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The Decorative Arts - British, American & Canadian Koldeweij, Eloy The English Candlestick. 500 Years in the Development of Base-Metal Candlesticks 1425-1925, 2001  Wills, Geoffrey Candlesticks, 1974  Pinto, Edward & Eva Tunbridge and Scottish Souvenir Woodware, with Chapters on Bois Durci and Pyrography, 1970  Reade, Brian Regency Antiques, 1953 Fry Roger, Manson J B, et al Georgian Art 1760-1820, 1929  Pinto, Edward H Treen and Other Wooden Bygones, 1968  Field, June Collecting Georgian And Victorian Crafts, 1973  Irwin, David English Neoclassical Art: Studies in Inspiration and Taste, 1966  Gloag, John Early English Decorative Detail, 1966  Fowler, John & Cornforth, John English Decoration in the 18th Century, 1986  Priestley, J. B. The Prince of Pleasure and his Regency 1811-1820, 1970  Snodin, Michael & Styles, John Design and The Decorative Arts - Britain 1500-1900, 2001  Cornforth, John The Search for a Style: Country Life and Architecture, 1897-1935 (signed by the author), 1988  Gloag, John Victorian Comfort: A social history of design from 1830-1900, 1961 Larwood, Jacob & Hotten, John Camden ENGLISH INN SIGNS - Being a Revised and Modernized Version of History of Signboards - With a Chapter on the Modern Inn Sign, 1951  Watkin, David Thomas Hope, REGENCY Furniture & Interior Decoration, 1971  Guild, Robin The Victorian House Book, 1991  Hornung, Clarence P Treasury of American Design, in Two Volumes, 1950  Exhibition Catalogue 19th-Century America Furniture and Other Decorative Arts; an Exhibition in Celebration of the Hundredth Anniversary of The Metropolitan Museum of Art, 1970  Webster, Donald Blake The Book of Canadian Antiques, 1974  Constable, W G Art Collecting in the United States of America, An Outline of a History (Quarter leather bound), 1964  Trevor-Venis, Peter The Eighteenth Century English Dining Room, The Israel Museum, Jerusalem  Gere, Charlotte & Whiteway, Michael Nineteenth-Century Design: From Pugin to Mackintosh, 1993  Saumarez-Smith, Charles Eighteenth Century Decoration: Design and Domestic Interior in England, 1993  Hughes, Therle and Bernard English Painted Enamels, 1951 Watney, Bernard M & Babbidge, Homer D Corkscrews for Collectors (revised edition), 1993  Gloag, John Georgian Grace A Social History of Design from 1660 to 1830, 1956  Beard, Geoffrey Craftsmen and Interior Decoration in England 1660-1820, 1981 Darlington, Ida & Howgego, James Printed Maps of London, c.1553 to 1850, 1964  (30)

LALAOUNIS: A PAIR OF SODALITE EARCLIPSEach circular earclip set with a sodalite cabochon to the centre, within reeded detailing, mounted in 18K gold, with maker's marks for Lalaounis, numbered H17, stamped 'Greece', with London import marks for 1987, French assay mark, length 2.5cmIlias Lalaounis was born in Athens in 1920, the third generation of a family of goldsmiths and watchmakers from Delphi. After completing his university studies, he joined his uncle’s jewellery firm, where he apprenticed as a goldsmith and honed the skills that would define his future as a master craftsman. Amid the instability of World War II, Lalaounis took over the family business and began exploring the art of his ancestors, driven by a deep passion for history.As Greece recovered from the war, Lalaounis’s vision took shape. He sought to revitalise Greek museum artifacts by transforming them into jewellery. Reviving ancient techniques, he introduced modern technology while focusing on educating his fellow craftsmen in forgotten skills such as granulation, filigree, hand-weaving, and hand-hammering. In 1957, he founded the Greek Jewellers Association and unveiled his first collection, the Archaeological Collection, which drew inspiration from Classical, Hellenistic, and Minoan-Mycenaean art. This fusion of modern jewellery with historical elements garnered international attention. After his uncle’s passing, Lalaounis established his own company, setting up headquarters on Karyatidon Street, at the foot of the Acropolis.Unlike many of his peers, who often preferred diamonds and large gemstones, Lalaounis discovered his passion for gold early in his career, referring to it as "the most human material." His collections, rich in 18- and 22-karat gold, were inspired by a wide range of cultures and historical periods, from prehistoric to Minoan art, as well as Persian, Byzantine, Chinese, and Tudor styles.In the 1970s, Lalaounis continued to innovate, exploring new forms of expression influenced by nature, science, the intricate movements of cells, and celestial themes. As recognition of his work grew, so did his business, expanding across Europe, Asia, and America. He became the first goldsmith to be honoured by the Institut de France, Académie des Beaux-Arts et des Lettres, for his remarkable contributions to the art of jewellery. Since 1998, Lalaounis’s legacy of creativity has been carried on by his four daughters. They continue to uphold a long-standing family tradition, ensuring that the LALAoUNIS legacy is passed down to future generations. Condition Report: Sodalite: both well matched in colour, with some light scratches visible under a bright light sourceSetting: near one of the stone, a small discreet crackClip ons for non pierced ears - both with good tensionNormal signs of wear, commensurate with age, overall in good conditionTotal gross weight approx. 21.8g

LALAOUNIS: AN 18K GOLD AND SODALITE NECKLACEThe circular-shaped sodalite disc set with a motif depicting an ancient Greek vessel, suspended from a sodalite bead necklace with gold roundelle spacers, to a textured bead clasp, mounted in 18K gold, maker’s mark for Lalaounis, numbered A21, length 40.5cmIlias Lalaounis was born in Athens in 1920, the third generation of a family of goldsmiths and watchmakers from Delphi. After completing his university studies, he joined his uncle’s jewellery firm, where he apprenticed as a goldsmith and honed the skills that would define his future as a master craftsman. Amid the instability of World War II, Lalaounis took over the family business and began exploring the art of his ancestors, driven by a deep passion for history.As Greece recovered from the war, Lalaounis’s vision took shape. He sought to revitalise Greek museum artifacts by transforming them into jewellery. Reviving ancient techniques, he introduced modern technology while focusing on educating his fellow craftsmen in forgotten skills such as granulation, filigree, hand-weaving, and hand-hammering. In 1957, he founded the Greek Jewellers Association and unveiled his first collection, the Archaeological Collection, which drew inspiration from Classical, Hellenistic, and Minoan-Mycenaean art. This fusion of modern jewellery with historical elements garnered international attention. After his uncle’s passing, Lalaounis established his own company, setting up headquarters on Karyatidon Street, at the foot of the Acropolis.Unlike many of his peers, who often preferred diamonds and large gemstones, Lalaounis discovered his passion for gold early in his career, referring to it as "the most human material." His collections, rich in 18- and 22-karat gold, were inspired by a wide range of cultures and historical periods, from prehistoric to Minoan art, as well as Persian, Byzantine, Chinese, and Tudor styles.In the 1970s, Lalaounis continued to innovate, exploring new forms of expression influenced by nature, science, the intricate movements of cells, and celestial themes. As recognition of his work grew, so did his business, expanding across Europe, Asia, and America. He became the first goldsmith to be honoured by the Institut de France, Académie des Beaux-Arts et des Lettres, for his remarkable contributions to the art of jewellery. Since 1998, Lalaounis’s legacy of creativity has been carried on by his four daughters. They continue to uphold a long-standing family tradition, ensuring that the LALAoUNIS legacy is passed down to future generations. Condition Report: Sodalite of opaque blue hue, white and black streaks and veining throughoutSodalite with a small fracture to reverse, can be seen from the front while using magnification, some surface wear and one minor area with fracture and discolorationDisc measuring approximately 4 x 4cmStamped Greece, 750Normal signs of wear, overall in good conditionTotal gross weight approx. 45.8g

