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A Collection of Silver Brooches & art Deco buttons & jewellery; Art Deco woman buttons, Victorian Silver and enamel Greek key design brooch fitted with a citrine gem stone. Silver bar brooch with purple stone, Silver Agate ring, five Aztec style buttons & other items

Ca. 450 BC. A Greek red figure Lekythos of slender form with rounded shoulders tapering to a narrow foot, the vessel is surmounted by a flared funnel mouth and complemented by a single vertical handle. Executed in the red-figure technique on a lustrous black-glazed ground, the primary register features a dynamic scene of two female figures in profile, one presenting a casket and mirror to a winged Nike, who approaches with graceful stride, her form delicately articulated with flowing drapery and detailed wings. The reverse displays a standing female figure holding a mirror, the entire composition bordered above and below by continuous meander friezes. The fine draftsmanship and spatial economy suggest attribution to a workshop of the so-called "School of the Providence Painter," active in mid-5th century B.C. Athens. The use of delicate contour lines and balanced proportions exemplifies the high classical style at its zenith.For similar see: Christie's, Live Auction 9383, Antiquities, Lot. 386.Size: 320mm x 110mm; Weight: 725gProvenance: Private UK collection, acquired on the Swiss art market; Ex. Swiss private collection since 2022; Ex. Swiss private collection since 1971 (With receipt from the Casa Serodine Gallery, Ascona, January 19, 1971).This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca. AD 1 - 300. A matched pair of gold earrings, each composed of a central spherical pearl bead held between two gold wire loops and framed within a twisted gold ring. Below the bead is a ribbed trapezoidal gold plate from which two suspension loops hang, each terminating in a pearl dangle. The ear wire extends from the back and loops over the top through a small attachment ring.For similar see: F. H. Marshall, MA., catalogue of the Jewelry, Greek, Etruscan and Roman in the department of Antiquities British museum.cat. 2648, Plate LV.Size: 23-24mm x 45940mm; Weight: 4gProvenance: Private London collection; formerly in South German private collection 1980s-early1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 100 - 250. A necklace formed of a series of 17 gold settings containing inset white glass elements with central ridges, framed by beaded wire. Between each pair of settings are short linking loops, and the lower edge of each unit is fitted with a double drop of small pearls suspended from U-shaped gold attachments.For similar see: Marshall, Catalogue of Jewellry Greek, Etruscan and Roman, 1911, Cat. 2749, 2730.Size: 120mm x 30mm; Weight: 18gProvenance: London collection; Ex. Mayfair collection, acquired from an Ancient Art gallery; formerly acquired on the London art market pre-2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.

Ca. AD 100-300. An oval carnelian intaglio engraved with a depiction of Eros riding a dolphin showing the nude figure seated astride the animal with wings extending behind his shoulders. The dolphin is shown in left profile, its head slightly raised and tail curled upwards, positioned above a series of curved lines representing waves. The intaglio is mounted within a broad gold bezel, flanked on either side by granulated spheres and scroll-shaped elements extending from the concave hoop.For similar see: The British Museum, Museum number 1987,0212.188; Richter G.M.A., Catalogue of Engraved Gems. Greek, Etruscan, and Roman, Plate XLII, nos. 313, 314.Size: D:17.93mm / US: 7 3/4 / UK: P; Weight: 6.46gProvenance: Private London collection; formerly in South German private collection 1980s-early1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.

Ca. AD 100 - 200. An oval-shaped intaglio depicting the bust of Serapis, a syncretic deity combining elements of Greek and Egyptian gods. He is shown in his left profile with a full beard, long wavy hair falling to the neck, and a modius (grain basket) atop the head. The intaglio is set in a gold ring of a thick, rounded hoop that widens at the shoulders and narrows towards the back.For similar see: The British Museum, Museum number EA56445C; Christie's, Live Auction 22523, Antiquities, 9 April 2024, Lot 183.Size: D:17.12mm / US: 6 3/4 / UK: N; Weight: 8.04gProvenance: Private London collection; previously Denier collection, France 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.

Ca. AD 100 - 300. A red jasper intaglio engraved with a Gryllos motif, combining a bearded mask in left profile, an equine protome rising from the top, and a ram’s head facing right. This composite figure is supported on rooster legs. The intaglio is set within an oval bezel of a gold ring with a slender hoop that broadens slightly towards the shoulders.For similar see: The British Museum, Museum number 1814,0704.1468; Richter G.M.A., Catalogue of Engraved Gems. Greek, Etruscan, and Roman, Plate LXIII, nos. 541, 545.Size: D:19.76mm / US: 10 / UK: T 1/2; Weight: 9.78gProvenance: Private London collection; previously Denier collection, France 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.

Ca. 450 BC. A Greek red-figure hydria of rounded form with a round mouth, flanked by two horizontal handles and a vertical one at the rear for pouring. The body is beautifully painted in the red-figure technique, depicting a dramatic mythological scene. At the centre sits Agamemnon, regally enthroned and holding a sceptre, clad in a himation and cuirass, with his round shield resting beside him. To the left stands the aged priest Chryses, portrayed with a long beard and veiled head, extending his arm in supplication, bearing ritual attributes, probably a phiale or a shallow bowl, as he pleads for the return of his daughter, Chryseis. On the right, a female figure, likely a handmaiden or Chryseis herself, is shown in profile with an outstretched arm, her posture charged with pathos and subtle resistance.For similar see: J Boardman, Vasi Ateniesi a figure Rosse, Rusconi, 1992, ISBN 88-18-91032-9, n. 352 - 355.Size: 190mm x 180mm; Weight: 415gProvenance: Property of a central London gallery, previously acquired on the Dutch art market; previously acquired on the Belgian art market; Hugo Lievens, Brussels 1982. 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.

Ca. AD 800 - 900.A solid gold cross pendant with broad arms engraved with a Greek inscription running vertically and horizontally across the front face. A wide suspension loop is positioned at the top for attachment.For similar see: The Glory of Byzantium, Art and Culture of the Middle Byzantine Era, Edited by Hellen C. Evans and. William D. Wixom, 1997, Cat. 225, p. 331.Size: 32mm x 18.3mm; Weight: 14.2gProvenance: Private London collection; previously acquired from a Belgian collection (1980s-1990s). This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.

Ca. AD 300 - 400. A marble relief depicting a Genius Cucullatus. The figure is shown frontally, wearing a deeply pleated mantle with a pronounced hood covering the head. The facial features are simply rendered. An inscription in Greek runs along the bottom edge of the slab. Mounted on a modern display stand.Size: 225mm x 120mm; Weight: 1.21kgProvenance: Private UK collection; previously acquired on the German art market in the 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 500 - 700. A gold ring with a circular bezel inlaid with niello, inscribed in Greek across three lines: “ΚΕΒ / ΟΗΘΙΔ / ΟΜΝΑ”. The bezel is joined to a plain, rounded hoop and is flanked by small gold spheres positioned at the shoulders.For similar see: The British Museum, Museum number AF.237.Size: D:18.75mm / US: 8 3/4 / UK: R; Weight: 6gProvenance: Private London collection; previously in a 1990s UK collection of Ancient Art. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.

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.

