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Mary STORK (British 1938-2007), Reclining Nude, on blue ground, Coloured print, 11" x 15 (28cm x 38cm)Qty: 1

Contemporary sketch of a nude standing from back, titled 'Movement' initialled MC and dated 85 (lower right), pen and wash, 15" x 10.5" (38cm x 27cm). Framed and glazed

Art Nouveau Josef Lorenzl inspired nude lady figurine sculpture lamp. Comes with glass shade. Bronze painted over spelter.

Eric James Mellor (mid 20th century British) - Study of a Seated Female Nude - signed & dated '58 lower right, framed & glazed, 20 by 25cms.

Paul Thomas (modern British) - Study of a Female Nude - signed & dated '07 lower left, watercolour, framed & glazed, 11 by 16cms.

John Emmanuel (b 1930) - Study of a Female Nude - signed in pencil to the edge, mixed media, framed & glazed, 36 by 53cms.

Carmen Tyrrell (modern British) - Study of a Female Nude holding an apple - signed lower left, acrylic on paper, framed & glazed, 50 by 69cms.

A large painted composition nude, 55cm high.

A BRONZE FIGURE OF A SEATED MAN, DONG SON CULTUREVietnam, 500 BC to 300 AD. Modeled as a nude man seated on a folding stool, his face neatly detailed with protruding eyes, arched eyebrows, and open mouth, his hands resting on his bent knees.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Condition commensurate with age. Extensive wear, losses, fissures, signs of weathering and erosion, corrosion, casting flaws, nicks, and scratches. Fine malachite-green patina with brown encrustations overall.Weight: 395 g Dimensions: Height 16.1 cmDong Son (named for Dong Son, a village in Thanh Hoa) was a Bronze Age culture centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Van Lang and Au Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Literature comparison: Compare a related seated male figure, though of much smaller size, in the collection of the Metropolitan Museum of Art, accession number 2000.287.Auction result comparison:Type: RelatedAuction: Galerie Zacke, Vienna, 16 October 2021, lot 579Price: EUR 15,168 or approx. EUR 16,500 adjusted for inflation at the time of writingDescription: A rare male bronze figure, Dong Son cultureExpert remark: Compare the related motif. Note the different pose and size (28 cm).越南東山文化人物銅像越南，公元前500 至公元300 年。一個坐在凳上的裸體男人銅像，面部描繪精細，眼睛突出，眉毛彎曲，嘴巴張開，雙手放在彎曲的膝蓋上。 來源：Paolo Bertuzzi (1943-2022年) 收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。 Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：條件與年齡相稱，大面積磨損、缺損、裂縫、風化和侵蝕、腐蝕、鑄造缺陷、刻痕、劃痕，精美的孔雀石綠色包漿，整體呈棕色結殼。 重量：395 克 尺寸：高 16.1 厘米 東山文化是位於越南北部紅河河谷的一個鐵器時代史前文化。它約繁盛於公元前1000年到公元前後，它影響的區域包括東南亞其他地區乃至以及印度-馬來亞群島。越南歷史學家將其歸因於範朗州和悠樂州。公元前1000年，它的影響了東南亞的其他地區，包括海上東南亞。長期以來，這種文化對西方考古學家來說一直是個謎，人們只能通過青銅器了解它，其中許多通過考古墓地挖掘。東山青銅器在其原始位置被確定之前就在歐洲展出了一個世紀，關於文化年代測定方法的幾種理論和推測一直持續到今天。