ILLIAS LALAOUNIS: A SAPPHIRE AND DIAMOND BROOCHDesigned as a mythical sea creature, of textured and polished bi-coloured design, set with brilliant and single-cut diamonds, accented with circular-shaped sapphire eyes, mounted in 18K gold, signed Illias Lalaounis, maker’s mark, length 9.3cmIlias Lalaounis was born in Athens in 1920, the third generation of a family of goldsmiths and watchmakers from Delphi. After completing his university studies, he joined his uncle’s jewellery firm, where he apprenticed as a goldsmith and honed the skills that would define his future as a master craftsman. Amid the instability of World War II, Lalaounis took over the family business and began exploring the art of his ancestors, driven by a deep passion for history.As Greece recovered from the war, Lalaounis’s vision took shape. He sought to revitalise Greek museum artifacts by transforming them into jewellery. Reviving ancient techniques, he introduced modern technology while focusing on educating his fellow craftsmen in forgotten skills such as granulation, filigree, hand-weaving, and hand-hammering. In 1957, he founded the Greek Jewellers Association and unveiled his first collection, the Archaeological Collection, which drew inspiration from Classical, Hellenistic, and Minoan-Mycenaean art. This fusion of modern jewellery with historical elements garnered international attention. After his uncle’s passing, Lalaounis established his own company, setting up headquarters on Karyatidon Street, at the foot of the Acropolis.Unlike many of his peers, who often preferred diamonds and large gemstones, Lalaounis discovered his passion for gold early in his career, referring to it as "the most human material." His collections, rich in 18- and 22-karat gold, were inspired by a wide range of cultures and historical periods, from prehistoric to Minoan art, as well as Persian, Byzantine, Chinese, and Tudor styles.In the 1970s, Lalaounis continued to innovate, exploring new forms of expression influenced by nature, science, the intricate movements of cells, and celestial themes. As recognition of his work grew, so did his business, expanding across Europe, Asia, and America. He became the first goldsmith to be honoured by the Institut de France, Académie des Beaux-Arts et des Lettres, for his remarkable contributions to the art of jewellery. Since 1998, Lalaounis’s legacy of creativity has been carried on by his four daughters. They continue to uphold a long-standing family tradition, ensuring that the LALAoUNIS legacy is passed down to future generations. Condition Report: Diamonds bright and livelySapphire of dark blue hue, both well matched in colourStamped 18 and GreeceSignature Illias Lalounis + maker's mark located on the reversePin closes securelyNormal signs of wear, overall in good conditionTotal gross weight approx. 52.1g

SABBADINI: AN IMPORTANT PAIR OF DIAMOND EARCLIPSEach designed as a stylised bee, set with brilliant-cut diamonds throughout, mounted in 18K white and yellow gold, diamonds approximately 5.30cts total, signed Sabbadini, with maker's pouch, length 3cmSabbadini is a long-standing Italian Jewellery House, in fact it is the only jewellery house that still manufactures in central Milan. The flagship store on the celebrated Via Montenapoleone, opened in 1998 and was the first and only commercial space created by the legendary architect-designer Renzo Mongiardino. The Sabbadini Jewellery house is celebrated for its tiny stones clustered in seamless pavés around single statement gems and its exquisite enamelling of natural motifs, ranging from flowers to dogs and its signature bees, which founder Alberto designed for his wife Stefania. The jewellery pieces are contemporary and reflect the Sabbadini’s love of modern art. It is a family run business, Stefania helps run the company with their son and CEO, Pierandrea. All jewellery pieces are designed with the 3 elements at their core, to be unique, elegant and precious. Condition Report: Diamonds: approx.5.30, estimated colour F/G/H, estimated clarity VVS/VS(The Jewellery dpt contacted Sabbadini, they kindly provided weights as approx: 5.79cts total)Both stamped 750 for 18K goldOne clip in white gold with yellow gold clip fitting, the other entirely yellow goldBoth signed SabbadiniFor a similar pair at Sabbadini, retail price €38,000.-https://www.sabbadini.com/en/product/sabbadini-bee-earrings-or3505ob/

LALAOUNIS: AN 18K GOLD AND EMERALD NECKLACEComposed of a woven chain of slightly flexible design, suspending two bull heads as terminals, each enhanced with a circular-cut emerald and with rope-twist detailing, to an adjustable barrel-shaped motif of similar detailing, in 18K gold, signed Lalaounis, numbered A21, with partial maker’s mark, French import assay marks, adjustable length, longest length 69cmIlias Lalaounis was born in Athens in 1920, the third generation of a family of goldsmiths and watchmakers from Delphi. After completing his university studies, he joined his uncle’s jewellery firm, where he apprenticed as a goldsmith and honed the skills that would define his future as a master craftsman. Amid the instability of World War II, Lalaounis took over the family business and began exploring the art of his ancestors, driven by a deep passion for history.As Greece recovered from the war, Lalaounis’s vision took shape. He sought to revitalise Greek museum artifacts by transforming them into jewellery. Reviving ancient techniques, he introduced modern technology while focusing on educating his fellow craftsmen in forgotten skills such as granulation, filigree, hand-weaving, and hand-hammering. In 1957, he founded the Greek Jewellers Association and unveiled his first collection, the Archaeological Collection, which drew inspiration from Classical, Hellenistic, and Minoan-Mycenaean art. This fusion of modern jewellery with historical elements garnered international attention. After his uncle’s passing, Lalaounis established his own company, setting up headquarters on Karyatidon Street, at the foot of the Acropolis.Unlike many of his peers, who often preferred diamonds and large gemstones, Lalaounis discovered his passion for gold early in his career, referring to it as "the most human material." His collections, rich in 18- and 22-karat gold, were inspired by a wide range of cultures and historical periods, from prehistoric to Minoan art, as well as Persian, Byzantine, Chinese, and Tudor styles.In the 1970s, Lalaounis continued to innovate, exploring new forms of expression influenced by nature, science, the intricate movements of cells, and celestial themes. As recognition of his work grew, so did his business, expanding across Europe, Asia, and America. He became the first goldsmith to be honoured by the Institut de France, Académie des Beaux-Arts et des Lettres, for his remarkable contributions to the art of jewellery. Since 1998, Lalaounis’s legacy of creativity has been carried on by his four daughters. They continue to uphold a long-standing family tradition, ensuring that the LALAoUNIS legacy is passed down to future generations. Condition Report: Stamped A21, 750Stamped with French assay marks of the owl for imported jewels in 18K goldOne indistinct markSome area on chain slightly stretchedNormal signs of wear, overall in good conditionTotal gross weight approx. 40g

An Art Deco cast figures of a leopard a dancing figure and a modern design silver plated tea set. NO RESERVE

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A wonderful vintage signed and inscribed 9 x 11 photograph by Picasso, the image depciting the artist a little untidily dressed in a suit jacket, shirt and tie and with a lit cigarette in one hand. Photograph by Rogi Andre and bearing her ink credits to the verso. Signed by Picasso in fountain pen ink to the upper edge of the image with an inscription in French, ´Pour mon ami Jakovsky, Picasso´. A striking signed portrait of Picasso by a significant photographer. A few very light, minor surface and corner creases, VGRogi Andre (1900-1970) Hungarian-born French photographer and artist, the first wife of photographer Andre Kertesz. During the 1930s Andre produced a pantheon of portraits of many individuals associated with the arts in Paris, some of which are today held in the collection of the Museum of Modern Art in New York.