Ca. AD 600. A gold ring with a circular bezel inlaid with niello, depicting the Virgin Mary in bust form, shown frontally with hands raised. Her head is framed by a halo, and flanked by the Greek inscription ΜΡ ΘΥ (abbreviation for Μήτηρ Θεοῦ, “Mother of God”). The bezel is joined to a plain, rounded hoop, and is flanked by two pairs of small gold spheres positioned at the shoulders.For similar see: Bagot J., El legado de Hefesto: A Memorial to a Private Collection of Ancient Rings and Glyptics, n. 595; J. Spier, Byzantium and the West, Jewelry in the first Millennium, cat. 14D2; The British Museum, Museum number AF.489.Size: D:19.76mm / US: 10 / UK: T 1/2; Weight: 6gProvenance: Private London collection; previously in a 1990s UK collection of Ancient Art. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.

SPYRIDON SCARVELLI (Greek, 1862-1942), watercolour - 'Paysage a Bedrechein', camel and figures on the edge of town, signed, inscribed 'Cairo', and titled on gilt slip, 44 x 25cmsProvenance: private collection DenbighshireNotes: Badrashin is located 30km south of Cairo on the west bank of the Nile, in the district of Giza. Spyridon Scarvelli was born on the island of Corfu and studied at The Corfu School of Art, continuing his studies in Trieste and Rome. On his return to Corfu, he worked with other artists on the fresco in the Achilleion - the summer residence of Empress Elisabeth of Bavaria. For a period Scarvelli lived in Egypt, a land inspiring many of his works. Working predominantly in watercolour he is characterised by his exploration of light and colour, and his ability to capture the warmth of his subject matter. His work is found in many public and private collections, notably, The National Gallery, Athens, The Athens Municipal Gallery, The Municipal Gallery of Corfu, The Municipal Gallery of Rhodes and The National Bank of Greece.Comments: framed and glazed.

Assorted Lot to include Napoleonic and Military Porcelain Soldier Figurines, Royal Doulton Character Jugs, Art of Chokin Plate, Royal Doulton Lobster Man, Eagle Quartz Table Clock, Resin Sculpture of David, Resin Sculpture of Greek Goddess, and others.

An art deco style advertising bust of Greek Hellenistic queen, inscribed to base "Lancome", 470mm tall

▲ Ben Nicholson OM (1894-1982) 'Kos' signed, inscribed and dated 'NICHOLSON'/April 59/(Kos)' on the backboard, pencil and wash 48 x 35.5cm Provenance: With Galerie Charles Lienhard, Zurich; Sotheby's, London, 6 December 1984, lot 658; Sotheby's, London, '20th Century British Art', 13 July 2007, lot 4; the property of a private collector. Exhibited: Château des Rohan, Strasbourg, 'La Grande Aventure de l'Art du XXe Siècle', June - September 1963, catalogue no. 191. Ben Nicholson's extensive travels throughout his life significantly influenced his artistic development. In 1959, he embarked on a Swan Hellenic tour to Greece, which included numerous stops. This journey proved to be particularly inspiring for Nicholson, as he was deeply moved by the simplistic beauty of Cycladic figurines and Greek architecture. Nicholson's experiences in Greece enriched his artistic vision, leading to a more sculptural approach in his compositions. He began to incorporate subdued colours and a controlled palette, reflecting the serene landscapes and architectural forms he encountered. This influence is evident in the present work and also inspired his pure-white carved reliefs, which became a hallmark of his style. Condition ReportFramed: 75 x 62cm The drawing is mounted on a board. A little time staining with a small brown mark to the top edge, centre left, possibly tape residue (?). The wash is faint. A tiny fold in the extreme lower right corner. Please see additional images. Not viewed out of glazed frame.

Each side of the vase depicts an owl facing right, framed by laurel sprigs. The owl in Ancient Greek art began to acquire its popularity in Attica from the mid 6th century BC, and by the late 6th century the bird had firmly become the goddess Athena s cherished companion. It was believed that the owl had apotropaic powers against the evil eye, as well as being a symbol of good fortune and wisdom.Owl skyphoi were produced in the 5th and 4th centuries in Athens and then in Southern Italy; they have been found across the Mediterranean. The little vessels became so popular that they were given their own name, a glaux . H:6.5cm, W:13.5cm Chip and a broken at rim leading to a crack at the body Collection of Gabriele und Wolfgang Leiner, and thence by descent, From M??nzen Und Medaille AG, Basel, 26th Aug 1976.

youthful life-sized head with heavy-rimmed almond-shaped eyes and dimples at the corners of the lips, the hair arranged in short thick curls, with smaller curls clustering around the nape of the neck and the ears; The chiselled hair seen on this head is similar to that found on monumental statues of around 350 B.C. attributed to Skopas and also the early work of Lysippos. The intense expression of the face is similar to a life size marble head of a youth in the Metropolitan Museum of Art, acc. no. 11.91.1, which is suggested as resembling the style of the works of the 4th Century sculptor Skopas. For another similar head to the above lot dating to the 4th Century B.C., see M. Comstock & C. Vermeule, Sculpture in Stone, the Greek, Roman and Etruscan Collections of the Museum of Fine Arts, Boston, Boston, 1976, p. 44, fig. 62. The Boston head has been compared to the head of the Lysippic Agelaos at Delphi, circa 335 B.C.Size: H:19.5cm, With Stand H:32cm. The actual size of this head is 19.5cm, from the lowest section at neck. The 14.5cm on card is measued from chin at front. Provenance: Collection of Gabriele und Wolfgang Leiner, and thence by descent. Acquired in 1969 in Alanya for 1000 Deutschmark. Gabriele and Wolfgang Leiner are known for their historical research and editorial work, particularly on topics related to Wrttemberg history and historical documents from the region. They are the editors of Gottfried Tobias Ritter s Stuttgarter Tagebuch 1791

An Art Deco emerald and diamond brooch pendant, centred with a circular-cut diamond within a surround of emeralds, in two further borders of smaller diamonds terminating in a stylised Greek key pattern, set with six graduated small circular-cut emeralds in platinum and yellow gold, 4cm wide, caseProvenance: purchased Woolley & Wallis, 15th July 2020, Lot 2184; property of a deceased estate