A RARE 'PENSIVE MONKEY' BRONZE VESSEL, DONG SON CULTUREVietnam, 500 BC to 300 AD. The vessel in the form of a seated monkey with slender elongated arms and legs, one elbow resting on his knee, the left hand lowered toward his waist and touching his prominent member. The face of almond shape with bulging eyes and a broad nose, the incised mouth forming a subtle smile, flanked by two tubular ears, the mouth of the vessel at the top of his head. The body incised with vertical lines, the recessed base decorated with a characteristic spiral design.Provenance: From the private collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy, and the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Minor old repairs and fills as generally expected from ancient Dong Son excavations. Some losses, fissures, signs of weathering and erosion, casting flaws. Overall, still very good condition commensurate with age. Fine malachite-green patina with brown encrustations overall.Weight: 663.8 g Dimensions: Height 20 cmDong Son (named for Dong Son, a village in Thanh Hoa, Vietnam) was a Bronze Age culture in ancient Vietnam centered at the Red River Valley of northern Vietnam from 1000 BC until the first century AD. Vietnamese historians attribute it to the states of Văn Lang and Âu Lạc. Its influence spread to other parts of Southeast Asia, including Maritime Southeast Asia, throughout the first millennium BC. The culture long remained a mystery to western archaeologists, and it was known only through its bronze objects, many of which were taken from burial sites. Dong Son bronze objects were exhibited in Europe for a century before their original location was even determined, and several theories and speculations over the dating methodologies of the culture continue to this day.Literature comparison: Compare a related seated male figure, though of much smaller size (8.9 cm), in the collection of the Metropolitan Museum of Art, accession number 2000.287.Auction result comparison:Type: Closely relatedAuction: Galerie Zacke Vienna, 16 October 2021, lot 579Price: EUR 15,168 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A rare male bronze figure, Dong Son cultureExpert remark: Compare the nude man with prominent member and related incised decoration. Note the size (28 cm).東山文化罕見坐猴銅管越南，公元前500至公元300年。器形為坐猴狀，手腳細長，一肘擱膝，左手垂向腰部。杏仁形臉，雙眼圓睜，闊鼻，咧開的嘴露出笑意，兩側耳朵。器皿的口在頭頂。主體刻有垂直線條，圈足，全身有螺旋狀圖案。 來源：Paolo Bertuzzi (1943-2022年) 私人收藏。Paolo Bertuzzi是來自義大利博洛尼亞的時尚造型師。他是 Hettabretz 的創始人 Enrichetta Bertuzzi 的兒子，Hettabretz 是一家著名的義大利時裝公司，客戶包括羅斯柴爾德家族、奧黛麗赫本和伊麗莎白泰勒。Paolo Bertuzzi 後來接手了他母親的生意並設計了獨家作品，其中一些作品在美國紐約大都會博物館服裝學院展出。六十多年來，他還是一位狂熱的古董收藏家。 他的收藏包括古代和當代藝術，他編輯了兩本關於亞洲藝術的重要書籍，《Goa Made - An Archaeological Discovery》-關於義大利和印度尼西亞政府合作的大規模考古項目，以及《滿者伯夷-來自被遺忘王國的傑作》。 品相：小修和填充，一些缺損，裂縫，風化和侵蝕的跡象，鑄造缺陷。綠色銅鏽包漿細膩，有棕色結殼。 重量：663.8 克 尺寸：高20 厘米

A JAIN SANDSTONE STELE OF THREE JINAS, WESTERN INDIA, RAJASTHAN OR GUJARAT, 10TH-12TH CENTURYFinely carved in high relief with three nude Jinas standing side by side in kayostarga, each on a rectangular plinth with small figures of worshippers and vyalas, the central Jina flanked by two small figures, the top carved with a seated deity flanked by elephants. Provenance: From the collection of Jean-Marc Andral, acquired 1990 in Belgium. A copy of a provenance statement, written and signed by Jean-Marc Andral, dated 10 December 2022, accompanies this lot. Jean-Marc Andral is a Belgian manager based in Brussels and active in the healthcare industry for over 25 years.Condition: Very good condition, commensurate with age. Extensive wear, minor losses, nicks and scratches, signs of weathering and erosion, structural cracks, encrustations.Dimensions: Height 51 cm (excl. stand) and 52 cm (incl. stand)With a modern metal stand.Jinas are depicted in only two poses: Kayostarga, standing, or dhyani, seated in meditation, and due to the identical poses and expressions they are distinguished mainly by their vahanas, or vehicles, appearing at the feet of the figures or carved on to the pedestals. In the present example, an exact identification of the Jina is not possible. However, Mahavira is the most commonly represented of the tirthankaras in the kayostarga attitude, and therefore an attribution seems appropriate. Another reasonable attribution would be the second tirthankara, Ajitanatha, whose emblem is the elephant, two of which are carved at the top of this stele. The earliest extant Jain images date to the first century C.E. and were created in the area around Mathura, the center of much religious activity. Jainism is India's third great ancient religion and was founded contemporaneously with Buddhism, from which it differed by its advocating the attainment of a spiritual life through asceticism. This may account for the conventional depiction of tirthankaras in a rigid frontal pose. The term Jina, meaning “Conqueror” or “Victor of over Life” is applied to one who, like the Buddha, has attained perfect knowledge. Tirthankara meaning “He who has crossed the Ford” of rebirth and attained perfect freedom, is equivalent to Jina. In many respects, and more particularly in the seated poses, the Jina figure has many parallels to the Buddha image with the exception that, among the Digambara sect of Jains, the figure is always nude and the chest bears the srivasta.The nudity of Jain saints was a practice of both asceticism and their belief in non-possession, dating back to the days of Mahavira. However, a schism arose in around 79 C.E., extensively recorded in literature, about what constitutes total renunciation. At the time, Jain monks separated into rival factions, the Digambaras “clothed with the sky” or nude and the Svetambaras, “clothed with white”, who partially clad themselves with white cloth. According to inscriptions the Svetambaras worshipped the nude image without objection and for both sects the Jinas and the saint Bahubali are represented naked while all other deities are clothed and even ornamented.The present sculpture symbolizes mankind disregarding the material world and his animal nature. The figure is a human being transformed into a god-like state and the worship of it is not a two-way interaction but a meditation, where the deity is not expected to grant favors but rather to exemplify a state of being attainable by all.Literature comparison: Compare a related marble stele of Ajitanatha and his divine assembly, dated 1062, 149.9 cm high, in the Norton Simon Museum, accession number M.1998.1.S.Auction result comparison: Type: Related Auction: Christie's Paris, 7 June 2011, lot 353 Price: EUR 46,600 or approx. EUR 55,500 adjusted for inflation at the time of writing Description: A fine sandstone figure of a Jain tirthankara, India, Rajasthan or Gujarat, 11th centuryExpert remark: Note the significantly larger size (100 cm)

