RHEE SEUNDJA (KOREAN 1918-2009) UNTITLED, 1961 signed (lower right), and inscribed 615F1244, oil on canvas 27cm x 34.8cm (10 5/8in x 13 5/8in) Acquired in Paris by the current owners aunt in the 1960s;Private Collection, London. Rhee Seundja was a pioneering Korean modern artist who seamlessly merged Western abstraction with Eastern philosophies. She began her artistic journey in the early 1950s in France, studying at the Académie de la Grande Chaumière, where Chinese abstract masters Zao Wou-Ki and Chu Teh-Chun had also trained. Immersing herself in the European art scene, she explored Art Informel, which was gaining momentum in Paris, and turned to abstraction in 1956.By the early 1960s, Rhee had developed a distinct style that fused an Eastern mindset with Western materials, creating a unique colour palette and artistic language. She reinterpreted traditional Korean patterns, using each brushstroke as a symbolic act of nurturing - both the land and, metaphorically, the children she had been separated from since 1951. Her work from this period, reflected themes of nature, spirituality, and femininity, often expressed through geometric forms, bold colours, and richly textured surfaces.Through her synthesis of cultural traditions and artistic innovation, Rhee became a significant figure in both Korean and international modern art, leaving behind a rich artistic legacy.
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An exquisite Wedgwood lustre bowl, featuring a stunning green iridescent glaze with an intricate gold dragon motif encircling the outer surface. The interior is equally impressive, adorned with vividly detailed dragons and a central medallion. The bowl stands on a flared pedestal base, adding to its elegance. This piece exemplifies Wedgwood's mastery in combining traditional craftsmanship with exotic decorative elements, reflecting influences from Eastern art. Marked Z4831.Artist: Daisy Makeig-JonesIssued: 20th centuryDimensions: 5.5"HCountry of Origin: EnglandCondition: Age related wear.
ORIENTAL CERAMICS - THE WORLD'S GREAT COLLECTIONS Kodansha International, 1981-82, 11 Vol., cloth, no slipcases, comprising: Vol 1. Tokyo National Museum; Vol. 2. National Museum of Korea, Seoul; Vol. 3. Museum Pusat, Jakarta; Vol. 4. Iran Bastan Museum, Teheran; Vol. 5. The British Museum, London; Vol. 6. Percival David Foundation of Chinese Art, London; Vol. 7. Musée Guimet, Paris; Vol. 8. Museum of Far Eastern Antiquities, Stockholm; Vol. 9. The Freer Gallery of Art, Washington, D.C.; Vol. 10. Museum of Fine Arts, Boston; Vol. 11. The Metropolitan Museum of Art, New York, fading to spines (11) For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration. Ownership Statement: This item is offered for sale without disclosing the identity of the owner.
Ca. 1000 - 800 BC. A collection of three bronze arrowheads, each with a broad triangular blade and deep side notches forming pronounced barbs. Each head is set on a long tapering tang for shaft attachment.For similar see: O. W. Muscarella, Bronze and Iron, Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, Cat. 76 - 89, p. 61 - 63.Size: 130-140mm x 20-22mm; Weight: 60gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 1000 - 800 BC. A collection of three bronze arrowheads, each with an elongated, triangular-shaped blade featuring prominent midrib and short barbed shoulders. Each is fitted with a solid tang for attachment.For similar see: O. W. Muscarella, Bronze and Iron, Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, Cat. 76 - 89, p. 61 - 63.Size: 120-135mm x 20-22mm; Weight: 95gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 1000 - 800 BC. A collection of five bronze arrowheads, comprising narrow-bladed types with sharply tapering forms and raised central midribs. The shoulders are slightly barbed or straight, and each is mounted on a short tang.For similar see: O. W. Muscarella, Bronze and Iron, Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, Cat. 76 - 89, p. 61 - 63.Size: 90-100mm x 18-21mm; Weight: 75gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 1200 - 1000 BC. A carefully curated selection of socketed bronze arrowheads is presented, each featuring a central midrib and tapering to sharp points. The blades vary in shape, with some displaying barbed designs while others have plain triangular or leaf-shaped profiles. The sockets are deep and cylindrical, engineered for secure attachment to wooden shafts. These arrowheads exhibit a rich green and cuprite patination over mottled surfaces, indicative of burial in a dry, iron-rich soil. This type of arrowhead was widely used across the Aegean and the broader Eastern Mediterranean from the Early Iron Age onward, reflecting the evolving martial and hunting practices in Greek-speaking regions.For similar see: O. W. Muscarella, Bronze and Iron, Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, Cat. 76 - 89, p. 61 - 63.Size: 120-140mm x 18-20mm; Weight: 150gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Diorama.- Dutch papercut diorama of a river scene with palm trees, figures gathering the harvest and tending sheep, and ships in the background, presented in a contemporary glazed box, 252 x 350 x 70mm., [?c.1850]. *** A 'Bavelaartje' or small diorama, usually placed behind glass, often depicting historical buildings, landscapes, or scenes in or around the house. This example appears to show a Middle Eastern river or coastal scene. The name is derived from Cornelius Bavelaar Sr. (1747-1830) and his son, Cornelius Bavelaar Jr. (1777-1831) from Leiden in the Netherlands, who were the first important exponents of the art. From c.1850 onwards, the family name was used to describe examples.
Six Eastern European art silk teddy bears, a blue bear with orange and black glass eye, black stitched nose, mouth and claws, swivel head and jointed limbs with white cotton pads and inoperative squeaker —14in. (35.5cm.) high; a golden bear with black and white tinplated eyes black stitched nose and mouth, white muzzle, inner ears and pads and four others (slight wear)
Six Eastern European art silk teddy bears, the largest a light golden bear, with clear and black glass eyes, remains of painted backs, black leather nose curled to form nostrils, remains of red felt tongue, swivel head and jointed limbs —17in. (43cm.) high; another smaller golden bear with leather nostrils and four others (general age related wear, one with head fixed in place)
Eleven Eastern European small art silk teddy bears, including a golden bear with clear and black glass eyes, with orange painted backs, black stitched nose, mouth and claws, fixed head and jointed limbs —8 ½in. (22cm) high; a light golden with clear and black glass eyes, remains of painted backs, black stitched nose, mouth and claws, swivel head and jointed limbs; four golden bears with black glass eyes and others (golden would benefit from a clean)
A RARE NAGA KONYAK TRIBE CARVED WOOD FEMALE FIGURE Nagaland, Eastern Himalayas, North-Eastern India, 20th centuryCarved in the round out of a single block of wood, with a bare female figure squatted and seated on a tree stump, with her hands over the bent knees, naked breast, and long hair, her ears pierced and possibly once adorned with earrings, the large almond-shaped eyes set with turquoise beads, possibly representing an ancestor or a semi-divine spirit.47.4cm high The Nagas are Tibeto-Burman ethnic groups native to North Eastern India and North Western Myanmar (Burma). The term Naga might derive from the terms noga or naka, which in the local dialect meant 'people with pierced ears'. In fact, Nagas have very distinctive personal adornments and accessories, and most men were headhunters with elaborate facial tattoos, earned each time an enemy's head was taken. One of the main art forms of Nagas culture is wooden figurines, such as the present example. These figures were serving different functions. Socially, they were used to commemorate special rites of passage or the status of an important person. Ritually, it was believed that some figurines could magically bring a person closer to the spirits and the dead, or grant abundance and fertility. Another important function that these sculptures served was to decorate the entrance and walls of the Morung (Men’s House), a community centre where the tribe gathered. The sculptures reserved for the Morung aimed to portray the narrative traditions of the Naga tribes and their history. Regardless of their function and aesthetic, Naga sculptures still possess today great symbolic importance in their community, playing an important role in their complex system of norms and taboos. 47.4cm high Qty: 1
'WHERE BOOKS ARE BURNT, PEOPLE ARE BURNT IN THE END' and 'HOWL WITH THE WOLVES (AFTER DUCHAV)' two linocut prints on paper, both signed, titled and dated '83 both mounted, framed and under glass image size 31cm x 31cm each, overall size 48cm x 48cm each Note: Ken Currie is renowned for his unsettling portrayal of the human figure. The artist's rich, luminous paintings depict mysterious rites, rituals, and quasi-medical practices, offering a meditation on violence in its many guises. Currie studied at the Glasgow School of Art from 1978-1983 and rose to attention within a generation of painters known as the "New Glasgow Boys" in the 1980s. In 1987, Currie completed a powerful series of large scale History paintings for the People’s Palace in Glasgow, commemorating the massacre of the Calton Weavers. Through the 90's deeply affected by humanitarian events in Eastern Europe Currie's works evolved, his focus shifting to confront ideas of mortality and corruption, both physical and moral. Over the last 10 years Currie's work has addressed the horrors of the contemporary world, without shying away from their brutality or grotesque nature. In 2009 Currie was commissioned to paint the theoretical scientist Peter Higgs following his receipt of the Nobel Prize, the painting now hangs at The University of Edinburgh. Ken Currie has exhibited widely internationally, including a 2013 solo exhibition at the Scottish National Portrait Gallery which also commissioned his painting Three Oncologists. Currie's work is held in many major public collections including Tate, London; Scottish National Gallery of Modern Art, Edinburgh; New York Public Library; Imperial War Museum, London; Campbelltown Arts Centre, New South Wales; Yale Center for British Art, New Haven; Gulbenkian Foundation, Lisbon; and the British Council, London.