Novo-Hispanic school. Mexico. 17th century.“Portraits of Alexander the Great and El Çid Campeador”Pair of oil paintings o canvas.180 x 102 cm each.An unusual pair of portraits of historical personages, that possibly belonged to a Castilian military emigrant, who admired the artist and commissioned them for his villa, mansion or palace.With rigid brushstrokes, each of which is at the same time detailed and personal, this artist of the Mexican School has painted faces with more indigenous features than those the portrayed characters would have had. And their breastplates are more typical of the time of the portrait than of the real attire that both would have worn. In both large-format canvases they are designated with their names, Alexander the Great and Osid (abbreviation of the time for El Çid), they reflect the hieratic and imposing triumphalism of both warriors, who were generals and conquerors.The portraits correspond to the viceregal pictorial tradition developed in New Spain during the seventeenth century which is linked to the production of official portraits and heroic representations, mixing European influences with a local reinterpretation of the symbols of power, as well as the need to legitimize the power and story of the Hispanic monarchy in Latin America.A portrait of Hernán Cortés, by an anonymous artist, kept in the Museo de las Culturas de Oaxaca, depicts the conquistador in richly decorated armor, holding a command staff, in a format that links him to the royal portraits of the House of Austria. This portrait shares technical and stylistic similarities with the two portraits we present here, which are possibly based on a larger series of historical and mythological characters, and which show Alexander the Great and El Çid, an emblematic figure in the history of Spain.The three paintings - the one in the museum and these ones in the auction - have solemn composition, with the figures standing, dressed in armor that evokes power and authority. The light comes from a main focus that accentuates the metallic gleam of the armor and facial features, generating a dramatism characteristic of the Baroque and suggesting the influence of 17th century Spanish courtly portraiture, where power was represented and manifested through rich clothing and military ostentation.  Alexander the Great is depicted in golden armor ornamented with lion heads on the greaves, a symbol of his strength and connection to divine power. El Çid, with his sword drawn and a defiant gesture, emphasizes the heroic representation with epic overtones. The density of the brushstrokes on the faces refers to European models such as the portraits of Philip II and Philip III, adapted to a Novohispanic context.The visual elements that can be appreciated in the paintings reinforce the heroic condition of the characters: the richly decorated armor indicates nobility and military valor, while the attributes such as weapons, banners and shields refer to their warlike exploits. Alexander the Great appears with iconography reflecting the Renaissance tradition, underlining his image as a strategist and conqueror of empires. Born in 356 B.C., he was a conqueror who formed one of the greatest empires in history. Born in Macedonia, when it was a kingdom in the north of Greece, son of King Philip II of Macedonia, he inherited his father's throne after his death and expanded the territory as far as northern India. He defeated the Persian Empire and conquered a vast territory stretching from his native Greece to northern India. He spread Greek culture, which he would fuse with the cultures of the subjugated regions, language, politics, art, literature and religion.El Çid Campeador represents the idealization of the Christian knight, a model of virtue and bravery. Rodrigo Díaz de Vivar (Vivar?, 1048 - Valencia?, 1099), known as El Çid Campeador, was a Castilian military leader who came to dominate the Levant of the Iberian Peninsula at the end of the 11th century at the head of his own army. He conquered Valencia and established an independent lordship in the city from June 18, 1094 until his death. His wife, Jimena Díaz, inherited and maintained it until 1102, when it passed back to Muslim rule. Hero of Castile and crusader for the Reconquest, throughout his life, he placed himself at the orders of different warlords, both Christian and Muslim, fighting as his own master and for his own benefit. His deeds and actions were sung and recounted in Spanish literature in the so-called “Cantar de mío Cid” (Song of El Çid). His name, el Campeador, means expert in pitched battles and his name, El Çid, from the dialectal Arabic (-sidi-), means lord.Representations of Greco-Roman and medieval heroes in viceregal painting also served to consolidate the Creole identity, exalting models of bravery and leadership in a context of growing vindication of the local elites.Reference bibliography:- Burke, Marcus. (2004). "Retratos de poder en la Nueva España". México, INAH.- Gruzinski, Serge. (1993). "El águila y la Sibila: México barroco". FCE.- Museo Nacional de Historia, Castillo de Chapultepec. Inventario de pintura virreinal.- Toussaint, Manuel. (1965). "Pintura colonial en México". UNAM.

This Art Deco print by Erté, Athena (Legends), showcases the Greek goddess Athena in an opulent golden gown, adorned with intricate embellishments. Holding a peacock fan, she stands against a bold circular backdrop, embodying Erté’s signature fusion of fashion, theater, and mythology. Erté (1892-1990), born Romain de Tirtoff in St. Petersburg, was a pioneering Art Deco artist celebrated for his theatrical, fashion, and magazine illustrations. Moving to Paris in 1912, he collaborated with Paul Poiret, designed costumes for Hollywood icons, and created over 240 Harper’s Bazaar covers. His contributions to stage and fashion design solidified his legacy as a defining figure of the Art Deco movement. Measures 24"L x 30"H.Dimensions: See DescriptionCondition: Age related wear.

After Giorgos Loannou Greek (1926-2017) 'Aubrey II', limited edition no.33/165, Pop Art giclée on canvas, 73cm x 73cm, (with COA)

This exquisite Royal Doulton figurine, Leda and the Swan, is part of the Myths and Maidens collection. Crafted from fine bone china, this limited edition piece was sculpted by Robert Jefferson and is a striking representation of the classical Greek myth. The figurine showcases a beautifully hand painted Art Deco-inspired Leda, elegantly posed with the swan, set against a vibrant floral and gilded base. The legend of Leda and the Swan originates from ancient Greek mythology. According to the myth, Zeus, the king of the gods, transformed himself into a swan to seduce or seek refuge with Leda, the queen of Sparta. This union resulted in the birth of Helen of Troy, Clytemnestra, and the twins Castor and Pollux. The story has been a popular subject in art and literature for centuries, symbolizing themes of power, transformation, and destiny. This figurine captures the elegance and mystique of the myth, making it a coveted piece for collectors of Royal Doulton and classical mythology-inspired porcelain. Includes original box.Artist: Robert JeffersonIssued: 1982Dimensions: 10.25"HCountry of Origin: EnglandCondition: Age related wear.

Ca. 5th - 4th century BC. A gold signet ring with an oval bezel engraved with a standing ram facing right. The body is rendered with fine detailing on the fleece, while a coiled snake appears beneath its legs. The circumscription reads, "Kali Damasio" in Greek letters. The shank is rounded and solid, expanding slightly at the shoulders where it meets the bezel.Size: D:18.54mm / US: 8 1/2 / UK: Q 1/2; Weight: 12.63gProvenance: Prince collection, 1990s-2014; Ex. Kai Schmidt collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 350 BC.A bell krater, painted in the red-figure style, with white/yellow details on one side. The iconography of the piece reflects important stories and symbolism in the life of the Greek colonies. On Side A is a draped seated maenad holding a large patera in her right. She is facing back to a second maenad, who also holds a pyxis in her right hand; both are wearing a long kiton and short sakkos on the hair; the facial features are marked. Side B features three draped male figures standing in profile. In addition to this iconography, the vessel is adorned by an extensive decorative program: a laurel leaf wreath beneath the rim, an intricate pattern of stylised palmettes below the handles with fretted bands surrounding each handle's termini, and a lower register underscoring the figural scene comprised of waves.For similar see: The British Museum, Museum number 1978,0414.33, Trendal A.D., Red Figure Vase of Apulia, 1978, Plate 57, n. 1. Size: 375mm x 310mm; Weight: 3.2kg.Provenance: Property of a central London gallery, previously acquired on the Dutch art market; previously acquired on the Belgian art market; Hugo Lievens, Brussels 1982. 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.

