathy, complicity with loss of control, passivity with danger. They pushed the boundaries of self-discovery, both of herself and her audience. They also marked her first engagements with time, stillness, energy, pain, and the resulting heightened consciousness generated by long durational performance. The body has always been both her subject and medium. Exploring her physical and mental limits in works that ritualise the simple actions of everyday life, she has withstood pain, exhaustion and danger in her quest for emotional and spiritual transformation. From 1975-88, Abramović and the German artist Ulay performed together, dealing with relations of duality. She returned to solo performances in 1989 and for The Artist Is Present (2010) she sat motionless for at least eight hours per day over three months, engaged in silent eye-contact with hundreds of strangers one by one.   Select Exhibitions/Awards   Abramović was one of the first performance artists to become formally accepted by the institutional museum world with major solo shows taking place throughout Europe and the US over a period of more than 25 years. Her first European retrospective 'The Cleaner' was presented at Moderna Museet in Stockholm, Sweden in 2017, followed by presentations at the Louisiana Museum of Modern Art in Copenhagen, Denmark, Henie Onstad, Sanvika, Norway (2017), Bundeskunsthalle, Bonn, Germany (2018), Centre of Contemporary Art, Torun (2019), and Museum of Contemporary Art Belgrade, Serbia (2019). The artist's operatic project '7 Deaths of Maria Callas' debuted at the Bayerische Staatsoper, Munich, Germany in 2020, and toured to Palais Garnier, Paris, France and the Greek National Opera, Athens, Greece in 2021. Further performances are scheduled for spring 2022 at Deutsche Oper Berlin, Germany (8-10 April) and Teatro di San Carlo, Naples, Italy (13-15 May). In 2023, Abramović will be the first female artist to host a major solo exhibition in the Main Galleries of the Royal Academy of Arts in London. Select solo exhibitions include 'Akış / Flux', Sakıp Sabancı Museum, Istanbul, Turkey (2020); 'As One', NEON + MAI, Benaki Museum, Athens, Greece (2017); 'The Space In Between Marina Abramović and Brazil', SXSW, Austin, Texas, USA (2016); 'Terra Comunal - Marina Abramović + MAI', SESC, Pompeia, São Paulo, Brazil (2015); '512 Hours', Serpentine Gallery, London, UK (2014); 'Holding Emptiness', Contemporary Art Center, Malaga, Spain (2014); ''The Life and Death of Marina Abramović' (with Robert Wilson), Park Avenue Armory, New York, NY, USA (2013); 'Balkan Stories', Kunsthalle Wien, Vienna, Austria (2012); 'The Abramović Method', Padiglione d'Arte Contemporanea, Milan, Italy (2012); 'The Artist Is Present', Garage Center for Contemporary Culture, Moscow, Russia (2011); 'The Artist is Present', Museum of Modern Art, New York, NY, USA (2010); and 'Seven Easy Pieces' at the Guggenheim Museum, New York, NY, USA (2005). Abramović has participated in many large-scale international exhibitions including the Venice Biennale (1976, 1997) and Documenta VI, VII and IX, Kassel, Germany (1977, 1982 and 1992). She has also established the MAI (Marina Abramović Institute) to support the future exploration and promotion of performance art.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Anna Calleja Homebound, 2022 Oil on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Anna Calleja (b.1997) is a Maltese multidisciplinary artist primarily working in paint, print and sculpture. Calleja has exhibited across the UK and abroad, at Spazju Kreattiv in Valletta, at Tate St. Ives, Porthmeor Studios, and at the Mall Galleries in London amongst others. Calleja was the recipient of a Winsor and Newton Young Artist Award at the Royal Institute of Oil Painters Annual Exhibition for her 2020 painting 'Alone in Quarantine'. Calleja was recently a finalist for the Premju ghal-arti award for Best Young Artist of the Year, an award by the Malta Arts Council that celebrates the main achievements in the Maltese cultural scene. Her work retires to the comfort and melancholy of home, using the process of painting to create quiet moments of introspection. She looks back on her own notions of comfort to confront an anxious present and grapple with an uncertain future. Calleja's interest lies in dualities; the tension and dissonance between comfort and melancholy, isolation and connection, love and pain.   