Ca. 1200 - 600 BC.A collection of three bronze weapons. The first is a bronze short dagger cast via the lost wax (cire perdue) technique with a small polygonal section tang. The double-edged blade has sharpened edges, and a profile that tapers to a narrow tip and prominent midrib. The second is a spearhead with a short curved tang and large blade finely cast in one piece. The third is a dagger with double sharpened edges and short tang. Layers of mottled green and brown patina envelop the entire weapon.For similar see: Muscarella O. W., Bronze and Iron: Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, 1988, n. cat. 392. Size: 260-305mm x 40-40mm; Weight: 580g.Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.
Ca. 3000 BC.A white veined stone stamp seal drilled vertically. The back presents a recumbent griffin with a curved beak in deep relief. Size: 40mm x 22mm; Weight: 14g.Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collections 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.; ex. 1970s/early80s UK art market.
Ca. 1200 - 600 BC.A collection of three bronze weapons. The first is a bronze short dagger cast via the lost wax (cire perdue) technique with a small polygonal section tang. The double-edged blade has sharpened edges and a profile that tapers to a narrow tip. The second is a dagger with a short tang and a large blade finely cast in one piece. The third is a spearhead with double sharpened edges and a short curved tang. Layers of mottled green and brown patina envelop the entire weapon.For similar see: Muscarella O. W., Bronze and Iron: Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, 1988, n. cat. 392. Size: 280-330mm x 40-60mm; Weight: 680g.Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections.
Ca. 500 BC.A heavy cast silver phiale, a special libation vessel used for holding wine, with a hollow, rounded, raised boss, known as an omphalos at the centre. The lower part of the bowl is scalloped, leading to a corseted neck adorned with incised teardrop motifs that encircle it. The neck flares outward into a wide, smooth mouth with an unpronounced rim. A cuneiform inscription is present near the edge of the rim.A similar example hammered for $8,225 at Christie's, Live Auction 9380, Antiquities, 13 June 2000, Lot 499. For similar see: The British Museum, Museum number 1994,0127.1, Muscarella O. W., Bronze and Iron: Ancient Near Eastern Artifacts in The Metropolitan Museum of Art, 1988, n. cat. 327.A similar example hammered for $8,225 at Christie's, Live Auction 9380, Antiquities, 13 June 2000, Lot 499. Size: 245mm x 45mm; Weight: 485g.Provenance: Private UK collection, acquired from the private collection of Mr. R. Unger; previously with a London gallery; acquired in the 1970s on the UK art market. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.
CHINESE CERAMICS - The George Eumorfopoulos Collection. Catalogue of the Chinese, Corean and Persian Pottery and Porcelain by R. L. Hobson, London, 1925-28. Volumes I - VI, folio, 450 plates, some coloured, cloth. FIRST EDITION. ONE OF 725 COPIES. (6)CHINESE, KOREAN AND PERSIAN CERAMICS - The George Eumorfopoulos Collection. Catalogue of the Chinese, Corean and Persian Pottery and Porcelain by R. L. Hobson. London: Ernest Benn, Ltd., 1925-28. Volumes I - VI, large folio (450 x 310mm). Half titles, titles printed in blue and black, 450 plates, some mounted and coloured. Original textured black and gold cloth boards, black cloth title panels to the upper covers, the spines lettered in gilt, uncut (extremities very lightly scuffed, some creasing at the foot of spines). Provenance: Longstock House (small stamps to the rear pastedowns of the first 4 vols.); publisher's prospectus for another related work loosely-inserted. FIRST EDITION of this monumental catalogue of part of the unrivalled collection of collector and philanthropist George Aristides Eumorfopoulos (1863-1939). ONE OF 755 COPIES, VOLUME ONE NUMBER 489 OF 725 COPIES AND VOLUMES II - VI NUMBERS 184 OF 725 COPIES, ALL "ON VAN GELDER MOULD-MADE PAPER". George Eumorfopoulos was a British collector, of Greek lineage, of Chinese, Korean and Near Eastern Art. He had originally intended to bequeath his entire collection to the British nation but the Great Depression of the 1930s forced him to sell part of it to the V&A and the British Museum for the generous sum of £100,000. He also donated some 800 pieces to the Benaki Museum in Athens. He was the founder, and first President of, the "Oriental Ceramic Society". Rowland Outline and Bibliographies of Oriental Art p.61. (6)
CHINESE CERAMICS - Oriental Ceramics. The World's Great Collections, Tokyo, 1976-77, 12 volumes, large 4to, text in English and Japanese, mounted coloured plates, original silk boards gilt, slipcases. FIRST EDITION. NUMBER 41 OF 300 COPIES. (12)CHINESE AND ORIENTAL CERAMICS - Oriental Ceramics. The World's Great Collections. Tokyo: Kodansha Ltd., 1976-77. 12 volumes, large 4to (364 x 260mm). Text in English and Japanese, mounted coloured plates, monochrome illustrations. Original silk boards gilt, turquoise slipcases (partly faded). FIRST EDITION. NUMBER 41 OF 300 COPIES. The collections, to each of which a separate volume is dedicated, are at the following museums: 1) Tokyo National Museum, Japan, 2) National Museum of Korea, Seoul, 3) Museum Pusat, Jakarta, 4) Iran Bastan Museum, Teheran, 5) The British Museum, London, 6) Victoria & Albert Museum, London, 7) The Percy David Foundation of Chinese Art, London; 8) Musée Guimet, Paris, 9) Museum of Far Eastern Antiquities, Stockholm, 10) The Freer Gallery of Art, Washington D.C., 11) Museum of Fine Arts, Boston and 12) The Metropolitan Museum of Art, New York. Only part of the lot is illustrated. (12)
Mary Swanzy HRHA (1882-1978) Pont Du Gard Oil on canvas, 53.3cms x 45.7cms (21" x 18") Signed lower left, and versoProvenance: With Pyms Gallery, London, label versoMary Swanzy was a keen traveller for much of her life, so perhaps it is not surprising that she found the inspiration for most of her best work during time spent abroad. That includes a visit to Eastern Europe and, most famously, the South Seas, but also Paris and the South of France (the latter, notably, in 1918). A notably strait-laced individual, her temperament seems at odds with the bohemian circles in which she worked in Paris: she seemed to relax considerably in warmer, more laid-back environments. On her way back from her South Sea trip, stopping off with a friend in Santa Barbara in 1924 to paint for a time, she wrote to Sarah Purser, responding to the idea of visiting Spain: “…for painting, I still long for the tropics.” Perhaps, she suggested, Purser could explore Ceylon with her. “However,” she continues “if one could recapture the rapture of those…days in Provence, one would be tempted.”Van Gogh and, perhaps more than any artist, Cezanne, had established Provence as essential painterly terrain, and Swanzy was recurrently drawn to the South of France, spending time in St Tropez, Grasse and Nimes - the location for this fine painting - and more. Highly regarded in France, she exhibited regularly in avant garden circles. Location and style are often the best way to date her work, and the exceptional freedom and direct observation evident in this work with its atmospheric celebration of warmth and light, seeming to evoke the “rapture” she mentions to Purser, place it apart from her sustained exploration of a form of Orphic Cubism, close to the work of Ukrainian-born Sonia Delaney, (nee Stern) and her husband Robert.It’s reasonable to infer the influence of Cezanne in the colour palette, broad brushstrokes and volumetric organisation of the elements of landscape, with the celebrated Roman aqueduct on the Gardon River mentioned in the title (though the actual structure is simplified in the painting).Born in Dublin (her father was instrumental in establishing the Royal Victoria Eye and Ear Hospital), she attended Alexandra College with spells in France, Germany and Switzerland, going on to the Metropolitan School of Art and studies in Paris. Her family envisaged her becoming a portrait painter but she was reluctant if more than capable (society would not take a woman seriously as a portrait painter, she felt). She exhibited widely and consistently even as she travelled. From around 1926 she lived in London while continuing to exhibit in Ireland. Her later work took a dark, allegorical turn, with Surrealist elements and a tendency towards obscure, fantastical symbolism.Aidan Dunne, February 2025