Ca. 500 - 300 BC. A collection of three bronze vessels, each with a carinated body that transitions into a corseted neck culminating in a slightly flared rim. The angular profile is defined by a pronounced ridge encircling the midsection, separating the upper and lower sections.For similar see: Richter G. M. A., Greek, Etruscan and Roman Bronzes, Metropolitan Museum of Arts, 1915, Cat. 606, 607, 608.Size: 90-100mm x 70-80mm; Weight: 365gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. 400 BC - AD 1400.This collection of Greek and later jewelry features a variety of impressive pieces. It includes a gold applique depicting a sun made with concentric circles and adorned with four opposing leaves. There is also a gold applique illustrating fighting animals surrounded by a motif of crows with long beaks. Additionally, the collection contains a pair of silver recurve horns from a statuette, an embellished globular bell with geometric motifs in relief, and a glass inlay from Mamluk culture depicting a wise man. Furthermore, there are three hollow circular earrings made of gold or gilt, along with other later jewelry pieces.Size: 15-70mm x 10-70mm; Weight: 93g.Provenance: Prince collection, 1990s-2014; Ex. Private collection 1970s-1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 500 - 300 BC. A collection of three bronze vessels, each with a rounded body and a flanged lip. The profiles vary, with the one on the left featuring a more pronounced curvature, the middle one with a subtly defined shoulder, and the one on the right with a lower, more open form.For similar see: Richter G. M. A., Greek, Etruscan and Roman Bronzes, Metropolitan Museum of Arts, 1915, Cat. 606, 607, 608. Studi Etruschi XVIII, Heyes, The Etruscan and Italic Collection of R. O. M., Tav. XVI n. 1 e 2.Size: 130-140mm x 40-70mm; Weight: 445gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. AD 800 - 1200.A silver ring with a circular bezel engraved with a Greek cross enclosed within an angular border. The round hoop expands at the shoulders, where pointed protrusions extend outward, each decorated with a pair of circular indentations. A raised flat knob with a rosette motif is positioned at the back of the hoop.For similar see: The British Museum, Museum number 2013,6001.3344.Size: D:17.32mm / US: 7 / UK: N 1/2; Weight: 9.21gProvenance: Private UK collection; previously acquired on the UK art market in the 1990s.

Ca. AD 900 - 1100. A bronze enkolpion composed of two hinged cruciform plaques, allowing it to open along its vertical axis. The obverse is decorated with an engraved figure of Christ standing at the centre, wearing a long robe and raising both hands in a blessing gesture. A halo surrounds the head, and a Greek inscription is engraved above. A cylindrical suspension loop is affixed at the top. The reverse features five circular recesses, one at each arm and one at the junction, likely intended for inlays.For similar see: The British Museum, Museum number 1984,1002.2.Size: 100mm x 40mm; Weight: 80gProvenance: Private UK collection; previously acquired on the Holland art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 900 - 1100. A silver reliquary cross engraved on both sides. One side depicts the Virgin Orans, standing frontally with arms raised in prayer, flanked by the Greek inscription MP ΘΥ. Above, a leaf motif is engraved, and the composition is framed by a linear border. The other side features Christ on the cross with outstretched arms, accompanied by the Virgin Mary and St. John the Baptist in mourning. Above his head is a cross and the Greek inscription HC XC. Below, a stylised depiction of Golgotha includes a stepped base with a central skull motif. The cross is hinged at the top and bottom, designed as a reliquary for holding a sacred relic, with an integrated suspension loop for wearing.For similar see: Christie's, Online Auction 12805, Ancient Jewelry, Wearable Art, Lot 4; Christie's, Live Auction 1164, Ancient Jewelry, Lot 656.Size: 110mm x 55mm; Weight: 65gProvenance: Private UK collection; previously acquired on the German art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 1100 - 1200. A silver cup with a deep, rounded bowl that gently curves inward. The interior features a centrally placed Chi-Rho monogram enclosed within a circular border, rendered in niello. The symbol consists of the intersecting Greek letters chi (Χ) and rho (Ρ), flanked by the alpha (Α) and omega (Ω) on either side. The exterior of the bowl displays a subtly ribbed texture running vertically from the base to the rim. The cup stands on a cylindrical foot that slightly flares outward.Size: 150mm x 70mm; Weight: 395gProvenance: Private London collection; Ex. A. Moser collection, Switzerland, 1980s-2000s; formerly in an early 1980s Dutch collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 800 - 1000. A silver bracelet with a flat-section band that slightly narrows towards the back. The exterior surface is smooth and undecorated except for a circular gold inset engraved with the Greek monogram "IC XC NIKA" in black, arranged in two lines within the roundel. The inscription is an abbreviation of the Greek phrase "Ἰησοῦς Χριστὸς νικᾷ" (Iēsous Christos Nikā), meaning "Jesus Christ Conquers".Size: 85mm x 85mm; Weight: 105gProvenance: Private UK collection; previously acquired on the UK art market in the 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 1050 - 1100. A silver cross with flaring arms, each terminating in a large rounded extension with two smaller ones at the corners. The central figure stands in the orans pose with both hands raised in prayer, wearing a long robe with linear detailing. A circular nimbus surrounds the head and a small figure of the infant Jesus is positioned at the chest. Above, a larger medallion bears the image of a saint with an inscription surrounding the bust. The horizontal arms contain additional busts of saints within circular frames, each accompanied by Greek inscriptions. The lower arm extends downward into a narrow section with a squared terminal, possibly for mounting. The reverse is plain.For similar see: The Walters Art Museum, Accession Number 54.2840 (shape).Size: 150mm x 125mm; Weight: 120gProvenance: Private UK collection; formerly with R. A.; since the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 500 - 700. A silver ring with a circular bezel engraved with a Greek inscription in three horizontal lines. The hoop is slender, plain, and of round cross-section.Size: D:18.54mm / US: 8 1/2 / UK: Q 1/2; Weight: 2.35gProvenance: Private UK collection; previously acquired on the Holland art market in the 1990s.

AUSTRIAN VIENNA, PLAQUE, of circular form, transfer decorated, the central reserve depicting Leda, the swan and a cherub within a maroon border decorated with gilt and three further vignettes of figures, beehive mark. Leda and the Swan is a story and subject in art from Greek mythology in which the god Zeus, in the form of a swan, seduces Leda, a Spartan queen.Provenance: Private Scottish Collection 32cm diameter In overall good condition. Surface scratches. Small dent to reverse. Gilding rubbed in places. Additional images now available.

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)

Antique Art Deco platinum topped 14k yellow gold & old European cut diamond hair ornament, brooch, tiara, or diadem. Of slightly convex and curving form, with a seven segment Greek Key or Meander design, set with 211 old European cut diamonds in platinum. The back of the piece in 14k yellow gold with brooch pin and locking C clasp closure. Also with a wide stabilizing placard in 14k yellow gold that slides on and off. Unmarked, tested 14k and platinum.This versatile hair ornament can be worn a number of ways: as a barrette, a chignon pin, a brooch, and on a ribbon as a necklace. This piece could also easily be attached to a tiara frame.Length: 4 1/2 in x width: 3/4 in x depth: 1/4 in. Gross weight: 42.4 g.Condition: All stones present, some very light wear and scratches to the setting. The brooch clip and stabilizing placard all working well.