Education   First class honours in BA (hons) Fine Art from Falmouth University   Select Exhibitions/Awards   Awards: Finalist Premju Ghal-Arti Best Young Artist, 2022 (pending results) Winsor and Newton Young Artist Award, ROI Annual Exhibition 2020 Best Emerging Young Artist, ARTZ ID, 2020 C-A-S-T Residency, Helston 2019 Midas Award at the Newlyn Art Gallery and the Exchange 2019 Malta Arts Scholarship, 2017-2020 Exhibitions: 2022 Domestic Bliss, Beaux Arts Bath, Bath Works on Paper 4, Blue Shop Cottage, London Sea Sunset Moon, Spazju Kreattiv, Valletta, Malta 2021 Anna Calleja: On Hold, New Craftsman Gallery, St. Ives RP Annual Exhibition, Mall Galleries, London Homebound solo exhibition, Palazzo de La Salle, Valletta, Malta Launch Exhibition, Morgans, Falmouth ROI Annual Exhibition, Mall Galleries, London 2020 Extraordinary Postcards for Extraordinary Times, Newlyn Art Gallery Postcard Exhibition, Highgate Art Gallery, London 2019 Environments, Tate St. Ives Tate Collective Producer at Otobong Nkanga: Ustudio, Tate St. Ives Anna Calleja and Will Calver, Porthmeor Studios, St. Ives   Statement about AOAP Submitted Artwork   These four works (one oil painting and three ink drawings) sit in between comfort and melancholy suspended in quietude. I look back on my own notions of comfort to confront an anxious present and grapple with an uncertain future. Two of the ink drawings depict my cat, sitting still in silent ambivalence or bathed in morning light. While the world grows ever more turbulent, divisive and moves steadily towards climate crises, the cat passively sleeps on, as do we. 'Homebound' portrays a figure suspended in time, between past and present, life and death and comfort and melancholy while 'Scissors' plays on the Ancient Greek myth of Atropos, one of the three fates, who holds the shears that cut the thread of life. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Anna Calleja Scissors, 2022 Chalk and Ink on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Anna Calleja (b.1997) is a Maltese multidisciplinary artist primarily working in paint, print and sculpture. Calleja has exhibited across the UK and abroad, at Spazju Kreattiv in Valletta, at Tate St. Ives, Porthmeor Studios, and at the Mall Galleries in London amongst others. Calleja was the recipient of a Winsor and Newton Young Artist Award at the Royal Institute of Oil Painters Annual Exhibition for her 2020 painting 'Alone in Quarantine'. Calleja was recently a finalist for the Premju ghal-arti award for Best Young Artist of the Year, an award by the Malta Arts Council that celebrates the main achievements in the Maltese cultural scene. Her work retires to the comfort and melancholy of home, using the process of painting to create quiet moments of introspection. She looks back on her own notions of comfort to confront an anxious present and grapple with an uncertain future. Calleja's interest lies in dualities; the tension and dissonance between comfort and melancholy, isolation and connection, love and pain.   Education   First class honours in BA (hons) Fine Art from Falmouth University   Select Exhibitions/Awards   Awards: Finalist Premju Ghal-Arti Best Young Artist, 2022 (pending results) Winsor and Newton Young Artist Award, ROI Annual Exhibition 2020 Best Emerging Young Artist, ARTZ ID, 2020 C-A-S-T Residency, Helston 2019 Midas Award at the Newlyn Art Gallery and the Exchange 2019 Malta Arts Scholarship, 2017-2020 Exhibitions: 2022 Domestic Bliss, Beaux Arts Bath, Bath Works on Paper 4, Blue Shop Cottage, London Sea Sunset Moon, Spazju Kreattiv, Valletta, Malta 2021 Anna Calleja: On Hold, New Craftsman Gallery, St. Ives RP Annual Exhibition, Mall Galleries, London Homebound solo