Dugdale (John) Life's Evening Hour: Prose & Photographs, one of 2000 copies, signed by Dugdale on title, New York, August Press, 2000 § Kertess (Klaus) Peter Hujar: Animals & Nudes, one of 2500 copies, Santa Fe, Twin Palms, 2002 § List (Herbert) Junger Männer, one of 5000 copies, Altadena, CA, Twin Palms, 1988 § Houston (James) Move, signed by Houston on title, New York, 2006 § Burton (Jeff) The Other Place, one of 4000 copies, Santa Fe, NM, Twin Palms, 2005 § Barker (Stephen) Nightswimming, one of 2000 copies, Santa Fe, NM, Twin Palms, 1999, photographic illustrations, some colour, original cloth or boards, all but the first with dust-jackets; and 12 others, mostly nude & intimate photography, 4to & 8to (19)

MARK CLARK (b.1959), A standing nude limited edition print 12/120, signed by the artist lower right, 30cm high x 19cm wide

John Emanuel (b.1930) - Mixed media - Female nude study, 57.5cm x 39cm, framed, behind glass

Marcel Bouraine for Max Le Verrier, Dancer with Grapes, an Art Deco patinated art metal figure, circa 1925, modelled as a nude Bacchanalian woman, on marble block base, signed in cast Denis, 27.5cm high

Marcel Bouraine, Dancer with Discs, an Art Deco patinated art metal figure, circa 1925, modelled as a nude woman with bone discs, balanced on one leg, on Siena marble block base, signed in case Derenne, 28cm high

After Karl Tutter for Hutschenreuther, Sun Child, an Art Deco figure of a nude woman with arms raised, printed marks, 20cm high

Marcel Bouraine, an Art Deco bronzed terracotta figure, circa 1925, modelled as a nude woman embracing a fruiting garland, incised mark M Bouraine, 22cm high

A pair of dust pressed Arts and Crafts tile panels, probably Maw and Co., modelled in relief as semi nude women with putti, in the Art Nouveau style, 30.5cm x 15cm (2)

Marcel Bouraine, Dancer with Discs, large version, an Art Deco patinated art metal figure, circa 1925, modelled as a nude woman with celluloid discs, balanced on one leg, on black marble pyramidal base, signed in case Derenne, 50cm high

Max Le Verrier, an Art Deco patinated art metal figural bookend, circa 1925, modelled as a nude woman reading a book, sitting on a plinth, marble base, signed in cast M Le Verrier, 21.5cm high

Pierre Le Faguays, Messenger of Love, an Art Deco bronze figure, circa 1925, modelled as a nude woman holding a dove, in integrated stepped base and black marble slab, signed in cast Fayral, stamped Bronze, 33.5cm high

Pierre Le Faguays, Amazonian Warrior, an Art Deco bronze figure, circa 1930, modelled as a nude woman with shield and sword, on marbled block base, incised mark L Faguays, 35cm high