BALTHUS: (1908-2001) Balthasar Klossowski de Rola. Polish-French modern artist. Book signed and inscribed, being a softcover edition of Balthus, edited by Jorg Zutter and published by Editions d´Art Albert Skira, Geneva, and the Musee cantonal des Beaux-Arts, Lausanne, 1993, on the occasion of an exhibition of the artist´s works at the Musee cantonal des Beaux-Arts, 29th May - 29th August 1993. The French text edition features essays by Zutter, Jean Leymarie, Jean Rodolphe de Salis and Jean Starobinski, as well as many colour images of the artist´s paintings. Signed (´Cte Balthasar de Rola´) in black ink by the artist to the title page. Some light age wear and creasing to the covers, otherwise about VG

BARYE ANTOINE-LOUIS: (1795-1875) French Sculptor of the Romantic period, most famous for his work as an Animalier, a sculptor of animals. Widely considered together with Rodin and Carpeaux as the three great French sculptors of the XIXth century. Although fame did not come until late in life, examples of his larger work include various lions and tigers in the gardens of the Tuileries and the Lion Assis ("Setaed Lion") exhibited at the Louvre museum in Paris. A rare autograph letter with excellent content, A.L.S., `Barye´, one page, 4to, Paris, 20th May 1858, to Mr. Séchan, in French. Barye in a clean writing accepts an order request that he received four months earlier for a sculpture which he values and describes in full detail, stating `J´accepte la commande que vous me faites à la date du 29 Janvier 1858, consistant en une: pendule se portant sur une cheminée, cette pendule représentera Apollon sur un char attelé de quatre chevaux, modèle de cette pendule et son épreuve unique; Mme Pérère restant propriétaire. Compris marbre et dorure, moins le mouvement. Prix convenu à forfait - 14000 Fr. Plus: Candélabres se plaçant de chaque côté de la pendule, pour le modèle et les deux épreuves uniques, Mme Pérère restant également propriétaire du modèle, compris marbre et dorure. Prix convenu à forfait - 6000 Fr. Il est Bien entendu qu´il ne restera des modèles que les fragments des plâtres plus ou moins endommagés qui auront servi à la fonte des épreuves uniques.´ (Translation: "I accept the order that you made to me on January 29th, 1858, consisting of a: clock which will represent Apollo on a chariot drawn by four horses, model of this clock and its unique proof; Mrs. Pérère remaining the owner. Including marble and gilding, less the machinery. Agreed fixed price - 14,000 Fr. Plus: Candelabra to be placed on each side of the clock, for the model and the two unique proofs, Mrs. Pérère also remaining the owner of the model, including marble and gilding. Agreed fixed price - 6,000 Fr. It is understood that only the fragments of the more or less damaged plasters that will have been used to cast the unique proofs will remain.") With address leaf, postmarked and stamped. Very small minor creasing, otherwise VGThe sculpture detailed and valued by Barye in the present letter is a bronze with a height of 80cm, it is considered one of the summits of the artist's work.The critic Paul Manz described the present work this way `Apollon, conduisant son char, se présente de face; des deux côtés s´avancent les Heures, figures légères qui tiennent la bride des cheveaux. Les types sont empruntés à ce que l´antiquité nous a laissé de plus pur et de plus charmant; les cheveaux d´Apollon sont admirables dans leur allure savamment rythmée... Nous ne connaissons, parmi les productions de l´art industriel moderne, aucun oeuvre qui puisse lui être comparée, et Versailles, au temps de ses splendeurs, n´a rien eu de plus beau dans son mobilier royal´ (Translation: "Apollo, driving his chariot, is presented front face; on both sides advanced the Hours, light figures holding the bridle of the horses. The types are borrowed from what antiquity has left us of the purest and most charming; Apollo's horses are admirable in their skillfully rhythmic allure... We do not know, among the productions of modern industrial art, any work that can be compared to it, and Versailles, at the time of its splendors, had nothing more beautiful in its royal furniture")We learn with this letter that the original model was the property of "Madame Pérère", who was the wife of the banker Isaac Pérère, who placed the order with Barye for his hotel in the Faubourg Saint-Honoré.The work is at today´s date exhibited at the Musée d´Orsay in Paris.

MATISSE HENRI: (1869-1954) French artist. A good T.L.S., H Matisse, two pages (separate leaves), 4to, Paris, 18th September 1951, to Monroe Wheeler, in French. Matisse states that he is taking advantage of his son, Pierre, taking a flight to deliver the two covers that Wheeler had asked him to create, remarking ´ Je dois avant tout vous prier de m´excuser de ne pas avoir compose la couverture du catalogue en trois couleurs seulement. La chose ne m´a pas ete possible et j´espere que son attrait pour le publie ainsi vous permettra d´en vendre suffisemment pour couvrir les frais de l´impression des six couleurs´ (Translation: ´First of all, I must apologise for not having composed the catalogue cover in three colours only. It was not possible for me to do so, and I hope that the appeal of publishing it in this way will enable you to sell enough to cover the cost of printing the six colours´) and further offering some instructions for the printing process, ´1. Pour aider l´imprimeur a trouver pour l´impression des couleurs absolument fideles, je joins a la composition des echantillons de ces couleurs de surfaces plus grandes. 2. Le noir des yeux doit etre le meme que celui de la band noire. 3. Les noms des Musees qui font l´exposition doitent etre imprimes en caracteres petits mais tres noirs sur la bande blanche inferieure. 4. Les petits filets blancs entre les bandes de couleurs ne doivent pas exister: la jonction des deux couleurs est une ligne droite. 5. Pour l´epaisseur du dos du catalogue veuillez ajouter la quantite necessaire de jaune et de rose a la ligne indicant la pliue de la couverture´ (Translation: ´1. To help the printer find absolutely faithful colours for printing, I am enclosing samples of these colours on larger surfaces. 2. The black of the eyes must be the same as that of the black band. 3. The names of the Museums in the exhibition must be printed in small but very black characters on the lower white band. 4. The small white lines between the colour bands must not exist: the junction of the two colours is a straight line. 5. For the thickness of the back of the catalogue please add the necessary amount of yellow and pink to the line indicating the fold of the cover´). The artist also makes reference to a dust jacket and lithograph, writing ´Pour la jaquette du livre de Monsieur Barr - j´ai toujours cru que c´est une couverture a relier que vous m´avez demande et je suis tres surpris qu´elle ne doit servir que de jaquette. Vous pourrez imprimer le titre du livre sur la partie rouge du dos. Quant a la lithographie que j´avais remis a la maison Mourlot, je ne pourrai pas signer et numeroter toutes les epreuves. Etant un peu fatigue actuellement, ce travail serait trop long pour moi. Je me suis donc souvenu que votre premiere idee etait que je signe la lithographie dans le corps de la planche et c´est moi qui vous ai dit que je ferai davantage - je signerai chaque epreuve. Je vous prie de m´excuser de n´avoir pas realise ma bonne intention´ (Translation: ´For the dust jacket for Mr Barr's book - I always thought it was a binding cover that you asked for and I am very surprised that it is only to be used as a dust jacket. You can print the title of the book on the red part of the spine. As for the lithograph I gave to Mourlot, I will not be able to sign and number all the proofs. As I'm a bit tired at the moment, this work would take too long. So I remembered that your first idea was that I should sign the lithograph in the body of the plate and it was I who told you that I would do more - I would sign each proof. I apologise for not realising my good intention´). A letter of excellent content and associations. VGMonroe Wheeler (1899-1988) American publisher and museum curator who was employed in several posts at the Museum of Modern Art in New York, including as Director of Publications.Alfred H. Barr Jr. (1902-1981) American art historian and the first director of the Museum of Modern Art in New York.Matisse´s letter refers to his collaboration in the publication of Barr´s Matisse: His Art and His Public by the Museum of Modern Art in 1951. The work was also published in a limited edition of 495 copies signed by Barr and with an original lithograph by Matisse created especially for the edition bound in opposite the limitation page.

