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An African pottery mask, 24 cm high, and an African carved wooden mask, 32 cm (2)

Juan Correa (Mexico City, 1646 - 1716).‘The Indian Juan Diego presenting the Virgin of Guadalupe to the bishop of Mexico Juan de Zumárraga’.Oil on canvas. Signed and located in Mexico.28 x 64 cm. Juan Correa is considered the principal painter of late 17th-century Mexico. Son of a famous Spanish surgeon and a freed black woman, Correa was one of the few mestizo painters who achieved fame in his time (the art of painting was generally considered the domain of white or Spanish masters). His two large-scale canvases for the sacristy of Mexico City's Cathedral (1691-98), for example, are considered masterpieces of Mexican Baroque.'"The National Institute of Anthropology and History of Mexico defines him as "one of the main exponents of the Baroque in Mexico, whose works are characterised by their sumptuousness, detail, and golden tones."His origins were reflected in his creations, "as his father was a man of African and Spanish descent, and Juan Correa was the first to paint angels with black or brown skin tones and the Virgin Mary with a dark complexion," a fact that "would become an unmistakable hallmark in his creations."Highlights among his extensive work include "The Coronation of the Virgin" at the National Museum of the Interventions, one of his masterpieces, and the "Expulsion from Paradise" at the National Museum of the ViceroyaltyOur Lady of Guadalupe, venerated in Mexico with great devotion, is the patroness of the country and the most important incarnation of the Virgin Mary in Latin America. Although the Our Lady of Guadalupe from Extremadura (Southern Spain) accompanied the conquistadors in their great adventure to the New World, the Mexican Virgin has her own origins. Both oral tradition and historical documentation, particularly the Nican Mopohua, narrate the different miracles and apparitions of this virgin to the indigenous man baptised with the name Juan Diego (1474-1548) on the hill of Tepeyac in 1531.According to the legend, there were four appearances of Our Lady of Guadalupe: In the first one, the virgin entrusted Juan Diego to see the bishop Fray Juan de Zumárraga and let him know her will to have a temple built in her honour in the place where she had appeared. Juan Diego obeyed, but the bishop did not believe him. In the second appearance, Juan Diego tells him what happened and asks the Virgin Mary to use another messenger because he was just a poor Indian. The Virgin Mary tells him that it was necessary for him to return to the bishop and repeat the message. Bishop Zumárraga asked him to bring a sign to be sure that it was "the lady from heaven" he was talking about. In the third appearance, the Virgin Mary asked the Indian to go up the hill and cut the flowers he would find there. Juan Diego knew that no flowers grew on that hill, especially not in December, but he found the summit turned into a flowered garden. He cut the flowers and took them to the Virgin Mary in his "ayate" (tunic). Our Lady of Guadalupe instructed him to go back to the Bishop, tell him where he had picked the flowers, and indicate that it was the sign that the Virgin Mary wanted him to build a temple. In the fourth appearance, on December 12, Juan Diego told the bishop everything that had happened, and when he spread out his "ayate", all the roses fell to the ground, and the image of the Virgin Mother of God miraculously appeared on it. After this event, the church was built, and this astonishing image is, according to tradition, zealously guarded by the Basilica of Our Lady of Guadalupe.As a result of this event, the worship of Our Lady Guadalupe became enormously prominent, especially within the indigenous sector of the population, becoming one of the most deeply rooted in Mexico and part of its identity. It is not surprising that soon the Mexican devotees wanted to have a copy of this miraculous image, so reproductions and the artists dedicated to creating them proliferated. The fame of this incarnation of the Virgin Mary soon became universal, gaining great veneration throughout Europe, especially in Spain.This representation of the Virgin of Guadalupe is a faithful rendering of the original, with the subtle variations that each artist can provide. The beautiful Virgin Mary is depicted as standing, crowned and surrounded by a mandorla of sun rays amid a cluster of clouds. She is seated on a crescent moon with the points facing upwards, supported by an angel with colourful eagle wings. She is portrayed as a young woman with a serene face and a lowered gaze reflecting love, tenderness, and respect. With her knee slightly bent, she clasps her hands in prayer in the Western manner. She wears a pink tunic adorned with floral elements and a blue mantle decorated with stars that also covers her head. She wears a ribbon around her belly as Aztec women did during their pregnancies, thus announcing that she is a pregnant woman. The iconographic type clearly derives from that of the Immaculate Conception.In this case, Our Lady of Guadalupe is depicted without the Apparitions or other ornamental elements that frequently accompany her and can therefore be considered a strictly faithful copy of the original. Most of these faithful copies, which are more iconographically straightforward, correspond to the earliest ones, generally dating from the 17th century. The more elaborate ones, with cartouches representing the apparitions and miracles, elaborate floral frames, views of the city of Mexico, or the inclusion of angels and archangels, are more typical of the 18th century. All these copies carry an implicit message, as most of them were "touched to the original," so the miraculous character was transmitted, making them bearers of her divinity."Enconchado" technique, so beloved and used in Mexico, actually has Oriental origins. It is a pictorial technique carried out on wood in which sheets of mother-of-pearl from shells and molluscs are inlaid, combined, and fused with oil paint to complete the image. This allows for the play of iridescence, gleam, sparkle, and subtle light effects that are highly valued. Provenance:- Former Pedro Vindel collection.Pedro Vindel was an antiquarian bookseller from Cuenca, as reported by the Royal Academy of History, ‘who became the first Spanish antiquarian bookseller of his time’, with one of the most important collections of books of hours. As the RAH continues, ‘Pedro Vindel, in the style of the great European booksellers, published his catalogues from 1895, and organised several book auctions, in premises rented by him, such as that of 1913, the catalogue of which he had printed. He also initiated what he called ‘graphic bibliography’ in Spain, by including [...] photolithographic reproductions of the covers or other elements of the books in his catalogues’.For further information, we recommend reading ‘Pedro Vindel: Historia de una librería (1865-1921)’, by Pavl Cid Noé. Bibliographical references:- Toussaint, M. Pintura colonial en México. Instituto de Investigaciones Estéticas. Universidad Nacional Autónoma de México. Mexico, 1965.- Vargas Lugo, E. "El indio que tenia "el don"..." in Anales del Instituto de Investigaciones Estéticas, no. 86, 2005.- Sánchez Mariana, Manuel. (n.d.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez- Mediateca Instituto Nacional de Antropología e Historia. (19 de octubre de 2020). "Juan Correa". https://mediateca.inah.gob.mx/repositorio/node/5231- Mediateca Instituto Nacional de Antropología e Historia. (22 de enero de 2022). "Juan Correa, pintor novohispano afrodescendiente". https://mediateca.inah.gob.mx/islandora_74/node/5383 