Royal Dux, an Art Deco nude figure, modelled as a young maiden reclining above the waves, printed and impressed marks, 16cm high

Jacques Limousin, Veil Dancer, an Art Deco patinated art metal figure, circa 1925, modelled as a semi nude woman with scarf and headdress, on marble base, signed in cast Limousin and monogram JL, 36.5cm high

Julien Causse, Immortalite, an Art Nouveau patinated art metal sculpture, circa 1900, modelled as a semi nude woman writing on a wall, 40cm high

After Eric Gill, 'Eve', a cast iron wall panel, depicting a silhouetted nude with entwined serpent, within stepped frame and stylised chain link border, 172cm x 95cm

Raymonde Guerbe for Le Verrier, Bather, an Art Deco patinated art metal figure, circa 1925, modelled as a nude woman recoiling from a wave, signed in cast R Guerbe, 19.5cm high

An Art Deco bronze figure, circa 1925, modelled as a nude woman roller skating, verdigris patination, on green onyx base, 10.5cm high

An Art Deco silvered art metal figural lamp base, circa 1930, in the style of Josef Lorenzl, modelled as a nude woman dancing, holding a spherical crackle glass shade, on marble plinth base, 59cm high

Pierre Le Faguays for Max Le Verrier, Venus, an Art Deco patinated art metal figure, circa 1925, modelled as a draped nude female bather, on black marble base, signed in cast Fayral, stamped Le Verrier Paris, 22cm high

William Henry Hyde (American, 1858-1943), standing female nude, signed l.r., oil on board, 85 by 43cm, gilt frame

Max Le Verrier, an Art Deco patinated art metal figure, circa 1925, modelled as a nude woman holding a bunch of grapes, reclining on a stepped black marble plinth, incised mark to base, M Le Verrier, 41cm high

Raymonde Guerbe, an Art Deco painted terracotta figure, circa 1925, modelled as a nude Bacchanalian woman, on a column base, incised mark Guerbe, 32cm high

Garden bird bath, base with nude females, height 85 cm, width and depth 45 cm

Six various folios / folders of works by M M STOKES including nude portrait studies and still life studies, various other still life and figural studies, landscapes, country houses, etc, various mediums including watercolour, mixed media, pen and ink, pastel, charcoal, etc CONDITION REPORTS Approx 350 individual works

A Japanese woodblock print of a semi nude lady. Frame size 43 x 32cm.

David BACKHOUSE (1941). Nude 9. Drawing in pencil. Signed. Measures 28 x 23 cm.

* Mirror. A large painted and gilt trumeau overmantle, English, circa 1790-1810, mirror, 87 x 111 cm (34.25 x 43.5 ins), surmounted by a large rectangular oil on canvas panel, depicting a grisaille dancing female figure with tamborine, within a beaded pointed oval frame, flanked by a nude bacchante on either side, the body of each terminating in a large volute of vine leaves, tendrils, and grapes, faint craquelure, some minor spotting and tiny chips, 53 x 112 cm (21 x 44 ins), gilt moulded beaded frame, topped by a ribbon with tasselled bow (strengthened behind with wooden baton, loss to top of bow), the painting and mirror separated by a gilt carved frieze with Bacchus's head in the centre, flanked by floral volutes, lower edge of frame with frieze of laurel branches, some light rubbing to frame, cream baton strips sometime attached to sides, brass mirror plates for hanging on verso, 175 x 122 cm (69 x 48 ins) QTY: (1)NOTE:A beautiful and impressive overmantle mirror, the subject matter suggesting that it might originally have been commissioned to hang in a dining room.

An Art Deco style black painted plaster table lamp in the form of a nude dancer perched on a column draped with cloth. (2) H.62 W.22 D.14cm.

An Art Deco style bronze resin figure of a nude female bust, mounted on a white veined black marble base. H.46 D.18cm.

An Art Deco style black resin table lamp in the form of a nude dancer with white glass globe shade. H.70 W.22 D.14cm.