GIACOMETTI ALBERTO: (1901-1966) Swiss sculptor. A fine A.L.S., Alberto Giacometti, three pages, 8vo, Paris, 16th October 1956, to [David] Thompson, the prominent art collector, in French. Giacometti thanks his correspondent for their letter and photographs of the Beyeler marbles in Basel and continues to remark ´ Ces deux marbres sont tres differents l´un de l´autre mais ils sont fait a peu pres a la meme epoque, et ce sont des marbres originaux. Celui de Madame Doesburg etait a la Galerie Pierre; je ne me rapelle plus du tout a qui j´ai vendu celui de Beyeler. Celui de Beyeler est le meme sujet que le marbre du musee d´Amsterdam mais il est tres different´ (Translation: ´the same time, and they are original marbles. Madame Doesburg's was at the Galerie Pierre; I can't remember who I sold Beyeler's to. The Beyeler is the same subject as the marble in the Amsterdam museum, but it is very different´). The sculptor further writes ´ Ca me fait grand plaisir que ces deux marbres entrent dans votre collection. Et je vous remercie infiniment pour tout ce que vous faites pour mon travail et qui me touche beaucoup. C´est une tres grande joie pour moi´ (Translation: ´ It gives me great pleasure that these two marbles should enter your collection. And thank you very much for all you do for my work, which means a lot to me. It is a great joy for me´) before concluding ´Je travaille beaucoup et j´espere d´arriver a avoir quelque chose de nouveau´ (Translation: ´I'm working hard and I hope to come up with something new´). In a postscript to the third page Giacometti provides brief details regarding the dates of the two marble sculptures. A letter of excellent content and good association. VGG. David Thompson (1899-1965) American investment banker, industrialist and modern art collector who owned seventy works by Giacometti as well as others by Paul Klee, Marc Chagall, Jean Dubuffet and other artists.The Madame Doesburg Femme and Galerie Beyeler Tête qui regarde marbles are today housed in the Alberto Giacometti Stiftung in Switzerland. The Amsterdam museum marble referred to in the letter, also known as Tête qui regarde, today remains in the collection of the Stedelijk Museum. 1956 was a productive year for Alberto Giacometti; a fortnight earlier, he had finished representing France at the Venice Biennale (1 June - 1 October 1956) and, as the present letter demonstrates, he was working to ‘come up with something new’. Giacometti was thus plunging into what would later be called the ‘Yanaihara Crisis’, a very important artistic phase in his life. Isaku Yanaihara, a professor of French philosophy at Osaka University, met Giacometti in 1956. Giacometti was fascinated by Yanaihara's face and began a long series of paintings and sculptures of his likeness. He first produced an oil painting in October 1956 and numerous other drawings, paintings and sculptures followed. Yanaihara posed for the artist every summer in 1957, 1959, 1960 and 1961.

A COLLECTION OF SMALL SILVER including a modern spoon by Ronald Cordon, London 1986, a miniature Art Deco trophy cup, cased knives, manicure set, a ladle etc

Φ Richard Batterham (1936-2021)a stoneware melon teapot and cover, covered in an ash glaze to the foot,unsigned, painted cobalt 3, small chip to spout tip,14.5cm. high (2) ProvenanceThe Collection of Michael and Henrietta Gough IntroductionMichael and Henrietta Gough were avid collectors, who filled their Dorset home with paintings and ceramics. The collection’s focus was Modern British Art, and many of the artist’s they collected became great friends with the couple, most notably Elisabeth Frink and Mary Fedden. Frink’s home and studio at Woolland was nearby, and Fedden was a frequent visitor to Dorset. Indeed several of the works offered here have personalised dedications from Fedden to Michael and Henrietta. The couple’s taste was wide-ranging, and the collection includes examples by Winifred Nicholson, John Craxton, Maggi Hambling and Euan Uglow. They also collected late 19th and early 20th century continental drawings, by artists such as Pierre Bonnard, Théophile Steinlen and Jean-Louis Forain. Michael and Henrietta married in 1981 and prior to this Henrietta had worked at Sotheby’s. Michael was an actor, who acted in the Hammer horror films and Doctor Who, playing the titular villain in The Celestial Toymaker. His most famous role was probably as Batman’s butler Alfred in four films, opposite variously George Clooney, Michael Keaton and Val Kilmer

§ § Laurence Stephen Lowry (1887-1976) 'Street Scene near a factory’offset lithographsigned in pencil, from the edition of 850, printed by Chorley Pickersgill Ltd., Leeds, published by the Adam Collection Ltd., with the Fine Art Trade Guild blindstamp25.5 x 20cm Good untouched condition, paper perhaps slightly discoloured to an even buff tone, visible sheet 29 x 22.5cm, under museum glass with modern card mount and slim gilt framePLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Border Fine Arts Gallery Of Modern Art sculpture of a fox (polished) RW003A, 31.5cm high

Large collection of vintage and modern brooch pins. The brooches to include gem set butterflies, cameos, abalone, rhinstone, dragonfly, bird, elf, mirror, bee, mouse, bouquet, flower, Art Deco, boat, owl.

Erwin WurmGuggenheim Melting2005Polyester, Farbe45 x 136 x 101 cmAuf der Unterseite datiert, nummeriert und signiert: 6/12Auflage: 12 Stück österreichischer Privatbesitz Ausstellungskatalog, Erwin Wurm. Die Retrospektive. Anlässlich der gleichnamigen Ausstellung in der Albertina Modern, Wien, 13.9.2024 - 9.3.2025, Wien 2024, S. 82.Erwin Wurm, der "déformateur professionnel" (Julien Foulatier, 12. April 2012, http://www.boumbang.com/erwin-wurm/), ist ein Meister des Infragestellens. Raumdarstellung, Volumina, Gleichgewicht, Erdanziehung, die Grenzziehung zwischen ephemeren und dauerhaften Zuständen, all das gewinnt in seinen Arbeiten eine neue Bedeutung. Er fordert den Betrachter heraus, gewohnte Sehweisen über Bord zu werfen und seine Umwelt aus einem neuen Blickwinkel zu betrachten. Gleichzeitig sind seine Arbeiten auf Humor aufgebaut. "Klassische, bedeutungsvolle Bildhauerei wird hier ganz manifest ad absurdum geführt. Zugleich ergibt sich eine zweite, letztlich sehr abgründige humoristische Ebene bei Erwin Wurm. Denn seine bildhauerische Geste ist auch dazu da, den einfachsten, selbstverständlichsten Gepflogenheiten und Handlungen im Alltag gewissermaßen den Boden unter den Füßen wegzuziehen." (Robert Fleck, in: Erwin Wurm. Der Künstler, der die Welt verschluckte, Ausstellungskatalog, MUMOK Museum Moderner Kunst Stiftung Ludwig, Wien 2006/2007, S. 11)So bringt er Ikonen der Architektur von Adolf Loos, Mies van der Rohe oder Frank Lloyd Wright zum Schmelzen. "Ich betrachte Architektur als eine Art Skulptur... daher ist es möglich, diese Häuser zum Schmelzen zu bringen, weil das Schmelzen ist für mich der langsame Prozess einer Transformation der Form in etwas Flüssiges. Dieser Wechsel des Zustandes, die geometrische Form eines Gebäudes wird Fett, das bedeutet eine Aufhebung der Ordnung. Es entsteht etwas nicht Anthropomorphes, nicht Abstraktes, eher etwas Formloses." (Übersetzung eines Gesprächs von Erwin Wurm mit Peter Zuspan, http://www.museomagazine.com/ERWIN-WURM). Die Skulptur "Guggenheim-Melting" ist also eine Kombination aus zwei gegensätzlichen Ordnungen, der Architektur als technischem und dem amorphen Schmelzen als biologischem System. Nicht zufällig ist die Auswahl des berühmten New Yorker Museums von Frank Lloyd Wright. Das 1956 bis 1959 errichtete Gebäude, das die Grundform einer Rotunde hat, vereint verschiedene geometrische Formen wie Dreiecke, Kreise, Ovale und Quadrate. Es gilt als gelungener Versuch, die Plastizität organischer Strukturen in die Architektur zu übersetzen. Gleichzeitig stand es in der Kritik, mit seiner visuellen Dominanz der darin ausgestellten Kunst die Schau zu stehlen, also seine eigentliche Aufgabe als Museum zu verfehlen. Die Architektur ist hier also auch als Demonstration von Macht und Einfluss zu interpretieren. Gemeinsam mit dem Gebäude schmilzt Erwin Wurm seine ästhetische Exklusivität und seine Bedeutsamkeit als Tempel der Kunst ein. (Sophie Cieslar)