Attributed to Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico City, 1772).‘Casta painting. Black and Spanish produces mulatto’Oil on copper.52 x 48 cm. Morlete was one of the Novo-Hispanic painters who most often painted landscapes and, in fact, there are other examples by him of caste pictures painted in the open air. This characteristic, together with the great pictorial quality of the three figures depicted, and the model of the pedlar located near the family, (which is repeated in other of his artworks) and that Morlete is the only painter who  mentions the word ‘produce’ in his titles instead of other terms to define mestizos (as we find in other paintings of his, for example in the painting entitled ‘Valle de Iztacalco, de yndia y español produce mestiza’ (Indians from the Valley of Iztacalco, and Spanish produce mestiza), which is in the Kaluz Museum) allows us to attribute this marvellous caste painting to the artist.  This painting is a real rarity as it depicts the caste family scene in an outdoor landscape. Usually, these caste paintings were depicted in domestic settings, interiors of houses... and almost always with very repetitive models. In this case, we are presented with the Mexican Alameda Park, recognisable by its fountain, next to the Paseo Bucarelli. In the foreground are the protagonists, and around them, pedlars, couples strolling, a man on horseback, noblemen riding in a carriage, etc. In the lower margin we find the usual cartouche on which the painter originally entitled the work with the inscription ‘Negro y española produce mulata’ (‘Black and Spanish produces mulatto’), which one of its owners, who probably treasured it, covered with white paint and renamed it ‘Paseo de Bucarelli’, presumably in an attempt to conceal the obvious message of the work. The theme of caste painting was developed in 18th-century New Spain and was intended to show and classify the diversity that arose from the mixing of ethnicities. This was a complex task, as the Prado Museum reports in the catalogue published for the exhibition ‘Tornaviaje. Ibero-American Art in Spain’, as “natives of the West Indies, Spaniards and Europeans, African slaves and a small amount of Asian emigrants ... made up a stratified society, but with threads of communication between them”, a diverse society that gave rise to caste painting.Even so, the value of this pictorial genre does not lie exclusively in ‘the classificatory tendency of the 18th century’ or even to ‘European concepts of the exotic’, but studies such as Ilona Katzew's reveal the value of this genre for ‘the construction of its own differentiated image’ of New Spanish society. In fact, Katzew continues, caste painting ‘is a unique pictorial genre that has no equivalent in European art’, indeed, ‘it is fundamentally limited to the viceroyalty of New Spain’, although mixing of ethnicities took place in all the Spanish colonies. In this sense, the Director and Curator of Latin American Art at the Los Angeles County Museum of Art, concludes in her study that ‘caste painting is not a monolithic genre, but one that encloses multiple simultaneous meanings’ and that, furthermore, ‘it offers a clear example of how New Spain could be a generative centre and not just an area that remained on the periphery of artistic events’, as it has traditionally been considered.Reference bibliography:- Katzew, Ilona. (2004). "Casta Painting: Images of Race in Eighteenth-Century Mexico". Yale University Press.- Katzew, Ilona. (2004). "La pintura de castas: Representaciones raciales en el México del siglo XVIII". Turner Publicaciones S.L.- López Guzmán, Rafael (Ed.). (2021). "Tornaviaje. Arte iberoamericano en España." Museo Nacional del Prado. (pp. 165-181). 