A PADOUK WINE COOLER OR JARDINIERE IN THE MANNER OF GEORGE SMITH, 19TH CENTURY With distinctive Greek key marquetry frieze, containing a metal liner 38cm high, 57cm wide, 36cm deep An identical wine cooler and possibly the pair to the present lot sold in these rooms, Fine Furniture, Sculpture, Carpets, Ceramics and Works of Art, 1st December 2021, Lot 284 (£2,000 excl. BP). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits chips and minor losses. The padouk surface with some sun fading, discolouration, and minor splitting. The lion mask handles are loose and rotate in position. The lead insert/liner is likely a later replacement but fits well within the cooler. Please see all additional images as a visual reference to condition.Condition Report Disclaimer

A set of Edwardian Art Nouveau silver salt cellars. William Mammatt & Son, Sheffield, 1905. Each salt with three bifurcated handles to a circular body raised on circular foot and complete with blue glass liner, 5cm high, in fitted case; together with: a Greek twin-handled salt cellar by Armaos, stamped 925, with gadrooned border and gilding to interior, the knopped stem to a circular foot, weighted, 6.8cm high; four further Greek salt cellars by Armaos, stamped 925, the scrolling handles to circular bodies raised on moulded, circular feet, with decorative banding around the rims and gilding to interior of the bowls, weighted, 5.4cm high (inc. handles); two small bowls, stamped 900, the circular bodies with flared rims and raised on circular feet with lobed decoration, 12cm dia., and a small group of silver salt spoons, total weighable silver approx. 13.5ozt (a lot) 

SEVEN BOXES OF BOOKS, approximately three hundred titles mostly paperback format, included three Folio Society books, 'Anthem for Doomed Youth', 'Art and Illusion' by E. H. Gombrich, and 'The Greek Myths I & II', other books included are many Penguin paperback books on a variety of subjects such as art, history, true life stories, cookery, etc. many are vintage penguin stories, (7 boxes), (sd/af)

REMBRANDT HARMENSZOON VAN RIJN (DUTCH 1606-1669) THE THREE TREES (B., HOLL. 212; NEW HOLL. 214; H. 205), 1643 etching with engraving and drypoint, on laid paper, watermark Foolscap with five-pointed Collar (Hinterding A-a-a), New Hollstein's only state, a brilliant, early impression of this highly important subject, printing very richly and darkly, with intense contrasts and bright highlights, the burr and sulphur tinting in the sky very pronounced, with small margins the sheet 21.8cm x 28.3cm (8 ½in x 11in) Christiaan Josi (1768-1828), Amsterdam and London (see Lugt 573, without mark); his posthumous sale, Christie's, London, 18-21 March 1829, lot 83 'Most Brilliant Impression' (£12; to Seguier)William Seguier (1771-1843), London (Lugt 2277), acquired at the above sale, with his pencil signature verso; his posthumous sale, Christie's, London, 29 April - 3 May 1844, lot 431 (£23-12-6; to Hawkins)John Heywood Hawkins (1803-1877), London and Bignor Park, Sussex, his purchase price inscribed in Greek letters (see Lugt 3023); acquired at the above saleProbably with Colnaghi & Co., London; acquired from the aboveWalter Francis Duke of Buccleuch (1806-1884), London and Dalkeith, Scotland (Lugt 402); probably acquired from the above, with his collection ink mark verso; his posthumous sale, Christie's, London, 19-22 April 1887, lot 1954 ('from the Seguier and Hawkins Collections') (£165; to Meder)With Louis Gerhard Meder (1848-1924) (of Amsler & Ruthardt), Berlin; presumably acquired on behalf of the belowSammlung der Königlichen Museen, Berlin, dated 1887 (Lugt 1610); presumably acquired from the above; with their de-accession stamp verso (Lugt 2482); their sale, Amsler & Ruthardt, Berlin, 6 March 1899 (and following days), lot 1600 ('Die Gewitterlandschaft mit den drei Bäumen. S. 212. Des Meisters Hauptblatt unter den Landschaften; das prachtvolle Exemplar der Sammlung Buccleuch, auf Schellenkappenpapier und mit 3 mm Rand ringsum. Exemplare von der Schönheit und vortrefflichen Erhaltung des vorliegenden sind von höchster Seltenheit und Kostbarkeit.')Dr Julius Elischer von Thurzóbánya (1846-1909), Budapest (Lugt 824, stamped twice); probably acquired at the above saleWith Kennedy Galleries, New York, with their stock number a48042 in pencil versoRobert Woods Bliss (1875-1962) and Mildred Barnes Bliss (1879–1969), Dumbarton Oaks, Washington, D.C. (Lugt 2004a); presumably acquired from the aboveDumbarton Oaks Research Library and Collection, Washington D.C; presumably part of the donation from the aboveWith R. M. Light & Co., Santa Barbara, CaliforniaPrivate Collection, acquired from the above on 31 January 1980; then by descentChristie's London, Old Master Prints, 9 December 2021, lot 126Acquired from the above by Hugo Burge Literature: Bartsch, Hollstein 212; New Hollstein 214; Hind 205Cynthia P. Schneider, Rembrandt’s Landscapes – Drawings and Prints, National Gallery of Art, Washington, D.C. (exh. cat.), 1990, no. 75, pp. 240-42 (another impression illustrated)Erik Hinterding, Rembrandt Etchings from the Frits Lugt Collection, Fondation Custodia, Paris, 2008, no. 167, pp. 390-93 (another impression illustrated)Nicholas Stogdon, A Descriptive Catalogue of the Etchings by Rembrandt in a Private Collection, Switzerland, privately printed, 2011, no. 93, pp. 158-9 (another impression illustrated)The Three Trees is Rembrandt’s largest and most elaborate landscape etching and is considered a masterpiece within his oeuvre.  

A Soviet-era educational poster illustrating aspects of ancient Greek civilization, featuring Greek merchant ships, military vessels, and the iconic wooden horse. Rendered in a distinctive Soviet style, this artwork offers a glimpse into Greek trade, warfare, and mythology. Authored by G.I. Godler and illustrated by L.M. Goldberg, both prominent contributors to Soviet historical education. Size: 59 cm by 89 cm. Paper condition should be evaluated from the provided photos. This rare, collectible poster is ideal for enthusiasts of ancient history and Soviet-era educational art.

Sadie Tierney Selene (Golden), 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Sadie Tierney studied at the Royal College of Art, London and Newcastle University.   Education MA Fine Art Printmaking, RCA BA(Hons) Fine Art, Newcastle University Solo Exhibitions 2021 The Mountains are Calling, Rabley Gallery   2019 Round Tower, Portsmouth   2017 From Here to There, Eton College The Night, The Light, and the Half Light, Rabley Gallery   Group Exhibitions 2024 Artist Fundraiser for MSF, 14 Wharf Road London Summer Exhibition and Open Studios, Binnel Studios Woolwich Contemporary Print Fair, Open Call and Rabley Gallery Messums Emerging Landscape Painting Today, Online   2023 RWA 170 Annual Open Exhibition Summer Exhibition and Open Studios, Binnel Studios Woolwich Contemporary Print Fair Royal Academy Summer Exhibition Summer Exhibition, Rabley Gallery, Wiltshire   2022 RA Summer Exhibition London Original Print Fair Woolwich Contemporary Print Fair, Boodle Hatfield Prizewinner, Solo Presentation RWA Bristol Annual Open Exhibition IFPDA Print Fair, New York Public Collections Portsmouth Museum & Art Gallery National Museum, Gdańsk The Bronx Museum of the Arts Otter Collection Swindon Museum and Art Gallery The Royal West of England Academy Clifford Chance The Royal Navy Eton College RCA Cunard Pallant House Awards 2020, 2006, 2005 Arts Council England   2020 AN Bursary, Boodle Hatfield Prize   2019 Printfest Printmaker of the Year Statement About AOAP Submitted Artwork Working in a tradition of an English landscape painter and printmaker, Tierney's work explores objects and places where form is linked to emotion and metaphor. The expressive images have a contemporary edge marked by energetic use of colour and line. They spring from sketches and drawings made en plein air and are developed using painting and printmaking back at her studio on the south coast of the Isle of Wight where the moon reflected in the English Channel provides inspiration. In ancient Greek mythology and religion, Selene is the goddess and personification of the Moon. She was reputed to drive her horse drawn chariot across the night sky, as her brother Helios the day. The moon's long association with female power, and links with the female cycle led these artworks to be selected specially for International Women's Day.   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.