exhibition, Palazzo de La Salle, Valletta, Malta Launch Exhibition, Morgans, Falmouth ROI Annual Exhibition, Mall Galleries, London 2020 Extraordinary Postcards for Extraordinary Times, Newlyn Art Gallery Postcard Exhibition, Highgate Art Gallery, London 2019 Environments, Tate St. Ives Tate Collective Producer at Otobong Nkanga: Ustudio, Tate St. Ives Anna Calleja and Will Calver, Porthmeor Studios, St. Ives   Statement about AOAP Submitted Artwork   These four works (one oil painting and three ink drawings) sit in between comfort and melancholy suspended in quietude. I look back on my own notions of comfort to confront an anxious present and grapple with an uncertain future. Two of the ink drawings depict my cat, sitting still in silent ambivalence or bathed in morning light. While the world grows ever more turbulent, divisive and moves steadily towards climate crises, the cat passively sleeps on, as do we. 'Homebound' portrays a figure suspended in time, between past and present, life and death and comfort and melancholy while 'Scissors' plays on the Ancient Greek myth of Atropos, one of the three fates, who holds the shears that cut the thread of life. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Anna Calleja Censu, 2022 Ink and Chalk on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Anna Calleja (b.1997) is a Maltese multidisciplinary artist primarily working in paint, print and sculpture. Calleja has exhibited across the UK and abroad, at Spazju Kreattiv in Valletta, at Tate St. Ives, Porthmeor Studios, and at the Mall Galleries in London amongst others. Calleja was the recipient of a Winsor and Newton Young Artist Award at the Royal Institute of Oil Painters Annual Exhibition for her 2020 painting 'Alone in Quarantine'. Calleja was recently a finalist for the Premju ghal-arti award for Best Young Artist of the Year, an award by the Malta Arts Council that celebrates the main achievements in the Maltese cultural scene. Her work retires to the comfort and melancholy of home, using the process of painting to create quiet moments of introspection. She looks back on her own notions of comfort to confront an anxious present and grapple with an uncertain future. Calleja's interest lies in dualities; the tension and dissonance between comfort and melancholy, isolation and connection, love and pain.   Education   First class honours in BA (hons) Fine Art from Falmouth University   Select Exhibitions/Awards   Awards: Finalist Premju Ghal-Arti Best Young Artist, 2022 (pending results) Winsor and Newton Young Artist Award, ROI Annual Exhibition 2020 Best Emerging Young Artist, ARTZ ID, 2020 C-A-S-T Residency, Helston 2019 Midas Award at the Newlyn Art Gallery and the Exchange 2019 Malta Arts Scholarship, 2017-2020 Exhibitions: 2022 Domestic Bliss, Beaux Arts Bath, Bath Works on Paper 4, Blue Shop Cottage, London Sea Sunset Moon, Spazju Kreattiv, Valletta, Malta 2021 Anna Calleja: On Hold, New Craftsman Gallery, St. Ives RP Annual Exhibition, Mall Galleries, London Homebound solo exhibition, Palazzo de La Salle, Valletta, Malta Launch Exhibition, Morgans, Falmouth ROI Annual Exhibition, Mall Galleries, London 2020 Extraordinary Postcards for Extraordinary Times, Newlyn Art Gallery Postcard Exhibition, Highgate Art Gallery, London 2019 Environments, Tate St. Ives Tate Collective Producer at Otobong Nkanga: Ustudio, Tate St. Ives Anna Calleja and Will Calver, Porthmeor Studios, St. Ives   Statement about AOAP Submitted Artwork   These four works (one oil painting and three ink drawings) sit in between comfort and melancholy suspended in quietude. I look back on my own notions of comfort to confront an anxious present and grapple with an uncertain future. Two of the ink drawings depict my cat, sitting still in silent ambivalence or bathed in morning light. While the world grows ever more turbulent, divisive and moves steadily towards climate crises, the cat passively sleeps on, as do we. 