A Hutschenreuther bisque porcelain figure by Carl Werder, a nude dancing woman with arms outstretched, signed to base. H.23cm

Thomas Martine Ronaldson (British, 1881-1942)Female nude signed with monogram and dated '1922' (lower right)oil on canvas61.2 x 51.1cm (24 1/8 x 20 1/8in).For further information on this lot please visit Bonhams.com

John Anster Fitzgerald (British, 1832-1906)Standing nude bather signed 'J.A.Fitzgerald' (lower right)oil on canvas 55.9 x 36.8cm (22 x 14 1/2in).For further information on this lot please visit Bonhams.com

Sir Herbert James Gunn RA PRP RSW (British, 1893-1964)Reclining nudesigned 'HJamesGunn' (lower right) red chalk 45.4 x 35cm (17 7/8 x 13 3/4in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

C J HealeyNude studyOil on board Together with other nude studies and prints

Gebr Mann (pubs)'Prolog I', a portfolio of contemporary German drawings and prints selected by a group of American and German Residents of Berlin, containing twenty five various prints and engravings together with content booklet, 44 x 31cm; and an engraved view of Pembroke College after Michael Burghers, unframed (2)Portfolio tatty with spine detached and missing. The prints themselves mainly good. Seated nude – time stained to image. The mounts all with time staining and slight further time staining to edges of further prints include. The fox etching with strange red dotty line to centre of image.

A HOCHST FIGURE OF VENUS OR "LA BAIGNEUSE", AFTER FALCONET standing nude beside a tree stump draped in a cloak, on a grassy mound base, incised on the back "I.P. Melchior F.1771", blue crowned wheel mark, 19cm high Provenance: Bt. Yvonne Adams (Stow-on-the-Wold), summer 2006.

A NYMPHENBURG COLOURED FIGURE OF AEOLUS circa 1760, modelled by Bustelli, standing nude with drapery falling from his left thigh, holding a bag of wind at his side, with impressed Bavarian shield on sack, 10.5cm highProvenance: Collection Levi of Montevideo, Christie's 3rd July 1956, part lot 39. Exhibited: Apparently the Bayerische National Museum during the Second World War.

A NYMPHENBURG WHITE FIGURE OF A PUTTO (FLORA) circa 1760, modelled by Bustelli standing nude with body turned and drapery falling from the waist, with impressed Bavarian shield mark, 10.5cm highProvenance: Collection Levi of Montevideo, Christie's, 3rd July 1956, lot 25. Exhibited: Apparently the Bayerische National Museum during the Second World War.

William Edward Frost RA (1810-1877)Female nude bathing in a riverSigned W E Frost (lower right)Pencil, watercolour and bodycolour12.5 x 7.6cm; 5 x 3in

Charles O'Neill (E & C O'Neill Brothers, London)An Arts and Crafts stained and leaded glass oval panel, late 19th/early 20th century, depicting a nude classical female, 33cm high and 20.5cm wide Charles O'Neill worked as a glass painter with his brother, Edward Frederick Hatton O'Neill, forming 'The O'Neill Brothers' glass company. They are first listed at 343 Kentish Road, London as glass makers in 1891-92 and later as a joint business in 1897 at 165 Gray's Inn Road. This address was shared for a short time with the glass designer Charles Edward Tute (1858-1927), with whom they were noted for making at least one window. The majority of their glass is reputedly in the Midlands and North, although if so, much remains unidentified. Known work includes: St. Stephen Church in Clewer, Berkshire; north chancel window, Royal Arms, St. Andrew and St. Patrick and St. David. C.E. Tute designed St. Alban the same chancel. St Michael Church in Theydon Mount, Essex, east window (1920). St. Michael with two horsemen, given in memory of Major Charles Hunter and his wife. Designed by Wilfred Gabriel de Glehn. St. Saviour, Crouch Hill Church in Tollington Park, Inner London, west window (1900). St Peter - Baptism, St. Philip. Christ Church in Leyton, Essex, south aisle window (1920). Good Shepherd, Risen Christ, Christ and Children windows in memorial of Rev Frederick Sloan Vicar. The firm is listed as ‘C O’Neill, 4 Heathcote Street, WC1’ St. Mary Church in Sunbury, Surrey, south clergy window (1905). St. Matthew and St. Thomas. Designed by Mrs Eve Ostrehan. The firm is listed as ‘O’Neill Bros’. St. Patrick Church in Hove, Sussex, north aisle windows (1895 and 1908) – Madonna and Child with kneeling Angels and St. Cecilia. William Bainbridge Reynolds designed both windows. St. George, Jesmond, Newcastle-upon-Tyne: east window (1888). Holy Family with Magi and Shepherds. Church architect Thomas Ralph Spence designed the ornamental parts, and the figurative panels were cartooned and painted by John William Brown. Studio assistance (including the lights) by the O’Neill brothers, London. Provenance: By family descent. Charles O'Neill was the vendor's great aunt's husband.Condition is good. No cracks or chips to any of the panes. Signed with monogrammed initials 'ON' towards the base. Please see additional images