A Selection of Books on Photography, Photographers, & Camera Makes, to include a copy of Magnum Manifesto, The Naked Eye [David Bailey], African Visions [Mirella Ricciardi], 124 Minutes [Wood, Harrison], Henri Cartier-Bresson: The Man, The Image, & The World [Thames & Hudson], Portraits [Angus McBean], & more,

A George III regimental painted oak pace stick, bearing, Royal crown and cypher and the legend, M.L 2nd District, No8, together with a North African, Tuareg tribal dagger and scabbard . 76 cm long the stick.

FRAMED AFRICAN STYLE PICTURE, SEWING TAPESTRY PANEL 

BOX CONTAINING VARIOUS EWERS, AFRICAN WOODEN CARVED ORNAMENT, BRASS WARE, CANDLESTICKS, BLUE & WHITE GINGER JAR, YAMAHA ELECTRIC KEYBOARD 

WOODEN CARVED AFRICAN STYLE ORNAMENT 

Tribal Art: A small Samoan wooden bowl on legs, a Plains Indian wooden ladle, African carved wooden spoon, a Maori wooden box and an African Benin cast bronze anklet with bells

Tribal Art - pair of African carved wooden leaf paddles and a Masai Lion Spear

2 wooden milliners hat blocks or forms, 2 wooden butter moulds, carved African stool and a souvenir ethnic short sword with carved wood hilt and scabbard

Egyptian bronze cat figurine and an African bronze "Tree of Life" figures

Brass Sir Walter Scott wall plaque and collection of figures to include heavy brass african tribal art sculpture of man sitting and military figure giving to Major General G B Sinclair 1983

WALTER WHALL BATTISS (1906-1982) 'Nose Man', signed and numbered 3/25 in pencil lower left, silkscreen in colours, 44cm x 57cm,Framed dimensions: 63.2cm x 74.5cmNote: Walter Battiss, whose work draws on his interest in archaeology, prehistory, and African rock art, has earned a reputation as one of South Africa’s most celebrated abstract painters. Unlike many South African artists, Battiss did not study overseas but instead researched the artistic traditions of local Indigenous peoples; he later travelled to Greece, the Seychelles, Madagascar, Fiji, and other islands around the world. In the 1970s, Battiss created his imaginary “Fook Island,” a utopia that fused elements of the islands he visited. Battiss conceptualised an entire society located on the make-believe island, including maps, sketches of inhabitants, taxonomies of local plants, and even currency, stamps, and driver’s licenses, which he created and exhibited with other African artists. Although not intended as a straightforward political statement, Fook Island can be interpreted as an alternate reality compared to South Africa’s then apartheid state. 