A QUANTITY OF PICTURES AND PRINTS ETC, to include two late 20th century landscape oils on canvas, two rugby themed prints, a signed R.S. Potts steam locomotive print, two modern Charlie Chaplin box canvas prints, two watercolour landscapes signed G. Percival, a 1970s string art picture, William Finch foil print of a Tiger, assorted other prints and a mirror etc

▲ David Bailey (b.1938) Robert Fraser Gallery group, October 1968gelatin silver print, a photocopied note attached verso reads 'Printed 2013/By Bailey/for NPG Selection, 2014 Exhibition', with the artist's signaturevisible 29.5 x 29.5cmProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportFramed: 60 x 48cmPresents well overall and ready to hang. Not viewed out of glazed frame. The note and signature are photocopied not original.

▲ Clive Barker (b.1940) 'Dalek', 1998 (Fermon 335)polished aluminium, stamp signed, titled, dated and numbered '5/6' on base15.5cm highProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportDust and dirt to the crevices. For a full report please contact the department.

▲ Michael Seymour (1932-2018) Pauline Boty, 1963;Susannah York contact sheet;Michael Caine and Terence Stampthree modern prints from original negatives, each signed 'Michael Seymour' and dated '26.09.08' with artist's copyright stamp versoimage 32 x 50.5cm and similar, unframed (3)Provenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportOverall: 42 x 59cmAll three prints present well overall. The photograph of Pauline Boty has a small yellow spot to the centre of the left margin.

▲ Philip Townsend (1940-2016) Two photographs of The Rolling Stones, c.1962;George Harrison and John Lennon, 1968three archival pigment prints, printed later, all signed 'Philip Townsend', each numbered from an edition of 50 with artist's blind stamp,together with two further prints, also signed and with blind stamp61 x 50.5cm and smaller, unframed (5)Provenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportLight handling creases. Some of the signatures and numbers are a little faded and smudged, please refer to images. The print of Marty Wilde has a brown mark line across the top margin and has an additional signature verso. The print of a shop has fragments of paper stuck to the reverse however the front of the print does not appear to be affected.

▲ Michael Ward (1929-2011) 'Rolling Stone - Mick Jagger - 1964''Rolling Stone - Brian Jones - 1964'two gelatin silver prints, printed later, each signed 'Michael Ward' and inscribed with title, numbered '4/25' and '5/25' respectively, both with a further embossed signature, also inscribed and dated with artist's stamp verso48 x 33cm and 33 x 48cm, unframed (2)Provenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportBoth prints appear to be in good condition.

▲ Clive Barker (b.1940) 'Elementary', 2017 (Sherlock Holmes)polished bronze, stamp signed, titled, dated and numbered '1/2' on a plaque verso19cm highProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportSurface dust and dirt to crevices. For a full report please contact the department.

▲ Charles Spencelayh (1865-1958) 'Old Chelsea Pensioner'signed and dated 'Charles Spencelayh/9.2.35' l.l., inscribed with title l.c., pencil50 x 37cmProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportFramed: 75 x 61cmTime staining consistent with the age of the work. A faint crease mark to the upper right corner. A couple of dirty smudges below the signature. Not viewed out of glazed frame.

▲ Steven Thomas (b.1944) 'Salt Peter Blake'giclée print in colours, signed and dated 'STEVE THOMAS '10' in pencil l.r., inscribed with title and numbered '2/50'image 61 x 61cmProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportFramed: 91.5 x 91.5cmAppears to be in good condition. Well presented and ready to hang.

▲ Ray Bellisario (1936-2018) 'Freedom - First Day Out Of Prison, Lying in a Field’, 1964three gelatin silver prints of Christine Keeler, printed later, one artist's proof, signed 'Ray Bellisario', inscribed and numbered 'AP 3/3' and also signed by Christine Keeler, one signed 'Ray Bellisario' and numbered '1/10', and also signed 'C M Sloane', the name later adopted by Keeler when she struggled to find work, all with The Estate of Christine Keeler blind stamp50 x 40cm, unframed (3)Provenance: The David and Pam McCleave Collection of Modern British Art. Condition ReportThe prints do not sit completely flat at the edges. There is a small purple mark to Keeler's dress beneath the collar on all three prints which is possibly a printing defect (?), please see images, however overall all three prints present well.

▲ Michael Ward (1929-2011) Marianne Faithfull at home, London, 26 July 1967gelatin silver print, printed later, embossed signature l.r., numbered '7/50', signed 'Michael Ward' in pen verso with Michael Ward Archives stamp image 34 x 50cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportOverall: 42 x 59.5cmAppears to be in good condition.

A collection of Battersea Power Station posters printed by the Wandsworth Community Printshop, a number signed 'Brian Barnes' in pencil76 x 51cm and similar, unframed (qty.)Provenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportA number of the prints have been stuck down to a canvas backing. A little light creasing. Surface dirt with some small dirty marks and stains.

▲ David Bailey (b.1938) Christine Keeler contact sheet, 1969archival photograph, 2016, signed, dated and numbered '1/10' verso with David Bailey copyright stampsheet 61 x 79.5cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportAppears to be in good condition.

▲ Sir Peter Blake RA (b.1932-) 'Mickey'screenprint in colours, 2005, signed 'Peter Blake' in pencil l.r., inscribed with title and numbered '6/175'sheet 70 x 60cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportAppears to be in good condition.

▲ Sir Peter Blake RA (b.1932-) '3 Matchboxes'screenprint in colours, 2007, signed 'Peter Blake' in pencil l.r., inscribed with title and numbered '165/175', printed at Coriander Studios, published by CCA Galleriessheet 76 x 102cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportA couple of small nicks to the extreme lower left edge. The bottom corners are a tiny bit dented however this is only noticable on very close inspection. Overall the print presents well and appears to be in otherwise good condition.

▲ Clive Barker (b.1940) 'Andy Capp', 1978 (Fermon 182)polished aluminium, stamp signed, titled, dated and numbered '6/6' on base23cm highProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportDust and dirt to crevices. For a full report please contact the department.

▲ Sir Peter Blake RA (b.1932-) 'Parade'screenprint in colours, 2009, signed 'Peter Blake' in pencil l.r., inscribed with title and numbered '10/175', printed at Coriander Studios, published by CCA Galleries, with blind stampsheet 78 x 60.5cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportAppears to be in good condition.

▲ Barry Fantoni (b.1940) 'Be Prepared', Lord Baden-Powell acrylic and oil over pencil on canvas, published in 'The Sunday Observer' on 18 July 1965, and believed to be based on the 1929 portrait of the World Chief Scout, Lord Baden-Powell, by David Jagger101.5 x 76cmProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportFramed: 109 x 83.5cmCraquelure to the bright yellow paint. A little surface dirt. Light scuffs and abrasions with rubbing to the the bottom corners. Not examined under UV light, for a full report please contact the department.