'Homebound' portrays a figure suspended in time, between past and present, life and death and comfort and melancholy while 'Scissors' plays on the Ancient Greek myth of Atropos, one of the three fates, who holds the shears that cut the thread of life. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Anna Calleja Morning Light, 2022 Ink and Chalk on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Anna Calleja (b.1997) is a Maltese multidisciplinary artist primarily working in paint, print and sculpture. Calleja has exhibited across the UK and abroad, at Spazju Kreattiv in Valletta, at Tate St. Ives, Porthmeor Studios, and at the Mall Galleries in London amongst others. Calleja was the recipient of a Winsor and Newton Young Artist Award at the Royal Institute of Oil Painters Annual Exhibition for her 2020 painting 'Alone in Quarantine'. Calleja was recently a finalist for the Premju ghal-arti award for Best Young Artist of the Year, an award by the Malta Arts Council that celebrates the main achievements in the Maltese cultural scene. Her work retires to the comfort and melancholy of home, using the process of painting to create quiet moments of introspection. She looks back on her own notions of comfort to confront an anxious present and grapple with an uncertain future. Calleja's interest lies in dualities; the tension and dissonance between comfort and melancholy, isolation and connection, love and pain.   Education   First class honours in BA (hons) Fine Art from Falmouth University   Select Exhibitions/Awards   Awards: Finalist Premju Ghal-Arti Best Young Artist, 2022 (pending results) Winsor and Newton Young Artist Award, ROI Annual Exhibition 2020 Best Emerging Young Artist, ARTZ ID, 2020 C-A-S-T Residency, Helston 2019 Midas Award at the Newlyn Art Gallery and the Exchange 2019 Malta Arts Scholarship, 2017-2020 Exhibitions: 2022 Domestic Bliss, Beaux Arts Bath, Bath Works on Paper 4, Blue Shop Cottage, London Sea Sunset Moon, Spazju Kreattiv, Valletta, Malta 2021 Anna Calleja: On Hold, New Craftsman Gallery, St. Ives RP Annual Exhibition, Mall Galleries, London Homebound solo exhibition, Palazzo de La Salle, Valletta, Malta Launch Exhibition, Morgans, Falmouth ROI Annual Exhibition, Mall Galleries, London 2020 Extraordinary Postcards for Extraordinary Times, Newlyn Art Gallery Postcard Exhibition, Highgate Art Gallery, London 2019 Environments, Tate St. Ives Tate Collective Producer at Otobong Nkanga: Ustudio, Tate St. Ives Anna Calleja and Will Calver, Porthmeor Studios, St. Ives   Statement about AOAP Submitted Artwork   These four works (one oil painting and three ink drawings) sit in between comfort and melancholy suspended in quietude. I look back on my own notions of comfort to confront an anxious present and grapple with an uncertain future. Two of the ink drawings depict my cat, sitting still in silent ambivalence or bathed in morning light. While the world grows ever more turbulent, divisive and moves steadily towards climate crises, the cat passively sleeps on, as do we. 'Homebound' portrays a figure suspended in time, between past and present, life and death and comfort and melancholy while 'Scissors' plays on the Ancient Greek myth of Atropos, one of the three fates, who holds the shears that cut the thread of life. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Julia Soboleva Pieced Together, 2022 Gouache and Pen on Top of a Photographic Image Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   JULIA SOBOLEVA is mixed-media artist based in the UK. Her processes involve painting and collage on found photographic imagery, as well as performance and video. Being born and raised in a post-Soviet era, Julia explores the notions of madness and reality, family, taboo and trans-generational trauma in her work. She obtained a Master's Degree in Illustration at Manchester School of Art, and has gone on to work as an educator and freelance illustrator.   