Charles O'Neill (E & C O'Neill, London), a rectangular stained and leaded glass Arts and Crafts panel depicting a semi-nude Classical female with pumpkins, 24cm wide and 28.5cm high (small piece of glass at fault)Charles O'Neill worked as a glass painter with his brother, Edward Frederick Hatton O'Neill, forming 'The O'Neill Brothers' glass company. They are first listed at 343 Kentish Road, London as glass makers in 1891-92 and later as a joint business in 1897 at 165 Gray's Inn Road. This address was shared for a short time with the glass designer Charles Edward Tute (1858-1927), with whom they were noted for making at least one window. The majority of their glass is reputedly in the Midlands and North, although if so, much remains unidentified.Known work includes: St. Stephen Church in Clewer, Berkshire; north chancel window, Royal Arms, St. Andrew and St. Patrick and St. David. C.E. Tute designed St. Alban the same chancel.St Michael Church in Theydon Mount, Essex, east window (1920). St. Michael with two horsemen, given in memory of Major Charles Hunter and his wife. Designed by Wilfred Gabriel de Glehn.St. Saviour, Crouch Hill Church in Tollington Park, Inner London, west window (1900). St Peter - Baptism, St. Philip.Christ Church in Leyton, Essex, south aisle window (1920). Good Shepherd, Risen Christ, Christ and Children windows in memorial of Rev Frederick Sloan Vicar. The firm is listed as ‘C O’Neill, 4 Heathcote Street, WC1’St. Mary Church in Sunbury, Surrey, south clergy window (1905). St. Matthew and St. Thomas. Designed by Mrs Eve Ostrehan. The firm is listed as ‘O’Neill Bros’.St. Patrick Church in Hove, Sussex, north aisle windows (1895 and 1908) – Madonna and Child with kneeling Angels and St. Cecilia. William Bainbridge Reynolds designed both windows.St. George, Jesmond, Newcastle-upon-Tyne: east window (1888). Holy Family with Magi and Shepherds. Church architect Thomas Ralph Spence designed the ornamental parts, and the figurative panels were cartooned and painted by John William Brown. Studio assistance (including the lights) by the O’Neill brothers, London.Provenance: By family descent. Charles O'Neill was the vendor's great aunt's husband.Triangular breakage to the upper right hand side rectangular border panel. Piece is broken but present. No further damages or repairs.

A Royal Dux nude female study figure, modelled as a bather seated upon a rock circa 1900-18, model number 2942, 'E' raised triangle mark, 29cm highSome slight nibbles to her hair at the rear of the neck. No further damages or repairs.

Two enamelled pill boxes, one depicting a nude lady, diameter 6cm

An enamelled pendant depicting nude ladies and a peacock, verso a landscape scene in pendant mount  

Greek Coinages, CILICIA, Kelenderis, Stater, 425-400, nude youth dismounting from horse, holding whip, rev. κελεν[νο]κιτιρε, goat kneeling right, head reverted, all within incuse square, 10.81g (SNG France 77, same dies). Areas of weakness, good very fine, rare £300-£400

The Haconby Celtic Fertility Figure Celtic, A bronze male nude figure, 1st century AD, 5.5cm high by 1.2cm wide; oval-shaped face with lentoid eyes, long straight nose, slit mouth and small protruding ears; the narrow torso has angled shoulders with the left arm held against the chest holding a small purse; the right hand is extended downwards holding an enlarged phallus which is hinged for movement; the straight legs are merged together; behind the head is a loop, while the back is concave. Very fine with a smooth brown patina £800-£1,200 --- Provenance: Found at Haconby in Lincolnshire This unique figure probably represents a Celticized Mercury who was regarded as a fertility god by the Celts. The hinged oversized phallus appears to be a unique feature, which may have served as a locking mechanism as a buckle to hold a belt and scabbard for a sword.

Roman, Roman, A bronze figure of Mercury, 2nd century AD, 6.8cm x 4.7cm, standing nude figure with right leg backwards and left leg bent forwards, right arm stretched sideways holding a dangling purse, left arm held to the side, holding a caduceus, chlamys falls from left shoulder and hangs below the knee, head with crude facial details, with a petasos on his head. Very fine and intact with a green patina £260-£300 --- Provenance: From a UK collection