▲ Lawson Wood (1878-1957) 'Downhill a Motorist Came, and a Constable Noting the Same, Stopped the Car with a 'Wack', in the Small of His Back...'signed and dated 'LAWSON.WOOD./05' l.l., titled on mount, pen and ink and watercolour heightened with white27.5 x 20.5cmProvenance: With Chris Beetles, London;the David and Pam McCleave Collection of Modern British Art.Exhibited: Chris Beetles, London, 'The British Art of Illustration, 1800-1999', no. 184.Literature: Illustrated in 'Pearson's Magazine', January to June 1906, 'Random Rhymes no. VI', p.229. Condition ReportFramed: 58 x 42.5cmDiscolouration and foxing to the paper. Brown marks to the centre of the right edge. The colour is a little muted. Not viewed out of glazed frame.

▲ Terry O'Neill (1938-2019) English footballers, c.1972gelatin silver print, printed later, signed 'Terry O'Neill' and numbered '10/50'image 46 x 45.5cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.A photograph of David Webb, Geoff Hurst, Alan Hudson, Terry Venables, Terry Mancini, Alan Ball and Rodney Marsh.Condition ReportOverall: 61 x 51cmAppears to be in good condition.

▲ Sir Peter Blake RA (b.1932) 'Girlie Door'screenprint in colours, 2008, signed 'Peter Blake' in pencil l.r., numbered '100/175', printed at Coriander Studios, published by CCA Galleries, with blind stampsheet 82 x 59.5cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportAppears to be in good condition.

▲ Bert Hardy (1913-1995) Beer and oats;A beer deliverytwo black and white photographs, both with Getty Images Gallery blind stamp and Getty Certificates of Authenticity, dated March 2015, attached versoimage 31.5 x 47cm (2)Provenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportFramed: 54 x 68.5cmLight cockling. Well presented and ready to hang.

▲ Clive Barker (b.1940) 'Uncle Scrooge', 2001polished aluminium, stamp signed, titled, dated and numbered '1/6' on plaque to base45cm highProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportDust and dirt to crevices. For a full report please contact the department.

▲ Ray Bellisario (1936-2018) 'Freedom - First Day Out Of Prison, Lying in a Field’, 1964two gelatin silver prints of Christine Keeler, printed later, artist's proofs, both signed 'Ray Bellisario', inscribed and numbered 'AP 2/3' and 'AP 1/2' respectively, and also signed by Christine Keeler with The Estate of Christine Keeler blind stamp50 x 39.5cm and 40 x 50cm, unframed (2)Provenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportThere is a small purple mark to Keeler's dress beneath the collar and left hand on the portrait print which is possibly a printing defect (?), however overall both prints present well.

▲ Sir Peter Blake RA (b.1932) 'Babe Rainbow', 1968screenprint in colours on tinplate, signed 'Peter Blake' l.r., inscribed 'For Clive - from Peter' l.c., commissioned and distributed by Dodo Designs, London66 x 44cm, unframedProvenance: The David and Pam McCleave Collection of Modern British Art.Condition ReportLight superficial surface scuffs and scratches. Presents well overall.

RULER: AntinoüsDATE: 134 - 135 A.DDENOMINATION: TetradrachmMATERIAL: Bronze, AESIZE & WEIGHT: 29 mm, 14,02 grOBVERSE: Draped bust right, wearing hem-hem crown.REVERSE: Antinoüs (as Hermes), wearing chlamys, holding caduceus with his righthand, on horseback right; L I Θ (date) in field.REFERENCES: RPC III-6073, Dattari (Savio)-2083Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Antinous, a young man from Bithynia (modern-day northwestern Turkey), became famously associated with the Roman Emperor Hadrian, who reigned from 117 to 138 CE. Known for his extraordinary beauty, Antinous met Hadrian as a teenager and quickly became his close companion, likely joining him in his travels across the empire. Their relationship was both personal and political, with Antinous not only providing companionship to Hadrian but also representing an ideal of beauty, youth, and virtue that Hadrian admired deeply. During their travels together, Antinous became a beloved figure in Hadrian's inner circle, and their bond was considered exceptionally strong, reflecting the emperor’s interest in Greek culture and values, including the Greek ideal of male companionship.The most significant event in the story of Antinous occurred in 130 CE, when he drowned in the Nile River under mysterious circumstances while accompanying Hadrian in Egypt. The circumstances surrounding his death remain unclear, and some sources suggest it may have been a ritual sacrifice or even a voluntary act, intended to prolong Hadrian's life through an act of mystical sacrifice. Devastated by his companion’s loss, Hadrian mourned Antinous deeply and deified him, establishing a cult in his honor—a rare privilege usually reserved for emperors and deities. Hadrian founded the city of Antinoöpolis in Egypt near the site of his death, and across the empire, he commissioned statues, temples, and coins bearing Antinous’s likeness. This act of deification was unprecedented for a non-imperial Roman and demonstrates the depth of Hadrian's attachment and the unique place Antinous held in his life.The legacy of Antinous endures as one of the most celebrated examples of youthful beauty in ancient art, with numerous statues, busts, and reliefs depicting him. His image became iconic, portraying him with a gentle expression and idealized features, embodying the classical Greek ideal of male youth. These artworks spread throughout the empire, and Antinous was worshiped as a god in certain regions, particularly in the Eastern provinces where Hadrian’s influence was strong. His cult persisted even after Hadrian’s death, making Antinous one of the few non-imperial figures in Roman history to be widely venerated. Today, Antinous remains a symbol of both Hadrian’s affection and the complex cultural synthesis of Roman and Greek ideals, immortalized in statues and surviving as one of the most enduringly enigmatic figures of Roman antiquity.

Scharl, Josef -- "Exodus humanitatis"Öl auf Leinwand. 1950.29,5 x 18,7 cm.Unten links mit Pinsel in Schwarz signiert "Jos. Scharl" und datiert sowie unten links und rechts mit Pinsel in Grün betitelt.Firmenich/Lukas 498.Kurz nach der vorzeitiger Beendigung seines Studiums an der Kunstakademie München schloss sich Josef Scharl der Münchner Neuen Sezession und der Künstlervereinigung der Juryfreien an und beteiligte sich erfolgreich an deren Ausstellungen. Er verbrachte künstlerisch erfolgreiche Jahre in Paris und Rom, bis die beginnende nationalsozialistische Kulturpolitik eine entscheidende Wende brachte. Seine Verkäufe und Ausstellungsbeteiligungen nahmen nach seiner Rückkehr ab, die finanzielle Lage des Künstlers spitzte sich zu und ihm wurde ein Malverbot auferlegt. Trotzdem ermöglichte ihm Karl Nierendorf 1935 noch eine Einzelausstellung. Eine Einladung des Museums of Modern Art in New York, gemeinsam mit Beckmann, Scholz, Heckel und Hofer an einer internationalen Ausstellung teilzunehmen, bestärkte Scharls Auswanderungspläne. 1939 emigrierte er nach Amerika. Die Emigration bedeutete für Scharl auch eine künstlerische Wende. Den Höhepunkt seiner Bekanntheit in Amerika markieren die Jahre 1944-46. Im Anschluss entstand die vorliegende Arbeit. Das in gedeckter Farbpalette gehaltene männliche Portrait verzichtet auf eine dreidimensionale Herausarbeitung der Form. Stattdessen ist es die Erprobung einer Räumlichkeit, die aus vielen einander gegenüber gesetzen Farbflächen resultiert. Das Gemälde ist somit typisch für das künstlerische Spätwerk des Künstlers.Provenienz: Ketterer, München, Auktion 06.05.2000, Lot 206Privatbesitz Berlin - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