George Chann (Chinese/American, 1913-1995). Mixed media on canvas abstract painting in blue, yellow, and red. Signed along the lower right.Provenance: Private Texas Collection, 2023; Private Minnesota Collection.Lot Essay:George Chann was a Chinese-American artist known for his significant contributions to modern art in the mid-20th century. Born in Canton, China, Chann immigrated to the United States in 1933, where he later became a prominent figure in the American art scene. His work is characterized by a fusion of Eastern and Western artistic traditions, blending traditional Chinese calligraphy with modern abstract expressionism. Chann's unique style and innovative approach garnered attention, leading to numerous exhibitions and accolades throughout his career.In the 1950s and 1960s, Chann played a key role in the California art scene, particularly in the San Francisco Bay Area. His paintings often featured bold brushstrokes, vibrant colors, and a sense of spontaneity that reflected his deep understanding of both Chinese and Western artistic philosophies. Chann's artistry transcended cultural boundaries, offering viewers a bridge between two worlds. His legacy continues to influence contemporary artists, highlighting the rich tapestry of cultural exchange in the realm of modern art.Unframed; height: 16 3/4 in x width: 21 1/4 in. Framed; height: 20 3/4 in x width: 25 in x depth: 1 in.Condition: The painting is in good condition overall. The surface is stable with no visible cracks or losses. When viewed under UV light, there are no visible areas of restoration. There is some soiling to the verso that does not affect the recto. The frame has some wear.
A German 1918 75mm trench art shell case, marked Berndorf to the base, decorated in Eastern style, with inlaid metal and script, with matching lid, also made from a German 75mm shell, together with a pair of 1917 dated German 75mm shell cases, made by Magdeburg, decorated with inlaid metal and script, in Middle Eastern style.
A FINE GEORGE III GILT BRASS MOUNTED JAPANNED MUSICAL TABLE CLOCK MADE FOR THE 'OTTOMAN' MARKETJ. AND M. BROCKBANK, LONDON, CIRCA 1780The six pillar triple chain fusee bell-striking movement with plates measuring 7.5 by 5.25 inches and verge escapement regulated by short bob pendulum, the musical train playing a choice of six tunes on eight bells with twelve hammers, via a 3 inch long 1.75 inch diameter pinned cylinder transversely positioned to the upper left of the backplate, every three hours after the sounding of the hour bell, the backplate engraved with an arrangement of symmetrical rococo scrollwork around a central signature Brockbank, London beneath a small basket of flowers within a scribed-line outer border, the 6 inch arched dial with circular fired white enamel 'Turkish' numeral chapter disc signed J. & M., BROCKBANK, LONDON to centre and with conforming five minutes beyond the outer minute track, with fine scroll pierced and engraved gilt brass hands, set beneath twin fired enamel subsidiary dials for CHIME/NOT CHIME selection and BENI SAIKIT/USCHAE DEUR/SABAC HAFIF/SAMAHE tune selection dials with fine engraved brass arrow-shaped pointers, set into a mid-blue painted background polychrome decorated with musical trophy and floral spray infill to spandrel areas and between the subsidiaries, the arched case brown japanned to resemble tortoiseshell and extensively applied with fine chased gilt brass mounts, with flambeau-urn finial to the domed superstructure applied with rosette decorated diamond lattice segment frets between floral scrolls over brass a fillet edged shaped skirt, set on a platform with gilt cavetto moulding and scroll-cast fret infill flanked by further flambeau urn finials set on projecting acanthus cast scrolls, the front with scallop shell-centred scroll crest and conforming shoulder mounts over hinged repeating lappet leaf cast gilt brass glazed door flanked by husk edged front angles, the sides applied with ribbon-tied swags to shoulders over fine scroll-cast break-arch sound frets set within half-round moulded frames and projecting outwards at the base to follow the profile of the swollen lower margins fronted by foliate cast mounts, the rear matching to the front except for having an arched wooded door inset with brass fillet moulding to the glazed aperture, on generous scroll cast bracket feet with leaf cast apron mount between.52cm (20.5ins) high, 29cm (11.5ins) wide, 18cm (7ins) deep. John Brockbank gained his freedom of the Clockmakers' Company in 1769 and immediately took his brother, Myles, in as an apprentice who subsequently gained his freedom in 1776. The brothers entered into partnership in around 1780, working from an address at Cowper's Court, London, which continued until the death of John Brockbank in 1806. The Brockbank brothers employed Thomas Earnshaw who, by 1780, had produced two watches with 'detached escapements...' as well as developing his famous bimetallic compensation balance. Indeed, through the employment of the likes of Thomas Earnshaw, Robert Best and James Petto, the firm of Brockbanks became one of the most important makers of marine chronometers during the early post-Harrison era. In addition to marine chronometers Brockbanks also specialised in the making of clocks and watches for the Chinese and other export markets with several noted in Pagani, Catherine Eastern Magnificence and European Ingenuity: Clocks of the Late Imperial China. Amongst these was a 'magnificent Imperial gilt-bronze musical clock, signed by John Brockbanks and numbered No. 19 which formed part of a group ordered by a Guangdong official as a tribute to Emperor Qianlong; and a 'large gilt bronze vase of jewelled flowers set atop large rectangular base containing the clockface and having painted moving scenes, ca. 1770' by Brockbanks which is noted as being listed in Lu Zanzhen's Qinggong zhongbiao zhencang or Precious Collection of Qing Dynasty Palace Clocks on page 121.After the death of John, Myles Brockbank took brothers Samuel and Elliott Atkins into partnership consequently the firm became known as Brockbanks and Atkins from circa 1815. The present clock is unusual in that it plays tunes of Ottoman/Turkish origins rather than British compositions; and that the case has a japanned finish coloured to resemble red/brown tortoiseshell. The 'vine engraved' decoration to the backplate can be closely compared (except for the lack of a signature) to that of a clock by John Scott, London illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on page 361 (Figure 20.5). Condition Report: CONDITION REPORT AVAILABLE FROM THE DEPARTMENT ON REQUEST.Condition Report Disclaimer
Folio Society:- Eastern and Medieval history. A collection of three works presented in slipcases. The lot to comprising Myths of the Near East, A History of the Arab Peoples by Hourani, Lost City of the Incas by Hiram Bingham, 3vol Early Medieval Art and Civilisation, Gothic Art and Civilisation, and Byzantine Art and Civilisation presented mint in shrinkwrap, Inventions of the Middle Ages & Who's Who of the Middle Ages. All presented near fine in slipcase, with just light shelfwear. 8vo.