Stella Kapezanou Thorny and Nutrient Sketch , 2024 Acrylic and watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Stella Kapezanou is a Greek visual artist known for her vibrant, ironic, and complex paintings that explore themes of identity, capitalism, consumerism, and societal expectations. Born in Athens, she studied at the Athens School of Fine Arts and completed her MA at Chelsea College of Arts in London. Her works often feature psychologically charged portraits and intimate social settings, blending elements of humor, mythology, and art history. Stella employs the tableau vivant technique, carefully orchestrating and photographing scenes before transferring them to canvas, often enriched with symbolic and surreal elements. Her large-scale works are characterized by their bold, warm palettes, intricate compositions, and exploration of femininity, power, and vulnerability. She is also a Fulbright Fellow and has exhibited internationally, including solo shows in Greece, the UK, Cyprus, and the U.S. Her work has been part of significant collections worldwide and is known for its caustic humor, playful critique of modern life, and empowering depictions of the female form. Alongside her paintings, she creates ceramic sculptures that echo the themes of her visual narratives. Education 2016-2017 MA Fine Arts, Chelsea College of Arts, London, UK 2011-2015 MFA, Athens School of Fine Arts, Athens, GR Solo Exhibitions 2024 Naughty Miniatures, Apodec project space, Thessaloniki, GR Corn Maidens (duo exhibition), The Opening Gallery, NY, USA 2022 Let Them Stare, The Edit Gallery, Limassol, CY 2021 Theodoros & Laskarina exclusive, Fougaro, Nafplio, GR 2020 Baby One More Time, Evripides Gallery, Athens, GR 2019 Just a Few Drops of Pink Coppertone, Fougaro, Nafplio, GR Single's Party, The Edit Gallery, Limassol, CY 2018 Brit Pond, Evripides Gallery, Athens, GR From Heavens with Love, The Palm Tree Gallery, London, UK Group Exhibitions 2024 The Art of Now, The Edit Gallery, Nicosia, CY Unapologetic WomXn, Palazzo Bembo, Venice, IT 2023 Sunburn, Studio West Gallery, London, UK Stigma, Dromokaitio Psychiatric Hospital, Athens, GR Now Women, Fougaro, Nafplio, GR 2022 Contemporary Now, The Edit Gallery, Nicosia, CY 2021 Art on Boards | The Skate Project, Zoumboulakis Galleries, Athens, GR Lusus Naturae, BcmA Gallery, Berlin, DE Reclaiming, The Edit Gallery, Limassol, CY 2020 iAR project 2020, Akaretler Gallery, Istanbul, TR 2019 Love is a Dog from Hell, Frissiras Museum, Athens, GR Three Pillars, Chelsea Gallery, London, UK 2018 ArtLab Munich, Galerie Benjamin Eck, Munich, DE Awards 2024 Creator of the Visual Identity for the 65th Thessaloniki International Film Festival (TIFF'65) Santa Fe Art Institute's International Thematic Residency on Sovereignty, New Mexico, USA Fulbright Artist Fellowship Award for participation in the SFAI program, USA 2023 CARV Residency, Argaka, CY 2020 Istanbul Artist Residency (iAR), Istanbul, TR 2019 AucArt LAB Residency, London, UK 2018 ACS Studio Prize 2018 Finalist, London, UK Cass Art Prize, London, UK Gallery Representation Skoufa Gallery, Athens, Greece The Edit Gallery, Limassol, Cyprus Statement about AOAP Submitted Artwork This drawing by Stella Kapezanou, is part of her Thorny and Nutrient series. The work depicts prickly pear cactuses with fruits resembling female breasts, serving as an homage to contemporary women-protected by sharp spines yet embodying tenderness and vitality. 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.

Eva Merendes Port na' Bo, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Eva Merendes is a Greek, London-based contemporary artist and art educator whose work spans painting, drawing, and installations. She works in a variety of mediums with a sweet spot for watercolours and their expressive qualities. Eva creates works on paper and wood panels, drawing inspiration from the humour and absurdity of everyday life. Her practice includes series of works exploring observations, landscapes, and a deep connection to nature, reflecting on the interplay between human experiences and the natural world. Influenced by existentialist and stoic philosophies, Eva's art employs symbolic elements to examine resilience, authenticity, and the paradoxes of existence, inviting viewers to embrace life's complexities with curiosity and humour. Education 2022-2024 MFA in Fine Art, City & Guilds of London Art School, London, UK 2016-2018 MA in Art Psychotherapy, University of Roehampton, London, UK 2009-2015 BSc in Psychology, Aristotle University of Thessaloniki, Thessaloniki, Greece Group Exhibitions 2024 Southwark Park Galleries | Annual Open 2024, London, UK Candid Arts Trust Graduate Show, London, UK MA Show at City & Guilds of London Art School, London, UK Royal Scottish Academy 198th Annual Exhibition, London, UK Chelsea Art Society 75th Annual Summer Show at Chelsea Old Town Hall The Entranced Essence at RuptureXibit Gallery, London, UK Interim Show at City & Guilds of London Art School, London, UK Invisible Visible: A celebration of LGBTQ+ bodies & Identities at Hartslane Gallery, London, UK 2023 Interim Show at City & Guilds of London Art School, London, UK 2022 London Design Festival, London, UK The Royal Exchange X The Crossover Project, London, UK Erotic Art London X Oxo Tower, London, UK Royal Institute of Painters in Watercolours X Mall Galleries, London, UK 2021 'Home Takeover' Campaign for Bleur Art, across UK 2020 'Insert Feeling Here' for Bleur Art, London, UK Forces at Art Number 23, London, UK Awards 2024 The Tony Carter Award, City & Guilds of London Art School Gallery Representation Bleur Gallery, London, UK Statement about AOAP Submitted Artwork Golden Hour, Where to Next, Port Na Bo, and Mourne Mountains are reflections on my travels along the Northern Irish coastlines and frosty, sunlit landscapes. These works explore my connection to nature, capturing the fleeting beauty of changing environments and the sense of wonder and smallness they evoke in me. Using watercolours, I created translucent layers and fluid marks to reflect the delicate interplay of light and atmosphere. These pieces serve as both observations and metaphors, inviting reflection on the resilience and poetry of the natural world. 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.