El-Salahi, Ibrahim -- Ohne TitelTempera, Feder und Pinsel in Schwarz auf braunem festen Tonpapier. 1977.17 x 19,8 cm.Unten rechts mit Feder in Schwarz signiert "Salahi" und datiert.El-Salahi ist einer der berühmtesten modernen Künstler des Sudan und ein angesehenes Mitglied der Khartum-Schule, die 1961 von einer Gruppe von Künstlern gegründet wurde mit dem Ziel, ein neues visuelles Vokabular für eine unabhängige Nation zu entwickeln. Diese Schule, eine sudanesische Ausprägung der afrikanischen Moderne und der panarabischen Hurufiyya-Bewegung, verbindet traditionelle Formen der arabischen Kalligraphie mit moderner Malerei. Anlässlich seiner Ausstellung in der Tate Modern im Jahr 2013 wurde El-Salahis Werk als neue sudanesische visuelle Ausdrucksform charakterisiert, die aus seiner innovativen Integration von islamischer, arabischer, afrikanischer und westlicher Kunst entstand. Die vorliegende Zeichnung schuf der Künstler wohl während seiner Zeit in Doha, Katar, nach 1976. Die Töne Schwarz, Weiß und Ocker, durchsetzt von zarten farbigen Akzenten, dominieren die Zeichnung und sind charakteristisch für El-Salahis Schaffen dieser Jahre. Zeichenhafte und abstrakte Formen verbinden sich mit der ausdrucksstarken figürlichen Darstellung. Seine Werke sind in Sammlungen wie der Tate Modern, dem Museum of Modern Art, dem Guggenheim Museum Abu Dhabi und der Schardscha Art Foundation vertreten.Provenienz: Privatbesitz Hessen - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Crystal jug with silver, 13th artel. An excellent example of understanding Western historicism in Russian decorative and applied art. An example of stylish classical reflection on the theme of the early French Renaissance. The proportional expansion and emphasized functionality, the shape of the handle, the modern character of its decor, the belt of the Renaissance decor at the neck are complemented by the strict and majestic laconicism of a silver drum with classic garlands suspended from the bottom. A subtle note about flowering and reviving functionality is the garnet button on top of the lid. It will anticipate and perfectly complement the ensemble with cherry juice, a punch for red wine - at the time of celebrations.84 standard silver. Stamp for minor details and decorations of the Moscow Assay Office from 1908-1926. Brand of the manufacturer: 13Ð. (13 artel). On the inside, on the lid, the brand of secondary parts of the Moscow Assay Office from 1908-1926 and the brand of the manufacturer: 13A.Height: 29 cm Width: 16cm, Height: 29cm, Depth: 13cm, Weight: 2kg, Condition: Good, Material: Gilding, ID: ID-ANTQ-3734

This 84.5 gram 18K yellow gold, diamond and sapphire unisex bracelet is a true masterpiece of jewelry art that combines elegance and luxury. The design, inspired by the legendary Rolex style, makes the bracelet modern and stylish, drawing attention to its sparkling white diamonds and rich blue sapphires, harmoniously distributed along the entire length. Particular attention is drawn to the elongated link at the top of the bracelet, encrusted with three rows of diamonds and two rows of sapphires, creating a spectacular contrast. Each central link is decorated with a scattering of round brilliant diamonds, which adds even more sophistication and individuality to the product. Polished yellow gold emphasizes its luxury, turning the bracelet into a magnificent accessory for men who value style and quality. The bracelet design with an additional clasp-lock provides a comfortable and secure fit on the wrist, making it an ideal choice for everyday wear. Product weight is 84.5 grams. Hallmark: 750 gold sample (18Karat) Width: 1.6cm, Height: 22.7cm, Depth: 0.3cm, Weight: 0.085kg, Condition: Good, Material: Diamonds, ID: ID-ANTQ-11603

Poetic Art Nouveau silver tea and coffee set by Bruckmann, on the original tray. The silver set includes a large teapot with a hinged lid, a large coffee pot with a hinged lid, a sugar bowl with a removable lid, a milk jug. The set is installed on a large oval-shaped tray with two handles. The objects are decorated with overhead volumetric details made on floral motifs. The decorations, handles and shape of objects are made in the modern style, the lids are decorated with a voluminous cast flower bud on the stem. Silver, bone, traces of gilding on the inner surfaces. The outer surface of the objects is polished. Casting, stamping, drawing, rolling, embossing, carving (bone). Item sizes: Milkman. Height -11.3 cm, maximum width - 15.5 cm, base diameter (bottom) - 5.8 cm, weight - 239 gr. Coffee pot. Height - 21.0 cm, maximum width - 25.0 cm, base diameter (bottom) - 9.0 cm, weight - 817 gr. Kettle. Height - 15.0 cm, maximum width - 27.0 cm, base diameter (bottom) - 9. cm, weight - 936 gr. Sugar bowl. Height with lid - 16.0 cm, maximum width with handles - 17.0 cm, lid weight - 113 g, total weight - 461 g. Tray. Oval. Cast handles. Total length with handles - 55.0 cm, width - 38.0 cm, weight - 1480 gr. The total weight of the set is 4.045 kg. Silver, Germany, after 1888. Hallmarks: crescent moon, crown, silver standard 800, makers mark (unknown workshop, possibly Bruckmann). Excellent collectible condition. Width: 25cm, Height: 21cm, Depth: 1cm, Weight: 4.045kg, Condition: Very good, Material: Silver 800, ID: ID-ANTQ-8098

Four boxes of modern books, to include art, archaeology and history related

Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Herbstlandschaft. 1997. Eitempera/Ingres-Fabriano. 70 x 99,5 cm. Ungerahmt. L. u. monogr. und dat. S.S. 97. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stillleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.

Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Sylter Gräser. 1960. Gouache. 32 x 25,5 cm. R. u. sign. und dat. S. Sprotte 60, unter Glas gerahmt, ungeöffnet. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stillleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.

Pablo Picasso (Malaga 1881 - Mougins 1973). L'atelier de Cannes. 1956/58. Farblithographie. 44,5 x 32,5 cm. O. Mitte im Druck sign. und dat. Pour Gilberte et Serge, Picasso le 5.12.58, unter Passepartout und Glas gerahmt. Diente als Frontispiz des Portfolios 'Ces peintres nos amis' von 1960 mit einer Widmung an Gilberte Duclaud und Serge Chauby, Galeristen der Galerie 65 in Cannes - Literatur: WVZ: Bloch 794, überarbeitete Version - Universalgenie, einer der bedeutendsten Künstler der Kunstgeschichte, der in fast allen künstlerischen Gattungen Bahnbrechendes geleistet hat. P. studierte ab 1885 an den Akademien Barcelona und Madrid. In den ersten Jahren des 20. Jhs. gelang es Picasso nach schwierigen Anfängen, sich in der Kunstmetropole Paris zu etablieren. Seine ungeheure Kreativität und stilistische Vielfalt, dazu die schiere Fülle an Schöpfungen machten P. zum unerreichten Malerfürsten einer ganzen Epoche. Mus.: New York (MoMA, Metrop. Mus.), Paris (Centre Pompidou) Mus. Picasso), Barcelona (Mus. Picasso), London (Tate Modern), Berlin (Neue Nat.-Gal., Mus. Berggruen), Chicago (Art Institute), St. Petersburg (Eremitage), Moskau (Puschkin-Mus.), Madrid (Mus. Reina Sofia), Basel u.a. Lit.: Thieme-Becker, Vollmer, Bénézit, Zervos: P. P. Cat. rais., Bloch: Cat. de l’oeuvre gravé et lithographié u.v.a.