Noemi Conan Hello-Goodbye Acrylic medium, pigment, and oil marker on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Noemi Conan, born in Warsaw, Poland in 1987. Painter. Lives and works in London. Exploring the narrative potential of visual art through surreal, confrontational and/or humorous images of female friends, family and feline companions in forest landscapes of firs and ferns. Weaving slavic folklore with themes from communist and capitalist propaganda into stories based on personal experience of a young woman in off centre 90's Eastern Europe. Having gone through a miraculous journey through space and time, after working miriads of menial migrant jobs, Noemi Conan has finally decided that she's grown up to be a painter. Despite the warnings of her grandmother, despite the deluge of her mother's tears. She was not a good cleaner, not an attentive housekeeper. The famous Polish work ethic has not been ignited by any of the jobs that her friends in London worked their way up through. A passion for storytelling and the need for visual aids to explain a curriculum vitae that either confused or outraged her collegues has finally resulted in a glowing path to the Parnassus of a 'career'. Using plastic colours on canvas, on paper, on glass, on wood, the point of all these ridiculous adventures of the past has been found. Taking on the name of one of her REAL dads, the ones who actually taught her life in a small town in Western Poland all those years ago where even all the cats were female cats, Conan decided to take no prisoners. Following her other dad, the sad Norwegian man with a moustache, she gone over-the-top about her emotional landscapes. The last dad taught her that it's sometimes worth looking way back to go forward and applaud that progression on the faces of your opponents. Thank goodness for Arnold and Edvard and Igor. Conan's work has been exhibited in the UK and internationally. Her work is in the collections of Soho House London, Glasgow School of Art and the Urban Nation Museum in Berlin. She has been selected as one of Bloomberg New Contemporaries in 2021, has been featured in the John Moores Painting Prize in 2020, the Royal Academy Summer Exhibition in 2021 and the Royal Scottish Academy Annual Exhibition. She graduated with a BA (Hons) in Painting and Printmaking from the Glasgow School of Art followed by the Royal Drawing School Drawing Year (2021-2022). Currently at the Turps Studio Programme (2022-2024) and The Fores Project February-March 2023 residency. From september 2024 she will start an MFA in Painting at the Slade in London. Represented by Christine Park Gallery in Shanghai and Traits Libres Gallery in Paris. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Noemi Conan The Ambassador, 2024 Smooth gel ink ball point pen and Ferrero Roche wrapper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Noemi Conan, born in Warsaw, Poland in 1987. Painter. Lives and works in London. Exploring the narrative potential of visual art through surreal, confrontational and/or humorous images of female friends, family and feline companions in forest landscapes of firs and ferns. Weaving slavic folklore with themes from communist and capitalist propaganda into stories based on personal experience of a young woman in off centre 90's Eastern Europe. Having gone through a miraculous journey through space and time, after working miriads of menial migrant jobs, Noemi Conan has finally decided that she's grown up to be a painter. Despite the warnings of her grandmother, despite the deluge of her mother's tears. She was not a good cleaner, not an attentive housekeeper. The famous Polish work ethic has not been ignited by any of the jobs that her friends in London worked their way up through. A passion for storytelling and the need for visual aids to explain a curriculum vitae that either confused or outraged her collegues has finally resulted in a glowing path to the Parnassus of a 'career'. Using plastic colours on canvas, on paper, on glass, on wood, the point of all these ridiculous adventures of the past has been found. Taking on the name of one of her REAL dads, the ones who actually taught her life in a small town in Western Poland all those years ago where even all the cats were female cats, Conan decided to take no prisoners. Following her other dad, the sad Norwegian man with a moustache, she gone over-the-top about her emotional landscapes. The last dad taught her that it's sometimes worth looking way back to go forward and applaud that progression on the faces of your opponents. Thank goodness for Arnold and Edvard and Igor. Conan's work has been exhibited in the UK and internationally. Her work is in the collections of Soho House London, Glasgow School of Art and the Urban Nation Museum in Berlin. She has been selected as one of Bloomberg New Contemporaries in 2021, has been featured in the John Moores Painting Prize in 2020, the Royal Academy Summer Exhibition in 2021 and the Royal Scottish Academy Annual Exhibition. She graduated with a BA (Hons) in Painting and Printmaking from the Glasgow School of Art followed by the Royal Drawing School Drawing Year (2021-2022). Currently at the Turps Studio Programme (2022-2024) and The Fores Project February-March 2023 residency. From september 2024 she will start an MFA in Painting at the Slade in London. Represented by Christine Park Gallery in Shanghai and Traits Libres Gallery in Paris. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Noemi Conan Underneath a purple cloud, 2025 Acrylic medium and biro on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Noemi Conan, born in Warsaw, Poland in 1987. Painter. Lives and works in London. Exploring the narrative potential of visual art through surreal, confrontational and/or humorous images of female friends, family and feline companions in forest landscapes of firs and ferns. Weaving slavic folklore with themes from communist and capitalist propaganda into stories based on personal experience of a young woman in off centre 90's Eastern Europe. Having gone through a miraculous journey through space and time, after working miriads of menial migrant jobs, Noemi Conan has finally decided that she's grown up to be a painter. Despite the warnings of her grandmother, despite the deluge of her mother's tears. She was not a good cleaner, not an attentive housekeeper. The famous Polish work ethic has not been ignited by any of the jobs that her friends in London worked their way up through. A passion for storytelling and the need for visual aids to explain a curriculum vitae that either confused or outraged her collegues has finally resulted in a glowing path to the Parnassus of a 'career'. Using plastic colours on canvas, on paper, on glass, on wood, the point of all these ridiculous adventures of the past has been found. Taking on the name of one of her REAL dads, the ones who actually taught her life in a small town in Western Poland all those years ago where even all the cats were female cats, Conan decided to take no prisoners. Following her other dad, the sad Norwegian man with a moustache, she gone over-the-top about her emotional landscapes. The last dad taught her that it's sometimes worth looking way back to go forward and applaud that progression on the faces of your opponents. Thank goodness for Arnold and Edvard and Igor. Conan's work has been exhibited in the UK and internationally. Her work is in the collections of Soho House London, Glasgow School of Art and the Urban Nation Museum in Berlin. She has been selected as one of Bloomberg New Contemporaries in 2021, has been featured in the John Moores Painting Prize in 2020, the Royal Academy Summer Exhibition in 2021 and the Royal Scottish Academy Annual Exhibition. She graduated with a BA (Hons) in Painting and Printmaking from the Glasgow School of Art followed by the Royal Drawing School Drawing Year (2021-2022). Currently at the Turps Studio Programme (2022-2024) and The Fores Project February-March 2023 residency. From september 2024 she will start an MFA in Painting at the Slade in London. Represented by Christine Park Gallery in Shanghai and Traits Libres Gallery in Paris. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Ireland Wisdom Self portrait detail from Freaky Wisdom, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ireland Wisdom (b. 1996, Los Angeles, CA) was trained classically at the rigorous painting atelier at the Florence Academy of Art, which included three years of painting live models,7am-9pm daily, critiqued for technique and quality of mimicry. Wisdom has religiously continued in the tradition of live mode painting. For Wisdom, we are existing in the imagination of history, a collusion of time - we are in the 21st century and yet we have thousands of years of painting behind us. Painting becomes about putting it all together, imbuing old values, ancient iconography and style, with newness, creating a landscape in which all time periods could be found and new value systems formed. Wisdom has had solo exhibitions at Carlye Packer Los Angeles, CA; The Bowlish House, Somerset, UK; Kontemporary Residency, Seoul, Korea; and the Breeder Gallery, Athens, Greece. Her work has been included in group exhibitions at Felix Art Fair, Los Angeles, CA; Maison Lune, Los Angeles, CA; Eastern Projects, Los Angeles, CA; and KIAF Art Fair, Seoul, Korea. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Ireland Wisdom Self portrait detail from Allegory of Painting, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ireland Wisdom (b. 1996, Los Angeles, CA) was trained classically at the rigorous painting atelier at the Florence Academy of Art, which included three years of painting live models,7am-9pm daily, critiqued for technique and quality of mimicry. Wisdom has religiously continued in the tradition of live mode painting. For Wisdom, we are existing in the imagination of history, a collusion of time - we are in the 21st century and yet we have thousands of years of painting behind us. Painting becomes about putting it all together, imbuing old values, ancient iconography and style, with newness, creating a landscape in which all time periods could be found and new value systems formed. Wisdom has had solo exhibitions at Carlye Packer Los Angeles, CA; The Bowlish House, Somerset, UK; Kontemporary Residency, Seoul, Korea; and the Breeder Gallery, Athens, Greece. Her work has been included in group exhibitions at Felix Art Fair, Los Angeles, CA; Maison Lune, Los Angeles, CA; Eastern Projects, Los Angeles, CA; and KIAF Art Fair, Seoul, Korea. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
ROMAN GLASS "GRAPE" VESSEL EASTERN MEDITERRANEAN, C. 3RD CENTURY A.D. mould blown glass, standing on a disc-shaped base, with concave bottom and central pontil mark, blown in three part mould, the piriform body with a pattern of stylised grapes below a collared shoulder and flaring mouth 11cm tall Private collection, United KingdomShlomo Moussaieff, London, United Kingdom, collection formed 1948 - 2000 For similar please see: The Metropolitan Museum of Art, New York, accession number 15.43.184
FIGURAL XHOSA PIPE 19TH CENTURY, SOUTHERN AFRICA carved wood and lead, the long slender stem terminating in a finely carved human figure serving as the bowl, the male is shown nude, the hands held into the sides, with lead inlay indicating the waistband, necklace and armlets 57cm long Wills Cigarette and Tobacco Company Pipe Collection, England (ref 1233)Galerie Valluet, ParisBernice & Terry Pethica Collection, United KingdomPublished:Klopper, Nettleton and Pethica, The Art of Southern Africa, The Terence Pethica Collection 2007, n° 105 “Because the vocational training offered by German missionaries working in the Eastern Cape area often included training in metal in ay techniques, many of the pipes produced by Xhosa-speaking carvers sport inlaid details depicting items of adornment like armbands and beadwork that are stylistically typical for the region. Although the display of genitalia in the depiction of mature men is uncommon, the fact that this is an older man is suggested both through the stocky proportions of the figure and the possible allusion to a headring. The heading, which was developed into an elaborate art form among some communities from the southern Natal region, may also have been used intermittently in the Eastern Cape. A mark of marital status in the Zulu kingdom north of the Thukela river, it was a variable index of age and status among several other groups in the area. Pipes with figurative bowls are likely to have been commissioned by men rather than women. The latter generally smoked from elegantly proportioned but comparatively simple, long-stemmed pipes.” (Klopper, Nettleton and Pethica 2007).
ABORIGINAL PARRYING SHIELD, EARLY-MID 19TH CENTURY VICTORIA AUSTRALIA carved hardwood, of triangular form, with an integral handle, the exterior adorned with zigzag motifs accentuated with white clay 93.4cm long Property from Penicuik House, Midlothian, acquired mid-19th century Artists from southeastern Australia traditionally crafted narrow and compact parrying shields, like the present example, which were employed in close combat to deflect blows from fighting clubs and other handheld weapons. These parrying shields were typically held by a handle positioned on the left side, with their narrow edge facing the opponent. Adorned with a series of engraved zigzag patterns, “a symphony of lines” (Jones, 2015, p. 74), these shields not only served a defensive function but were also rich in symbolic and cultural significance.Beyond their use in combat, these shields acted as visual expressions of identity and tradition, with their engraved motifs and geometric patterns, reflecting the distinct artistic styles of the region’s communities. The intricate carving of these shields demanded exceptional craftsmanship, with artisans meticulously shaping the hardwood and etching traditional patterns using age-old techniques. This artistic process was both practical and symbolic, highlighting the inseparable link between utility and art. Although little historical information survives regarding the symbolic meaning of the designs, it is believed that they may represent emblems tied to the owner’s group or dreamings, ancestral beings whose actions shaped the landscape during the Dreaming, a primordial period of creation.For a similar example collected in south-eastern Australia prior to 1839 please see: The British Museum, London, accession number Oc1839, 1012.3.
* JUNE CAREY RSW RGI (SCOTTISH b. 1942), PRESENCE limited edition etching on paper, signed, titled and numbered 3/10mounted, framed and under glassimage size 37cm x 30cm, overall size 59cm x 57cm Note: June Carey began her art education in the 1960s at The Glasgow School of Art. She has been exhibiting her work widely throughout Britain and abroad ever since. Her awards include The Scottish Arts Council 1998, McGrigor Donald Trust 1989, European City of Culture Woman 2000 (First Prize) 1990, Dundee District Council Purchase Prize 1991, British Council Assistance Grant 1992, The Hope Scott Trust Award 1993, Scottish Arts Club Award 1993, McDonald Orr Ltd 1993, Anne Redpath Award 1996, BP Aberdeen Assistance Grant 2002, Connell & Connell Sponsorship and in 2004, a Research Grant from the Scottish Arts Council, to visit India. June Carey's work can be found in the collections of Lady Thyne; Peter Gabriel, BBC Television, The Royal Bank of Scotland, The Scottish Arts Council, Oxford University, Teachers Whisky, Highland Region, Edwins Gallery Jakarta, Barclay Lennie Fine Art Ltd, MacTaggart & Mickel Ltd. Eastern General Hospital, McDonald Orr Ltd, Dundee District Council, Arts in Fife and Private Collectors at home and abroad.
* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), THE EYEMOUTH DISASTER limited edition lithograph on paper, signed and inscribed 'archive'framed and under glassimage size 62cm x 42cm, overall size 78cm x 58cmNote 1: The Eyemouth disaster was caused by a storm off the south-eastern coast of Scotland in 1881 in which 189 fishermen, most of them from the fishing community of Eyemouth, were drowned after being driven onto the treacherous Hurkur rocks that lie outside Eyemouth harbour bay. This picture portrays a young mother with her child and an older woman waiting, almost certainly in vain, for her husband to return. Eyemouth was not only associated in Bellany’s mind with disaster; It was also the home of his much loved grandparents.Note 2: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficult to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were £1800 and £4000 and the same paintings sold in April for £3800 and £7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years. In The Scottish Contemporary Art Auction of 25th May 2023, lot 282, "Restless Wave" a 90 x 90cm oil (by Bellany) sold for £9000 (hammer) and in our auction of 9th November, lot 92, "Harbour" a 90 x 120cm oil by Bellany sold for £11000 (hammer). Most recently, "The Players" lot 50 in our auction of 28th March 2024 sold for £30000 (hammer).
* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), WHITE SANDS OF THE WESTERN ISLES oil on canvas, signedframedimage size 67cm x 67cm, overall size 78cm x 78cm Note 1: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer). Most recently, in The Scottish Contemporary Art Auction of 24th October 2024, lot 47 "West Coast Sunset" (61 x 61cm oil on canvas) by Pam Carter sold for £3600 (hammer).Note 2: Having lectured part-time for many years at Falkirk College, Pam retired and painted full-time from her studio in Torrance until her death in 2022. She was mostly influenced by the bright colours of the Scottish landscape. The white sands of the west coast are set against dramatic skies and the silhouettes of outlying islands stand like sentinels. Her interest in the use of strong colours may come from her origins in Africa. However, art school also taught her to see the colour and the work of the great colourists, from Titian to the Impressionists and has influenced her painting style over the years since graduation. Pam once said “Walking on empty beaches, alone with your thoughts, embracing the elements and hearing the sounds of the rhythm of nature can touch our souls. These are deeply spiritual moments when we often stop to consider the grand design of life itself. At these times it is easy to believe that there is a God and that the intention of life was to be all good. I love the Scottish landscape - it has all the form and textures that visually stimulate the senses. I am inspired not only by the scene but search out that "divine proportion"- aptly called and indeed the most pleasing to the eye. These thoughts follow me to the studio where I try to recreate not only the landscape but that spiritual moment. I take a long time to consider the design of my paintings and through the different stages correct and re-correct until, if not the "golden section" is reached, it has at least that same effect on my deep inner being. In my paintings you can feel the presence of mankind but rarely see them - the washing is hung, the lum is reeking, and the telegraph poles are talking. I pay tribute to the cultural past through the ancient dyke wall, the little harbours and the quaint crofts which are happily standing side by side with the grazing sheep. I use strong colour to interpret the drama of light in the landscape. I am inspired by the changing light sequences of the Western Isles and I have often been awestruck at witnessing what feels like a heavenly scene. Light features strongly in my work. Whether it be light bouncing off the waters of the Hebrides or the sunlit sands before an encroaching storm or sunlight moving across the landscape. It is ever changing, ever travelling. Light is synonymous with hope, a feeling of well being, joy and with God. I find myself always being drawn to the light in both my paintings and my life. That is my strength and my inspiration.
* KEN CURRIE (SCOTTISH b. 1960), TWO LINOCUTS FOR 'WAR' 'WHERE BOOKS ARE BURNT, PEOPLE ARE BURNT IN THE END' and 'HOWL WITH THE WOLVES (AFTER DUCHAV)'two linocut prints on paper, both signed, titled and dated '83both mounted, framed and under glassimage size 31cm x 31cm each, overall size 48cm x 48cm each Qty: 2Note: Ken Currie is renowned for his unsettling portrayal of the human figure. The artist's rich, luminous paintings depict mysterious rites, rituals, and quasi-medical practices, offering a meditation on violence in its many guises. Currie studied at the Glasgow School of Art from 1978-1983 and rose to attention within a generation of painters known as the "New Glasgow Boys" in the 1980s. In 1987, Currie completed a powerful series of large scale History paintings for the People’s Palace in Glasgow, commemorating the massacre of the Calton Weavers. Through the 90's deeply affected by humanitarian events in Eastern Europe Currie's works evolved, his focus shifting to confront ideas of mortality and corruption, both physical and moral. Over the last 10 years Currie's work has addressed the horrors of the contemporary world, without shying away from their brutality or grotesque nature. In 2009 Currie was commissioned to paint the theoretical scientist Peter Higgs following his receipt of the Nobel Prize, the painting now hangs at The University of Edinburgh. Ken Currie has exhibited widely internationally, including a 2013 solo exhibition at the Scottish National Portrait Gallery which also commissioned his painting Three Oncologists. Currie's work is held in many major public collections including Tate, London; Scottish National Gallery of Modern Art, Edinburgh; New York Public Library; Imperial War Museum, London; Campbelltown Arts Centre, New South Wales; Yale Center for British Art, New Haven; Gulbenkian Foundation, Lisbon; and the British Council, London.
HENRI LEBASQUE (FRENCH 1865-1937) LA COIFFURE Oil on canvas Signed (lower left) 65 x 49cm (25½ x 19¼ in.)Painted circa 1905-1906.Provenance: Galerie du Drap d'Or, Cannes Private Collection, London (acquired from the above in 1971) Thence by descent to the late ownerExhibited: Probably, Paris, Beaux-Arts, Exposition de la Societe nationale des Beaux-Arts, 1909, no. 710 Literature: Denise Bazetoux, Henri Lebasque, Catalogue raisonné, vol. I, Paris, 2008, no. 655, illustrated p. 189The authenticity of this work has been confirmed by Madame Christine Lenoir and Madame de la Ville Fromoit. La Coiffure shows the artist's wife, Ella, and their eldest daughter, Marthe. It is one of the many depictions of domestic and family life painted by the artist throughout his career. These intimate portrayals capture a moment in time, a glimpse into the lives of those they illustrate. For Lebasque, it was one of his favourite subject matter and he frequently painted Ella, Marthe, his younger daughter Nono (christened Helene) and his son Pierre. Lisa Banner discusses the artist's choice of subject matter: "Lebasque's vision of life led him to concentrate upon intimate domestic scenes and close, interior compositions. He was hailed as the painter of "Joy and Light" by art critics and curators of the Louvre in his later life. But Lebasque's primary concerns were with simple expression of sensuous surface... He achieved an intimate manner of painting those scenes and people most dear to him, which was replete with his personal delight in form and color, heightened by his contact with fellow painters Matisse and Bonnard, but characteristically his own" (L. Banner, Lebasque, 1865-1937, San Francisco, 1985, p. 20).Lebasque arrived in Paris in 1886, studying under academician Léon Bonnat, receiving a traditional art education. He assisted Ferdinand Humbert with decorative murals at the Panthéon and his early work is characterised by its rather sombre palette. However, he quickly became fascinated with the Impressionist movement and sought to acquaint himself with artists such as Pierre Bonnard, Pierre-Auguste Renoir, Edouard Vuillard and Camille Pissarro. He developed lasting friendships with these painters and his work was undoubtedly influenced by their work, both in subject matter and style. In 1900, Lebasque settled at Lagny,-sur-Marne in the eastern suburbs of Paris. In 1903, alongside Matisse, Bonnard and Vuillard, amongst others, he was one of the founding members of the inaugural Salon d'Automne. The present work, which dates from a couple of years later, and shortly before the artist's first one-man show at the prestigious Galerie Georges Petit in Paris in 1907, reveals the influence of not only those artists, but also Signac and Seurat.Lebasque's handling of the paint is soft and sensuous. The short brush strokes echo his former interest in Pointillism whilst the interplay between the colours and the use of contrast with light and shadow show him moving towards a more gestural, intuitive style. Condition Report: The canvas is not relined. Ultraviolet light reveals light scattered retouching to the edge of the table and to the mother's hand. The paint is very slightly thin in the mirror area, otherwise, the work appears to be in very good original condition.Condition Report Disclaimer
SET OF ELEVEN VOLUMES "ORIENTAL CERAMICS: THE WORLD'S GREAT COLLECTIONS" STANDARD EDITION PUBLISHED BY KODANSHA INTERNATIONAL LIMITED, 1981 1981年 原函精裝英文《世界博物館藏東方陶瓷》（一套共11冊）All cloth bound and in original slipcases, including:Volume 1: Tokyo National Museum, TokyoVolume 2: National Museum of Korea, SeoulVolume 3: Museum Pusat, JakartaVolume 4: Iran Bastan Museum, TeheranVolume 5: The British Museum, LondonVolume 6: Percival David Foundation of Chinese Art, LondonVolume 7: Musee Guimet, ParisVolume 8: Museum of Far Eastern Antiquities, StockholmVolume 9: The Freer Gallery of Art, Washington D.C.Volume 10: Museum of Fine Arts, BostonVolume 11: The Metropolitan Museum of Art, New York each volume: 37cm x 27cm Private collection, England 英格蘭私人收藏
Collection of Decorative Boxes, Figurines, and CollectiblesThis assortment features a curated group of small collectible items, including boxes, figurines, and decorative objects. Key items and their attributes include:1. **Carved Wooden Box**: - Rectangular form with intricate geometric carvings, including star-like motifs. - Crafted from dark-stained wood, potentially hand-carved, indicative of early-to-mid 20th-century craftsmanship.2. **Octagonal Wooden Box**: - Polished surface with painted floral garland on the lid. - Equipped with a brass clasp, likely a mid-20th-century trinket or jewellery box.3. **Painted and Lacquered Boxes**: - A black lacquer box hand-painted with a snowy village scene, likely Russian or Eastern European. - A smaller painted box featuring birds and floral motifs in vibrant colours, suggestive of traditional folk art, possibly from India or Central Asia.4. **Mother-of-Pearl Box**: - Rectangular with a mosaic-style mother-of-pearl exterior, intended for trinket or jewellery storage.5. **Metallic and Enamel Items**: - A brass or bronze dog figurine. - Elephant figurines in brass and stone, some with red and green enamel or stone accents. - A small engraved cylinder or container with visible verdigris patina, likely vintage.6. **Airplane Model**: - A small metal model resembling a twin-propeller airplane, likely a mid-20th-century decorative or desk item.7. **Postcard**: - A vintage postcard addressed to "Mrs. R.C. Gibson," featuring a visible stamp and handwriting, likely from the mid-20th century.8. **Additional Decorative Items**: - Lacquer and painted boxes with floral and scenic designs. - A red leather coin purse or wallet and a blue fabric drawstring pouch.This collection showcases a mix of mid-20th-century and older handcrafted and decorative items, with examples of traditional art and design from various cultural origins, including Europe, South Asia, and the Middle East.