An African carved ebony walking stick with elephants head handle and one other ebony staff (2)

An African carved wood figure of a kneeling female 12" high and one other African carved wood figure of a male with a pipe 6½" high (2)

Bawa Ushafa for Abuja Pottery A stoneware charger, stamped 'B.U.A' and 'Abuja' in Arabic to the base. 40.5cm dia. Footnote: The Abuja pottery, located in Nigeria, has a rich history closely tied to British potter Michael Cardew. In 1951, Cardew was invited by the Nigerian government to establish a pottery training center in Abuja, aiming to merge traditional African pottery techniques with modern European methods. His vision was to create a sustainable craft industry that empowered local potters and elevated Nigerian ceramics on the global stage.Cardew’s approach focused on integrating indigenous skills with technical knowledge of glazing, kiln-building, and stoneware production. Under his guidance, the Abuja Pottery Training Centre became a hub for innovation, producing functional and aesthetically refined pottery that blended Nigerian cultural elements with Cardew’s European techniques.One of the most notable outcomes of this collaboration was the development of Abuja Ware, characterized by its unique forms and rich glazes, made from local clays. The center also trained renowned Nigerian potters like Ladi Kwali, whose works gained international recognition. Michael Cardew's influence left a lasting legacy, establishing Abuja pottery as a celebrated craft tradition that continues to thrive.

ARR David Atherton-Smith (1871-1958)North African Market Scenesigned lower right and further inscribed to the reverseoil on canvasboard21.7cm x 26.8cm Framed. Some wear to the artwork, including some fading to the picture surface and horizontal mark towards the top of the picture surface that may be the result of previous framing, as well as some rubbing to the right side of the picture surface. Picture surface is stable otherwise and there does not appear to be loss to the impasto paint, although there is some craquelure in places.

10 African watercolours, indistinctly signed, various dates 1937, 1944 etc, approx 17 x 25cm unframed, stuck to mounts with inscriptions in pencil

Rare 2009 S Africa/British & I Lions Rugby Pennants & Cap Collection (3): Official S African Boks pennants for the tests v the Lions at Durban & Pretoria, 20th and 27th June; plus a stunning 'joint' cap, mint condition, Bok green and Lions scarlet braid, Boks and Lions badges and caption to peak & panels. Scarlet tassel, really excellent items

Scarce 2021 British & I Lions Rugby Programmes etc (9): The full set of issues from the no-crowds Covid-hit S African tour, attractively produced, plus the large Official Tour Guide. Very collectable, mint set

2017 South African Mint Gold Proof 1/4 Ounce Krugerrand, cased with a certificate of authenticity.

Victorian photograph album and two postcard albums - Felix The Cat, South African interest and three antique photographs of mining and farming scenes

Quantity of spoons and ladles including African silver, plated ware and silver hallmarked spoons.

South African 5 shillings 1949 & 1961 SA one shilling

South African florin 1896 + six pence + shilling

South African half crown 1894

An interesting collection of mostly military and civilian badges, early to mid-20th century - including two Kings Shropshire Light Infantry cap badges (one in silver, the other plated); a Duke of Cornwall's Light Infantry cap badge; a British Army Marksman's sleeve badge; a 'The Metropolitan' police whistle; a plated metal Oxfordshire Constabulary helmet badge and two O.C. coat buttons; a handmade WW2 machined aluminium toy Hawker Hurricane; a painted, cast lead African 'Nomori' figure etc.

Two South African Zulu clay beer pots - of globular form, one with incised geometric decoration, the other with raised hobnail strapwork, the larger 17.25cm high; together with another clay vessel in an ash and smoke glaze, of slightly bellied bun form with hammered decoration to rim, 21cm high, large crack. (3)

An antique insect specimen collection to include a South African collection of butterflies, beetles, etc., collected in Pretoria in 1914, case 27 cm x 36 cm x 5.5 cm

Miscellaneous, Miscellaneous, group of primitive African currency and related items to include cowrie shells, Gaboon ‘Mimbass’ iron money, West African ‘Kissi Penny’, brass Manillas (5), Katanga cross, six strings of trade beads, including two strings of multi coloured Venetian Millefiori trade beads; together with a necklace of camel teeth sewn onto a woven cloth band, an unusual item; and A Survey of Primitive Money pub. 1949, reprinted 1970, by A. H. Quiggin £100-£150 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---

Sierra Leone, Macaulay & Babington, Penny, 1807 [struck 1814], European and negro clasping hands, African village behind, rev. legend in Arabic, 36mm, 17.70g/12h (Vice 1; KM. Tn1.1). About extremely fine with a hint of original colour £120-£150 --- Provenance: M.J. Roberts Collection