Education   BA (Hons) Illustration - Southampton Solent University MA Illustration - Manchester School of Art   Select Exhibitions/Awards   Showstudio Fashion Illustration Menswear A/W 19, 2019, online, Export House, London Einblick 6: Julia Soboleva, 2021, Heliumcowboy Artspace, Hamburg, one-week solo show Natürlich, 2022, Heliumcowboy Artspace, Hamburg, a group show of six female artists This is The End of the World My Love, 2022, Digswell Arts Gallery, Letchworth, UK, a joint exhibition with Veronika Peat Please Don't Mind Me While I Ugly Cry, 2022, The Eye Altering, Thessaloníki, Greece, a group show of fifteen Greek and international artists The Rogues Gallery, 2022, Mepaintsme at mepaintsme.com, an online group show   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Julia Soboleva Everything Spins Around, 2022 Gouache and Pen on Top of a Photographic Image Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   JULIA SOBOLEVA is mixed-media artist based in the UK. Her processes involve painting and collage on found photographic imagery, as well as performance and video. Being born and raised in a post-Soviet era, Julia explores the notions of madness and reality, family, taboo and trans-generational trauma in her work. She obtained a Master's Degree in Illustration at Manchester School of Art, and has gone on to work as an educator and freelance illustrator.   Education   BA (Hons) Illustration - Southampton Solent University MA Illustration - Manchester School of Art   Select Exhibitions/Awards   Showstudio Fashion Illustration Menswear A/W 19, 2019, online, Export House, London Einblick 6: Julia Soboleva, 2021, Heliumcowboy Artspace, Hamburg, one-week solo show Natürlich, 2022, Heliumcowboy Artspace, Hamburg, a group show of six female artists This is The End of the World My Love, 2022, Digswell Arts Gallery, Letchworth, UK, a joint exhibition with Veronika Peat Please Don't Mind Me While I Ugly Cry, 2022, The Eye Altering, Thessaloníki, Greece, a group show of fifteen Greek and international artists The Rogues Gallery, 2022, Mepaintsme at mepaintsme.com, an online group show   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Art Deco Whitby jet expanding panel bracelet, with Greek key decorationCondition Report:Some small chips to jet to the interior, not detrimental, well presented

Francesco Righetti, 1738/49 Rom – 1819PAAR SELTENE, FRÜHE FURIETTI-KENTAUREN, 1791 Höhe: 37 cm.Breite: 26 cm.Bzw. Höhe: 35 cm.Breite: 23 cm.Sockel: je 9,5 x 23 cm. Jeweils auf Bronzeplinthe mit griechischer Randaufschrift, Signatur und Datierung „F. RIGHETTI. F. ROMAE . 1791.“Sehr feine Bronzegussausführung mit schwarzer Patina, jeweils auf grauem Mamorsockel. Dargestellt die beiden Kentauren, deren antike Originale in großer Ausführung in grauschwarzem Marmor gefertigt wurden und sich in den Kapitolinischen Museen Roms befinden. Als Gegenstücke zeigen sie einen jungen sowie den bärtigen alten Kentauren, in römischer Zeit nach hellenistischen Vorbildern geschaffen, aufgefunden in der Villa Hadriana in Tivoli. Die Benennung geht auf Monsignore Giuseppe Alessandro Furletti zurück, der die Figuren 1763 ausgraben ließ und in seine umfangreiche Antikensammlung einfügte, nachdem er sich weigerte, sie dem Papst Benedikt XIV zu überlassen.In der Folge entstanden mehrfach Kopien in Verkleinerung nach den Originalen. Jedoch sind die beiden hier vorliegenden Gussausführungen insofern von Bedeutung, als sie gemäß Datierung zu den frühesten Beispielen gehören.Righetti unterhielt eine Bronzegießerei und Bildhauerwerkstatt, spezialisiert auf die Herstellung antiker Bildwerke und solcher der Renaissance. A.R. (†)Provenienz:Sammlung Comté und Comtesse de Viel-Castel (ein Mitglied der Familie, Horace de Viel-Castel, 1802-1864 war Sammler und Direktor des Louvre in Paris bis 1863). (13013123) (11)Francesco Righetti,1738/49 Rome – 1819A PAIR OF RARE, EARLY FURIETTI CENTAURS, 1791 Height: 37 cm.Width: 26 cm.orHeight: 35cm.Width: 23 cm.Base: 9.5 x 23 cm each.Each on bronze plinth with inscription, signature, and date on margin in Greek: “F. RIGHETTI. F. ROMAE. 1791.”Very fine bronze casting with black patina. (†)Provenance: Collection Comté and Comtesse de Viel-Castel(a family member, Horace de Viel-Castel, 1802-1864 was an art collector and director of the Louvre in Paris until 1863).