Eva Merendes Where to next?, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Eva Merendes is a Greek, London-based contemporary artist and art educator whose work spans painting, drawing, and installations. She works in a variety of mediums with a sweet spot for watercolours and their expressive qualities. Eva creates works on paper and wood panels, drawing inspiration from the humour and absurdity of everyday life. Her practice includes series of works exploring observations, landscapes, and a deep connection to nature, reflecting on the interplay between human experiences and the natural world. Influenced by existentialist and stoic philosophies, Eva's art employs symbolic elements to examine resilience, authenticity, and the paradoxes of existence, inviting viewers to embrace life's complexities with curiosity and humour. Education 2022-2024 MFA in Fine Art, City & Guilds of London Art School, London, UK 2016-2018 MA in Art Psychotherapy, University of Roehampton, London, UK 2009-2015 BSc in Psychology, Aristotle University of Thessaloniki, Thessaloniki, Greece Group Exhibitions 2024 Southwark Park Galleries | Annual Open 2024, London, UK Candid Arts Trust Graduate Show, London, UK MA Show at City & Guilds of London Art School, London, UK Royal Scottish Academy 198th Annual Exhibition, London, UK Chelsea Art Society 75th Annual Summer Show at Chelsea Old Town Hall The Entranced Essence at RuptureXibit Gallery, London, UK Interim Show at City & Guilds of London Art School, London, UK Invisible Visible: A celebration of LGBTQ+ bodies & Identities at Hartslane Gallery, London, UK 2023 Interim Show at City & Guilds of London Art School, London, UK 2022 London Design Festival, London, UK The Royal Exchange X The Crossover Project, London, UK Erotic Art London X Oxo Tower, London, UK Royal Institute of Painters in Watercolours X Mall Galleries, London, UK 2021 'Home Takeover' Campaign for Bleur Art, across UK 2020 'Insert Feeling Here' for Bleur Art, London, UK Forces at Art Number 23, London, UK Awards 2024 The Tony Carter Award, City & Guilds of London Art School Gallery Representation Bleur Gallery, London, UK Statement about AOAP Submitted Artwork Golden Hour, Where to Next, Port Na Bo, and Mourne Mountains are reflections on my travels along the Northern Irish coastlines and frosty, sunlit landscapes. These works explore my connection to nature, capturing the fleeting beauty of changing environments and the sense of wonder and smallness they evoke in me. Using watercolours, I created translucent layers and fluid marks to reflect the delicate interplay of light and atmosphere. These pieces serve as both observations and metaphors, inviting reflection on the resilience and poetry of the natural world. 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.

Sadie Tierney Selene (Silver), 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Sadie Tierney studied at the Royal College of Art, London and Newcastle University.   Education MA Fine Art Printmaking, RCA BA(Hons) Fine Art, Newcastle University Solo Exhibitions 2021 The Mountains are Calling, Rabley Gallery   2019 Round Tower, Portsmouth   2017 From Here to There, Eton College The Night, The Light, and the Half Light, Rabley Gallery   Group Exhibitions 2024 Artist Fundraiser for MSF, 14 Wharf Road London Summer Exhibition and Open Studios, Binnel Studios Woolwich Contemporary Print Fair, Open Call and Rabley Gallery Messums Emerging Landscape Painting Today, Online   2023 RWA 170 Annual Open Exhibition Summer Exhibition and Open Studios, Binnel Studios Woolwich Contemporary Print Fair Royal Academy Summer Exhibition Summer Exhibition, Rabley Gallery, Wiltshire   2022 RA Summer Exhibition London Original Print Fair Woolwich Contemporary Print Fair, Boodle Hatfield Prizewinner, Solo Presentation RWA Bristol Annual Open Exhibition IFPDA Print Fair, New York Public Collections Portsmouth Museum & Art Gallery National Museum, Gdańsk The Bronx Museum of the Arts Otter Collection Swindon Museum and Art Gallery The Royal West of England Academy Clifford Chance The Royal Navy Eton College RCA Cunard Pallant House Awards 2020, 2006, 2005 Arts Council England   2020 AN Bursary, Boodle Hatfield Prize   2019 Printfest Printmaker of the Year Statement About AOAP Submitted Artwork Working in a tradition of an English landscape painter and printmaker, Tierney's work explores objects and places where form is linked to emotion and metaphor. The expressive images have a contemporary edge marked by energetic use of colour and line. They spring from sketches and drawings made en plein air and are developed using painting and printmaking back at her studio on the south coast of the Isle of Wight where the moon reflected in the English Channel provides inspiration. In ancient Greek mythology and religion, Selene is the goddess and personification of the Moon. She was reputed to drive her horse drawn chariot across the night sky, as her brother Helios the day. The moon's long association with female power, and links with the female cycle led these artworks to be selected specially for International Women's Day.   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.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A good illustrated A.L.S., Picasso, one page, 4to, Cannes, 17th January 1956, to Max [Pellequer], in French. Picasso writes a brief letter, in full, ´Oui mon cher Max, je les ai recues et 100,000 et plus de fois merci´ (Translation: ´Yes, my dear Max, I've received them 100,000 times over, thank you´). Above his message of three lines Picasso has added an original blue ink drawing in his hand, which dominates the page, and depicts a bottle of wine standing alongside a glass. A simple yet highly appealing illustrated letter on a theme which recurred in many of Picasso´s artworks during his career. Some light, minor creasing and a few small tears to the edges, not affecting the text or illustration. About VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.´Picasso permanently relocated to Paris in 1904. He spent the remainder of his life and artistic career living in France……Alcohol was an important facet of French artists’ social scene and of their art. Bars, cafes, and other drinking establishments often served as meeting places and hangouts for artists of the generations immediately preceding Picasso, and it is no surprise that they frequently took these places and their wares as subjects for their works……..Picasso, like other artists living in France at the time, was the inheritor of the cultural ripples of alcohol, as well as of the visual themes it inspired….[Picasso´s]…….1896 painting The First Communion, depicts a young woman about to receive her first communion……[this, and other]……works do not prominently feature alcohol per se, although they do reveal an important facet of Picasso’s relationship with wine: wine not only as a religious sacrament, but also as marker of identity……..For Catholic Picasso, wine was not simply a tool for worship, but must also have been a sort of divine vessel, which, through God, became something new and holy. The doctrine of transubstantiation, by which Eucharist wine becomes the blood of Christ, was and remains a defining feature of Catholicism. These works also lay a foundation for Picasso’s later exploration of wine in the very different context of ancient Greco-Roman religion……The Minotaur’s Repose: Champagne and Mistress depict a minotaur and a nude woman reclining on a couch; the minotaur looks over his shoulder towards the viewer, raising the glass of wine in his hand…….The Dionysiac characters of satyrs and maenads (depicted in Picasso’s Bacchanale) also embody the intoxicating effects of alcohol which distance drinkers from the rational mind and, in Greek myth, their humanity…….This is a very different relationship to wine than the Catholic imagery of Picasso’s earlier career evokes, but both imply significance and even a form of reverence. In Picasso’s works, wine can be both transformed and transformative´ (extracts from Picasso: Wine and Art at La Cité du Vin by Paige Crawley, 2022)