An Austrian terracotta circular wall plaque, by J.M. Musterschutz, depicting a North African cavalry soldier on a rocky terrain, in high relief, 42cm diameter, stamped to base; an assortment of Country Artists figurines, including Last Drop (01237), Arctic Visitor (04089), While the Blacksmith's Away (01259), Crowning Glory (04085), etc (qty)

Six carved hardwood African animal studies, including rhinoceros and gazelles

Collection of coins including silver proof 10 euro anniversary coin together with African notes, various British pre-decimal coins dating from George V onwards and various 20th century foreign coins including European, Middle Eastern, African and worldwide (some sorted into packets)

Indie / Alt Rock / Post Punk - A collection of assorted LPs, EPs and 12" singles to include Microdisney- 'The Clock Comes Down The Stairs' LP (Rough 85), '82-84: We Hate You South African Bastards!' LP (RTM 155), 'Crooked Mile' LP (V2415) and 'In The World' EP (RTT 175), Lush- 'Mad Love' 12" (4AD BAD 0003), Laughing Clowns- 'Laughter Around The Table' LP (Red Flame RF 23), The Beasts Of Bourbon- 'The Axeman's Jazz' LP (Hybrid Records HYB LP 1), Jah Wobble- 'The Legend Lives On...Jah Wobble In Betrayal' LP (V2158), Red Lorry Yellow Lorry- 'Talk About The Weather' LP (Red Rhino Records REDLP 50), Big Star- 'Sister Lovers (The Third Album)' LP (DOJO LP 55), 10,000 Maniacs- 'My Mother The War' 12" (Reflex Records 12 RE 1), Throwing Muses- 'Hunkpapa' LP (4AD cad 901), CUD- 'Hey!Wire' 12" (Imaginary Records MIRAGE 018 T), black tape for a blue girl- 'The Rope' LP (Projekt pro20), The Orson Family- 'The River Of Desire' EP (New Rose Records NEW 22), The Starlings- 'Letter From Heaven EP' (Bad Girl BGRLT 05), The Playthings- 'War, Madness And Shopping' EP (Bad Girl BGRLT 05), Adult Net- 'Take Me' 12" (BRX 112), Colurbox- 'Colourbox' LP (4AD MAD 315), Anna Domino- 'East & West' LP (Les Disques Du Crepuscule TWI 187), The Raincoats- 'Animal Rhapsody' 12" (Rough Trade RTT-153), 'Nettwerk Sound Sampler' compilation (Nettwerk NTL 30007) and 'Product 2378' compilation (Telstar STAR 2378) (23, vinyl generally VG-VG+, sleeves G-VG+, water damage to some)

Reggae- A collection of twenty-nine 7" single reissues on the Black Art Label, originally recorded at Lee "Scratch" Perry's legendary Black Ark studio, reissues produced by his son, Omar Perry. To include The Heptones / The Upsetters- 'Crying Over You / Crying Dub' (TTS005), The Upsetters- 'Enter The Dragon / Black Belt Jones' (ART01), Lee Perry / Jah Lloyd- 'White Belly Rat / Judas De White Belly Rat' (ART2), Junior Byles / King Medious- 'Fever / This World' (ART3), The Mystic / The Upsetters- 'Forward With Jah Orthodox / Orthodox Dub' (ART4), Devon Irons /The Upsetters- 'When Jah Come / Iron Dub' (ART5), Bunny & Ricky /The Upsetters- 'Freedom Fighter / Iron Wolf' (ART6, x2 copies), Augustus Pablo / Pablo & Jah T- 'Hot & Cold Version 1 / Lick The Pipe Peter' (ART07), Junior Byles / The Upsetters- 'The Long Way / Dub Side' (ART08), Peter & Paul Lewis- 'Ethiopian Land / Ethiopian Dub' (ART9), Junior Ainsworth / The Upsetters- 'Thanks & Praise / Dub Side' (ART11), Dillinger / Prince Django- 'Middle East Rock / Hot Tip' (ART12) Lee & Junior / The Upsetters- 'Dreader Locks / Militant Rock' (ART13), Max Romeo / The Upsetters- 'One Step Forward / One Step Dub' (ART14), The Heptones / The Upsetters- 'Mistry Babylon / Mistry Dub' (ART16), The Black Notes / The Upsetters- 'African Style / African Dub' (ART18), Augustus Pablo / The Upsetters- 'Vibrate Onn / Vibrate Dub' (ART20), Brent Dowe / The Upsetters- 'Down Here In Babylon / Dub Side' (ART21), Lee Perry / The Upsetters- 'Bathroom Skank / Washroom Skank' (ART22), Jah Lion- 'Columbia Collie / Dread Ina Jamdong' (ART23), Junior Murvin / The Upsetters- 'Philistines On The Land / Bingo Kid' (ART26, x2 copies), The Hurricanes / The Upsetters- 'You Can Run / You Can Dub' (ART27), The Gladiators / The Upsetters- 'Time / Dub In Time' (ART28), Juks Dread & Big Youth / The Upsetters- '23rd Psalm / 23rd Dub' (ART29), Augustus Pablo & Lloyd Young / The Groovers- 'Our Man Flint / Pi-A-Ring' (ART030), CLive Hylton / The Upsetters- 'Judgement Day / Well Judged Dub' (ART 31, x2 copies), Max Romeo / Jah Lion- 'Fire Fe The Vatican / Leggo!' (ART 32) (29, vinyl generally VG+)