Pablo Picasso (Malaga 1881 - Mougins 1973). Peintre peignant la nuque de son jeune modèle. 1968. Aquatinta. 9 x 12,5 cm. R. u. mit Bleistift sign. Picasso, l. u. num. 38/50, unter Passepartout und Glas gerahmt. Das Blatt stammt aus der Serie ‘Célestine‘. Diese wurde in einer unsignierten Buchausgabe veröffentlicht, aber auch in einer kleinen Auflage von je 50 signierten und nummerierten Abzügen. Picasso illustriert in der ‘Célestine‘ einen spanischen Literaturklassiker des 16. Jahrhunderts, der die tragische Liebesgeschichte des Edelmanns Calisto zur Bürgerstochter Melibea zum Thema hat. Da sie seine Liebe zunächst zurückweist, wendet Calisto sich an die Kupplerin Célestine, die gemeinsam mit ihren Komplizen möglichst viel Geld aus dem unglücklich Verliebten herauspressen will. Die Geschichte endet mit dem tragischen Tod aller Beteiligten. - Literatur: WVZ: Bloch 1668 - Universalgenie, einer der bedeutendsten Künstler der Kunstgeschichte, der in fast allen künstlerischen Gattungen Bahnbrechendes geleistet hat. P. studierte ab 1885 an den Akademien Barcelona und Madrid. In den ersten Jahren des 20. Jhs. gelang es Picasso nach schwierigen Anfängen, sich in der Kunstmetropole Paris zu etablieren. Seine ungeheure Kreativität und stilistische Vielfalt, dazu die schiere Fülle an Schöpfungen machten P. zum unerreichten Malerfürsten einer ganzen Epoche. Mus.: New York (MoMA, Metrop. Mus.), Paris (Centre Pompidou) Mus. Picasso), Barcelona (Mus. Picasso), London (Tate Modern), Berlin (Neue Nat.-Gal., Mus. Berggruen), Chicago (Art Institute), St. Petersburg (Eremitage), Moskau (Puschkin-Mus.), Madrid (Mus. Reina Sofia), Basel u.a. Lit.: Thieme-Becker, Vollmer, Bénézit, Zervos: P. P. Cat. rais., Bloch: Cat. de l’oeuvre gravé et lithographié u.v.a.

Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Kiefer im Abendlicht. Öl/Lw./Hartfaser. 52,5 x 43,5 cm. R. u. sign. S. Sprotte. - Provenienz: Seit Jahrzehnten im Besitz derselben Familie - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stillleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.

Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). Blumenmosaik. 1989. Öl/Karton. 25 x 20 cm. L. u. sign. und dat. Sprotte 89, auf Rückseitenschutz betitelt und dat. 'Blumenmosaik 89' mit Künstlerstempel. Kl. Farbabspl. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stillleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.

Siegward Sprotte (Potsdam 1913 - Kampen/Sylt 2004). An der See. Öl/Karton. 37,5 x 47 cm. Ungerahmt. L. u. sign. Sprotte. - Maler und Zeichner mit kunstphilosophischem Hintergrund. S. schuf Landschaften, Marinen, Stillleben und Bildnisse. Er war Schüler von Emil Orlik in Berlin und Meisterschüler bei Karl Hagemeister in Werder/Havel. Er ließ sich in Kampen auf Sylt nieder, wo er zu einem Mittelpunkt des künstlerischen Lebens wurde. Den kalligraphisch anmutenden Arbeiten seiner Reifezeit gelingt es, mit wenigen präzisen Strichen die unterschiedlichsten Stimmungen von Meer und Wetter ins Bild zu setzen. Mus.: San Francisco (Mus. of Modern Art), Shanghai, Moskau, Stuttgart, Husum u.a. Lit.: Vollmer, U. Schulte-Wülwer: Künstlerinsel Sylt u.a.

Robert Delaunay, Paysage BretonÖl auf Leinwand, doubliert. 49 x 59,5 cm. Gerahmt. Unbezeichnet. - Mit schwacher konkaver Wölbung in der linken Bildmitte, sonst in gutem Zustand.Mit einer Foto-Expertise von Jean Louis Delaunay vom 9. September 2004, No 37 AQF-330-41ProvenienzVom Künstler erworben ca. 1935-1937, Félix Aublet, Paris; Privatbesitz Paris; Calmels Cohen, Paris, 27. November 2004, Lot 131; Privatbesitz; Sotheby's, New York, Impressionist Painting, 13. September 2005, Lot 53; Sotheby's, London, Impressionist and Modern Art Day Sale, 23. Juni 2010; Christie's, New York, Impressionist and Modern Art Day Sale, 9. Mai 2013, Lot 223; Privatbesitz HessenLiteraturVgl. Gustav Vriesen/Max Imdahl, Robert Delaunay - Licht und Farbe, Köln 1967Aus großbürgerlich, aristokratischer Familie stammend, wuchs Robert Delaunay erst in Paris, aber seit früher Jugend bei Verwandten auf dem Land, in La Ronchère, auf. Dort hatte er "reichlich Zeit und Gelegenheit, im Freien herumzustreifen [...]; diesse direkte Verbindung mit der Natur, dem Landleben und auch den Landleuten stand im glücklichen Einklang mit seinen Neigungen." (Vriesen/Imdahl, op. cit. S. 14). Ab 1902 absolviert Delaunay eine Lehre im Dekorationsatelier Ronsin in Belleville. Erste impressionistische Landschaften entstehen in der Bretagne 1903 bis 1905."Es ist gut denkbar, daß die Impressionisten-Ausstellung bei Bernheim-Jeune 1903 oder eine der Monet-Ausstellungen der Galerie Durand-Ruel um die Jahrhundertwende dem jungen Delaunay Eindrücke vermittelt haben, die ihm vor Augen blieben." (Vriesen/Imdahl, op. cit. S. 16). Ab 1904 finden seine Gemälde selbst Aufnahme in Ausstellungen im Salon d’Automne und im Salon des Indépendants.Der Kontakt zu den Künstlern von Pont-Aven ist auch in unserem Landschaftsgemälde mit Bretonin in der typischen Haube vor ihren Tieren deutlich. In noch dem Neo-Impressionismus verhaftteten Farbtupfen verdichtet sich die Malweise zu einem kompakten Bildraum. Die hinter dem Horizont erscheinenden Wolken bringen in aller Ruhe Bewegung in die Szenerie.Die vorliegende Landschaft ist eines der wenigen erhaltenen Gemälde aus der frühen Werkphase Robert Delaunays, dessen orphistische, bildzersplitternden Motive ihn später zu einem der größten Vertreter der französischen Moderne machen sollten.

André Masson, Féminaire de la rue Saint-Denis VIÖl auf Leinwand. 46,5 x 27,5 cm. Gerahmt. Oben rechts vertikal rot signiert und datiert 'André Masson 57'. Rückseitig auf der Leinwand bezeichnet 'VI'. - In sehr guter Erhaltung.Die Authentizität des Werks wurde bestätigt durch das Comité André Masson, Paris.ProvenienzGalerie Louise Leiris, Paris (Etikett auf dem Keilrahmen); Perls Galleries, New York (Etikett auf dem Keilrahmen); Marlborough Fine Art, London, 1958 (Etikett auf dem Keilrahmen); Royal Marks Gallery, New York, 1960 und 1963 (Etikett auf dem Keilrahmen); Sotheby's New York, Impressionist and Modern Art Including Russian Art, 30. Mai 2014, Lot 89; Privatbesitz Nordrhein-Westfalen

A large quantity of mixed modern release wall art, to include Dr Who, Dandy Comics etc