### Eclectic Collection of Vintage and Antique Items A diverse assortment of vintage and antique artefacts, dating from the late 19th to mid-20th century, comprising decorative, utility, and personal memorabilia. ### Description: 1. **Keepsake Boxes**: - An oval-shaped lacquered box with a painted jungle scene featuring a tiger, likely of Asian origin, early 20th century. - A rectangular brass box with a smooth, polished finish, possibly for cigars or stationery items. - A black and gold rectangular lacquered box with intricate patterns, referencing Middle Eastern or South Asian art. - A smaller octagonal brass box, decorated with engraved motifs, likely a snuff or trinket box. - A wooden box with marquetry inlay, depicting floral or scenic elements, possibly European, 19th or early 20th century. 2. **Framed Photographs**: - A rectangular military portrait of a uniformed man, likely WWI-era (1914–1918), housed in a black frame with an inscription partially visible. - An oval frame containing a sepia-toned photograph of a young child, mid-20th century. - A silver-toned ornate rectangular frame with visible text, “R.H.L.,” mounted with floral embossing. 3. **Metalware**: - A hammered metal hip flask, potentially dating to the interwar period. - A curved stainless flask and another with textured detailing, consistent with early to mid-20th-century designs. - A miniature brass desktop armillary sphere, decorative but inspired by scientific instruments of the 19th century. 4. **Books and Ledgers**: - A leather-bound book with gold gilt detailing, late 19th to early 20th century design. - A green leather ledger embossed with “Midland Bank Limited,” indicative of personal financial use, mid-20th century. 5. **Scientific Equipment**: - A brass field microscope with a black base, late 19th to early 20th century, with adjustable focus features. - A pair of black binoculars, early 20th century, likely military or recreational. 6. **Stationery and Desk Accessories**: - A wooden stamp with a polished handle, likely for sealing wax, 19th or early 20th century. - A circular leather tape measure case or pocket accessory, early 20th century style. ### Historical and Collectible Context: The collection showcases fine craftsmanship and proportions reflective of the late Victorian through to the mid-20th century. Military memorabilia, scientific instruments, and decorative items within the grouping suggest it originates from a private collector or estate sale.
Collection of Vintage Decorative Items This is a collection of antique and vintage decorative objects from the late 19th to mid-20th century. **Key Items:** 1. **Brass Menorah**: Seven-branched design, ribbed detailing, tapering arms, and a hexagonal base. Likely mid-20th century, associated with Jewish religious traditions. Approx. 20–30 cm in height. 2. **Carved Wooden Box**: Intricately hand-carved relief depicting animals amidst foliage. Rectangular with hinged lid. Likely from Eastern or folk art traditions, dating between mid-19th to mid-20th century. Estimated dimensions: approx. 20–25 cm length, 10–15 cm width, 5–8 cm height. 3. **Small Decorative Trinkets**: - **Donkey-shaped Pin Cushion**: Silver-toned with floral engravings and blue fabric pin cushion. Likely late 19th or early 20th century. - **Ship Figurine**: Nautical-themed item with fabric or metallic accents, potentially a pin cushion or decorative piece. - **Engraved Boxes**: Includes a match safe or card case with botanical engravings and a rectangular brass box. - **Miniature Figurines**: Bird and animal models, crafted in metal with enamel details, one resembling a parrot. - **Circular Metallic Items**: Possibly lids or decorative caps, featuring floral and radial engravings. 4. **Austin Nameplate**: Metallic script emblem associated with the Austin car manufacturer, likely mid-20th century automotive memorabilia. 5. **Open Wooden Box with Compartments**: Medium-sized, polished, divided into three sections. Possibly used for jewellery or small valuables. The collection, featuring brass, silver, and carved wood with patina and varied craftsmanship, reflects different cultural and temporal origins. Likely of interest to collectors or decorative purposes.
Saupique, Georges-Laurent (French, 1889-1961); b. Paris FRANCE, La Depêche Maritime et Coloniale, 1930, an Art Déco gilt-bronze and enamel medal by G.-L. Saupique, robed female standing facing, head turned to left, holding a flag of France against a map of the Eastern Hemisphere, lion lying at her feet, rev. the packet boat Père de Foucault at a quay-side, view of port in background, edge impressed bronze and with foundry mark, 65mm, 106.87g (Ruedas 116; cf. BDW 18, 580). Extremely fine, rare £80-£100 --- Provenance: Bt A.C. Eimer June 2011. La Depêche Coloniale et Maritime, a newspaper published between 1893 and 1937, was in later years owned by the diplomat and financier Octave Homberg (1876-1941), whose name appears on the medal
Circa 8th century A.D. Sheet gold dome with braided filigree band to the rim, three vertical bands and three cells each set with a garnet cabochon, collar to the apex. Cf. applique in similar style of the Eastern Roman dagger from Malaja Perescepina, in Werner, J., Der Grabfund von Malaja Perescepina und Kuvrat, Kagan der Bulgaren, Munchen, 1984, pl.12, nos.4, 21, 24. 2.13 grams, 22 mm (7/8 in.). [No Reserve] From a continental collection prior to 2000. Acquired on the UK art market in 2010. Ex property of a UK gentleman.Eastern Roman daggers of 7th-8th centuries typically displayed gold ornaments embellished with garnets and filigree, visible on the specimens gifted by the Empire to foreign rulers, such as the famous Bulgarian leader Kuvrat.
1966-2012 A.D. Erik Hornung & Betsy Bryan - The Quest for Immortality: Treasures of Ancient Egypt - Washington, 2002, hardback with dustwrapper, 240 pp, colour images; Musée Jacquemart-André - Le Crépuscule des Pharaohs - Bruxelles, 2012, hardback with dustwrapper, 256 pp, colour images; Annie Caubet & Geneviève Pierrat-Bonnefois - Faiences de l'Antiquité, de l'Égypte a l'Iran - Paris, 2005, card covers, 206 pp, colour images; Metropolitan Museum of Art - Guide to the Collections: Ancient Near Eastern Art - New York, 1966, card covers. 40 pp, monochrome. 4.7 kg total, 15 x 23 - 25 x 29.5 cm (5 7/8 x 9 - 9 3/4 x 11 5/8 in.). [4, No Reserve] Property of a North West London gentleman.