A sub-Saharan African carved hardwood chest, early 20th century; the top depicting two apes grasping a serpent, in low relief; above a drawer with relief carved foliage, and another with two elephants, carved opposing; the sides and back also carved; on simple cabriole front and straight back legs; 64cm high, 55cm wide, 34cm deep

A pair of West African carved and partially ebonised models of twin boys, 'Ibeji', Yoruba people, Nigeria; portrayed standing and with stylised features; 22cm high

An Islamic, probably north African brass tray topped table, circa 1900; of circular form, with six circular reserves of Arabic script around a central reserve, bordered by a band of further script, within scalloped edging; the folding carved and stained wood stand with mashrabiya style latticework; 58cm high, 71cm diameter

An unusual antique African curved wood kalimbra, with six metal keys, 29cm x 8cm.Provenance: The Christopher Hawkings Collection of Curiosities.

African Shona dagger with wirework grip and scabbard, together with another small dagger

African bone smoking pipe, woven gourd shaped container and a benin style bronze mask

Box containing a quantity of various African carved hardwood figures, including a mask and a Chinese pottery kneeling figure

Mid 20th Century African Dogon tribe circular stool from Mali, 40cm high x 38cm diameter

Late 19th / early 20th Century North African hardwood bone and mother of pearl inlaid octagonal coffee table, 55 x 40cmIn good condition. No signs of losses or damage.

Pair of South African pastel landscapes with trees, in ebonised frames, signed Blatt, 31 x 44cmsee photos

Ray Jackson, pair of pastel head and shoulder portraits of young African children, 14 x 10cm

West African carved ritual mask

African carved wood figures, animals and other ornaments

Continental porcelain bust of a man in African costume, circa 1880, impressed model number, 21cm highGood original condition

TAXIDERMYA PAIR OF AFRICAN DEER HEADSmounted on timber shields, with label 'Williams Natural History Studio, Dublin'. Each 40cm high, 25cm wide, 25cm deep

A PAIR OF AFRICAN CARVED WOOD FIGURAL STOOLS,probably Cameroon, each of circular shape with dished seat supported by standing figures, 51cm high, 51cm diameter

African grain figure of fertility - 16.5cm tall

Victorian taxidermy - African juvenile crocodile (Crocodylus niloticus) 114cm (af)

Corgi - 6 Modern issue Corgi vehicles to include #474 musical Wall's ice Cream Van, #335 4.2 Litre Jaguar 'E' Type 2 +2, #256 Volkswagen 1200 in East African Safari Trim and others. Items all appear in excellent-near mint with certificates in a Corgi tin; also contains 5 certificate for absent models. Excellent boxes. (This does not constitute a guarantee) RG

Two boxes of African gemstone collections

Mixed Lot: Carved African hardwood busts and other similar ornaments

African cigarette case

African School, impasto oil on canvas, Village scene with figures, 40 x 60cm, indistinctly signed lower left. Condition - fair, some paint chips There is a crease to the canvas running horizontally across the lower half. Some paint chips throughout.