A GROUP OF 25 INDO-GREEK SILVER COINSIndo-Greek kingdom, c. 250 - 100 BC. Consisting of twenty-five coins of square and circular shape, the obverse depicting rulers including Eucratides, Philoxenos, Antialkidas and Diodotus, the reverse with riders on horseback, Athena and Zeus amongst others.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Good condition, commensurate with age, traces of wear.Weight: 51.9 gDimensions: Diameter circa 1.6, length 1.4 cm

A GROUP OF 22 SILVER COINSWestern Asia, 250 BC - 700 AD. Consisting of a large silver drachme of the Sasanian king Khosrow II, three square silver coins, with Apollodotus I and Philoxenos amongst others, and eighteen round coins including a coin from Parata Rajas, from the Sasanian kingdom, the Indo-greek kingdom with Alexander the Great and Menander I Soter amongst others.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Good condition, commensurate with age, as expected from such pieces.Weight: 53.7 gDimensions: Diameter from 1.5 cm to 2.7 cm

ENGLISH, MANNER OF OWEN JONES EGYPTIAN REVIVAL COFFER, CIRCA 1870 walnut, sycamore and ebony with brass fittings(73cm wide, 54cm high, 47cm deep)Literature: Metropolitan Museum of Art Collection, Accession Number: 16.1.1 and 16.1.2a, b Jones, Owen The Grammar of Ornament, pl XI no.23 Note: The form and inlay of this box closely relate in form and decoration to a jewellery chest and a cosmetics coffer of the 12th Dynasty, reign of Senwosret II–Amenemhat III, circa 1887–1813 B.C. Owen Jones was also one of the most influential design theorists of the nineteenth century. His seminal publication, The Grammar of Ornament, the global and historical design sourcebook has never been out of print. Jones was Superintendent of the Works of the Great Exhibition in 1851 and in 1852 joint Director of Decoration of the Crystal Palace. When this building was removed to Sydenham he designed the Egyptian, Greek, Roman and Alhambra Courts. The monumental centrepiece of the Egyptian Court also incorporates decorative elements found on this chest. The use of dark and light, foreign and native timbers in this piece of furniture are reflected in work designed by Jones for Eynsham Hall, Oxfordshire, and reflected his interest in unconventional combinations of materials typical of furniture produced by specialist firms such as Jackson & Graham.

Artist: Giorgio de Chirico [d'après] (Italian, 1888 - 1978). Title: "Il Consolatore". Medium: Pencil drawing on paper. Date: Composed c1955. Dimensions: Overall size: 12 3/8 x 8 5/8 in. (314 x 219 mm). Image size: 8 1/8 x 7 5/8 in. (206 x 194 mm).Lot Note(s): Bears spurious signature, lower right. Light cream wove watermarked paper. Good condition; handwriting verso which telegraphs through to recto, scattered foxing, waviness upper part of paper due to paper itself. Comment(s): Chirico was a Greek-born Italian artist. In the years before World War I, he founded the scuola metafisica art movement, which profoundly influenced the surrealists. After 1919 he became interested in traditional painting techniques, and worked in a neoclassical or neo-Baroque style, while frequently revisiting the metaphysical themes of his earlier work. [28167-2-225]