1986-1998 A.D. Michael Spink - Islamic Jewellery catalogue - London, 1986, card covers, colour images; Metropolitan Museum of Art, - Ancient Near Eastern Art - New York, n.d., card covers, colour and monochrome images; Prudence Harper et al. - The Royal City of Susa - Ancient Near Eastern Treasures in the Louvre - New York, 1992, hardback with dustwrapper, 316 pp, colour and monochrome images, maps; Annie Caubet and Marthe Bernus-Taylor - The Louvre - Near Eastern Antiquities - London, 1991, hardback with dustwrapper, 96 pp, colour and monochrome images; K.K. Sarvestani - The Land of Mehr & Mah - Tehran, 1998, hardback with dustwrapper, English & Persian texts, colour images. 4.2 kg total, 21 x 22.5 - 24 x 30 cm (8 1/4 x 8 7/8 - 9 1/2 x 11 7/8 in.). [5, No Reserve] Property of a North West London gentleman.
1979-2005 A.D. John Curtis - Ancient Persia - London, 1989, card covers, 72 pp, colour and monochrome images; Richard Ettinghausen & Ehsan Yarshater - Highlights of Persian Art - Boulder, 1979, hardback with dustwrapper, 391 pp, monochrome images; John Boardman - Persia and the West - London, 2000, hardback with dustwrapper, 255 pp, monochrome images; N. Nafisi - Pearl of Persia - Persepolis - Tehran, 2005, hardback in slipcase, 151 pp, English and Persian text, colour images; Dominique Collon - Ancient Near Eastern Art - London, 1995, card covers, 247 pp, colour and monochrome images. 4.9kg total, 21.5x21.5 - 20x27cm (8 1/2x8 1/2 - 7 7/8x10 5/8in.). [5, No Reserve] Property of a North West London gentleman.
1966-2007 A.D. Metropolitan Museum of Art - Guide to the Collections: Ancient Near Eastern Art - New York, 1966, card covers. 40 pp, monochrome; Musée d'Art Genève - Reflets du Divin - Geneva, 2002, card covers, 159 pp, monochrome images; Marsha Hill (ed.) - Gifts for the Gods - Images from Egyptian Temples - New York, 2007, hardback with dustwrapper, 240 pp, colour images; Edna Russmann - Egyptian Sculpture - Cairo and Luxor - London, 1989, hardback with dustwrapper, 230 pp, colour images. 4.46 kg total, 15.2 x 22.7 - 26 x 33.5 cm (6 x 8 7/8 - 10 1/4 x 13 1/8 in.). [4, No Reserve] Property of a North West London gentleman.
20th century A.D. F. Spuhler - Islamic Carpets and Textiles in the Keir Collection - London, 1978, hardback with dustwrapper, 251 pp, colour and monochrome; Hadji Baba Ancient Art, Art of the Eastern World, London, 1996, hardback with dustwrapper, 210 pp, colour; Wilfried Seipel - 7000 Jahre Persische Kunst - Kunsthistoriches Museum Wien, 2000, card covers, 342 pp, colour. 4.8 kg total, 22.5 x 28 - 24.5 x 28 cm (8 7/8 x 11 - 9 5/8 x 11 in.). [3, No Reserve] Property of a North West London gentleman.
13th-6th century B.C. Comprising triangular types with thick midrib, heater-shaped, leaf-shaped, and other types. See Muscarella, O.W., Bronze and Iron Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, pp.289ff, for similar arrowheads. 340 grams total, 9.6-14.3 cm (3 3/4 - 5 5/8 in.). [14] Acquired 1980-2015. Ex Abelita family collection.One category of the represented arrowheads has a sharp, flat blade, the ends of which extend to form wings or barbs, and a prominent midrib extending into a long tang that often has a stop; the blade shape varies from deltoid to more triangular. Another form has no barbs, but it has a prominent midrib extending to the tang, and a narrow leaf-shaped blade.
Early 2nd millennium B.C. Bifacial, pillow-shaped with cuneiform text to one face and one edge; one corner absent. Cf. cuneiform text tablet now in the Metropolitan Museum of Art, New York, under accession no.86.11.282. 47 grams, 53 mm (2 1/8 in.). [No Reserve] Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992. Thence by descent to family members. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. This small collection is exceptional for the variety of types, including some very rare and well preserved examples.
Early 2nd millennium B.C. Bifacial, pillow-shaped with cuneiform text to both broad faces; two corners absent. Cf. cuneiform text tablet now in the Metropolitan Museum of Art, New York, under accession no.86.11.282. 122 grams, 77 mm (3 in.). [No Reserve] Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992. Thence by descent to family members. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. This small collection is exceptional for the variety of types, including some very rare and well preserved examples.
Circa late 2nd millennium-6th century B.C. Comprising heater-shaped, leaf-shaped, barbed-and-tanged, and other types. Cf. Muscarella, O.W., Bronze and Iron Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, pp.289ff, for similar; see also Khorasani, M.M., Arms and Armour from Iran. The Bronze Age to the End of the Qajar Period, Tübingen, 2006, nos.467, 471, for some of the represented types. 280 grams total, 4.1-10.8 mm (1 5/8 - 4 1/4 in.). Acquired 1980-2015. Ex Abelita family collection.A number of arrowheads of this type have been excavated in Luristan and in the South-Caspian region. Many parallels are from a burial context, but a large hoard of them was found in a non-funerary context. This type of arrowhead was in use from the late 2nd millennium B.C.
Eastern Roman Period, circa 3rd-5th century A.D. Penannular in form with square bezel, nine gilt bosses. 4.58 grams, 23.23 mm overall, 18.16 mm internal diameter (approximate size British N 1/2, USA 6 3/4, Europe 14.35, Japan 13) (1 in.). [No Reserve] Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of Surrey, UK, gentleman.
Eastern Mediterranean, 1st century B.C.-1st century A.D. Flat, thick-walled bowl, mould-made with 22 large ribs to the outer face below the rim extending to the middle of the base; reassembled from fragments. Cf. Whitehouse, D., Roman Glass in The Corning Museum Of Glass, Volume One, New York, 1997, pp.261-265, for type. 140 grams, 11.1 cm wide (4 3/8 in.). (For this specific lot, 5% import VAT is applicable on the hammer price.) Ex Martin Wunsch, New York 1980s-1990s. Accompanied by a copy of an Art Loss Register certificate no.S00098335.
Late 2nd-1st millennium B.C. With prominently curved guard, which extends out from the ricasso of the blade and partly frames the hilt, thick flat midrib extending slightly above the ricasso where it held the hilt. See similar swords in Muscarella, O.W., Bronze and Iron Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, pp.99-100. 466 grams, 53 cm (20 3/4 in.). Acquired 1980-2015. Ex Abelita family collection.The hilt of such swords was made separately, and unfortunately is nearly always missing from the archaeological records. Similar daggers had a northern Iranian background and excavated examples have been recorded from the South Caspian Area from Tomadjan and Ghalekuti.
12th-11th century B.C. Short dagger with leaf-shaped blade, with a slightly pronounced midrib, expanded handle terminating in an equine protome. Cf. Muscarella, O.W., Bronze and Iron, ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, no.389, for the type. 294 grams, 25.2 cm (9 7/8 in.). Acquired 1980-2015. Ex Abelita family collection.Miniature weapons such as this one apparently functioned as models for actual weapons and may have had a cultic purpose. The hilt of this dagger, if effectively used, should have been flanged for the filling with organic material. Unfortunately, only a few miniature tools and weapons have been found in the archaeological context of the graves, which does not offer clear elements of understanding and comparison.
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