λ MAGGI HAMBLING (BRITISH B. 1945) HEBE SMOKING Pencil Signed and dated 1980 (lower centre); titled, inscribed and dated 1980 to artist's label (verso) 24.5 x 17.5cm (9½ x 6¾ in.) Provenance: Acquired directly from the artist Thence by descent to the present owner Hebe is the Greek goddess of eternal youth and daughter of Zeus. The figure of Hebe was explored a year earlier in 1979 for a work titled Hebe and Her Serpent which is currently on loan to The Women's Art Collection in Cambridge. Condition Report: Unexamined out of glazed frame. Executed on white wove paper, the work appears to be in good original condition. The sheet is undulating slightly in the mount and is possibly very slightly discoloured.Condition Report Disclaimer

Spyridon Scarvelli,  Greek 1868-1942- An entrance at the corner of a building with a figure peering over a stone wall; pencil and watercolour on paper, signed 'Scarvelli' (lower left), bears partial label for 'Caelt Gallery, Westbourne Grove' attached to the backing board, 35.2 x 22.3 cm. Provenance:  Private Collection, UK. Note:  Spyridon Scarvelli was born on the island of Corfu, Greece. He was taught art at The Corfu School of Art and later studied in Trieste & Rome. His work is found in many public and private collections, notably: The National Gallery, Athens, The Athens Municipal Gallery, The Leventis Gallery, The Koutlides Collection, The Averoff Gallery, The Municipal Gallery of Corfu, The Municipal Gallery of Rhodes, and The National Bank of Greece. 

§ § Salvador Dali (Spanish, 1904-1989) Le Cabinet Anthropomorphique, 1973sterling silversigned, inscribed "Sterling" with the edition number 128/330-A on left side of drawers, cast by Foneria Mibrosa, Barcelona, with the foundry mark on drawers verso11.5cm high, 23cm long Published: Passoni, Morse and Field, Dalí, Milan, 1986, page 79 (bronze cast illustrated); Levi, The Dalí Universe, London, 2000, pages 80-81 (larger bronze cast illustrated); Descharnes, Dalí, The Hard and the Soft, Spells for the Magic of Form, Sculptures & Objects, Azay-le-Rideau, 2004, page 266, number 683 (bronze cast illustrated); Lechien, Dalí, Dalí! ou l'éclosion apothéosique d'un sculpteur, Brussels, 2004, pages 70 and 99 (larger bronze cast illustrated).Dalí's (1904-1989) Le Cabinet Anthropomorphique revisits his celebrated Venus de Milo with Drawers, plaster, 1936, for which he appropriated the form of the famous classical Greek marble now in the Musée du Louvre, Paris. The Art Institute of Chicago, which holds the Dalí plaster sculpture, notes, "Among Dalí's many memorable works, perhaps none is more deeply embedded in the popular imagination than Venus de Milo with Drawers, a half-size plaster reproduction of the famous marble statue (130 / 120 BC), altered with pompon-decorated drawers in the figure's forehead, breasts, stomach, abdomen and left knee. The combination of cool painted plaster and silky mink tufts illustrates the Surrealist interest in uniting different elements to spark a new reality. For the Surrealists, the best means of provoking this revolution of consciousness was a special kind of sculpture that, as Dalí explained in a 1931 essay, was 'absolutely useless . . . and created wholly for the purpose of materializing in a fetishistic way, with maximum tangible reality, ideas and fantasies of a delirious character.' Dalí's essay, which drew upon the ideas of Marcel Duchamp's readymades, inaugurated object making as an integral part of Surrealist activities.Influenced by the work of Sigmund Freud, Dalí envisioned the idea of a cabinet transformed into a female figure, which he called an 'anthropomorphic cabinet.' Venus de Milo with Drawers is the culmination of his explorations into the deep, psychological mysteries of sexual desire, which are symbolized in the figure of the ancient goddess of love."Dalí also made an oil on wood painting of the subject, Anthropomorphic Chest of Drawers, 1936, now in a private collection, Germany, and a lithograph, Drawers of Memory, 1965. Very good condition with no faults noted, nice bright colour to the silver, on a marble plinth which has some light scuffing which is essentially in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

After George Émile Henri Servant, French, 1828-1890, after the Antique, a pair of French bronze busts of Bacchus and Ariadne, third quarter 19th century, each stamped GS and MEDAILLE D'OR 1867, on tapering rouge griotte columns and stepped square bases, 38.5cm high (2)Note: George Emile Henri Servant was a French clockmaker who, in 1855 took over his father's workshop and foundry in the Marais district of Paris. He became known for the production of clocks and works of art in the Greek and Egyptian revival styles. He exhibited at many of the international exhibitions taking place in Paris and London, including the 1855 Paris Universal Exhibition and in London in 1862.

A Folk Art Greek pottery ceramic wall plaque depicting a traditional scene with figures, 30 x 40cm, mounted within frame

BOOKS, ANCIENT CIVILIZATIONS. Mainly Greece and Greek art & architecture; also near-east and other Asian vols.

Aurélio, José Manuel (Portuguese, 1938-present); b. Alcobaça PORTUGAL, Centenario Calouste Gulbenkian, Abertura da Fundação, Lisbon [Centenary of the Birth of Calouste Gulbenkian and Opening of the Gulbenkian Museum], 1969, an openwork cast bronze medal by J.M. Aurélio for the Fundação Calouste Gulbenkian, legend both sides, 74mm, 198.91g (cf. DNW 53, 1262). Very fine £30-£40 --- Provenance: Bt Simmons. Calouste Sarkis Gulbenkian (1869-1955), Armenian-British businessman and philanthropist, oil magnate, collector of Greek coins; his coins, along with some 6,000 works of art from his collection, are housed in the Calouste Gulbenkian Museum, Lisbon, opened in 1969

Lavrillier, André (French, 1885-1958); b. Paris FRANCE, Léda et le Cygne [Leda and the Swan], 1925 [struck 1929], a uniface Art Déco bronze plaque by A. Lavrillier, Leda being seduced by Zeus in the form of a swan, edge impressed bronze and cornucopia, 100 x 61mm, 267.91g (Maier 313; Classens 107; CGMP p.228; Jones, Art of the Medal, 418; The Medal 44, p.46; cf. DNW M11, 1821). One of the classic Art Déco medallic images, a trifle rubbed on Léda’s left thigh, otherwise about extremely fine, rare £400-£500 --- Leda and the swan is a story from Greek mythology in which the god Zeus, in the form of a swan, seduces or rapes Leda, a Spartan queen, on the same night she slept with her husband, King Tyndareus

Vézien, Élie-Jean (French, 1890-1982); b. Marseille FRANCE, XXVe Anniversaire Foire Internationale de Marseille [25th Anniversary Marseille International Fair], 1949, an Art Déco silver medal by É.-J. Vézien, Gyptis offering cup to Protis, rev. legend on cross, edge impressed 1 argent and cornucopia, 69mm, 186.52g (cf. CGMP p.1873). About extremely fine, rare; in maroon fitted case of issue £90-£120 --- Provenance: DNW Auction 37, 8 September 1998, lot 1304; bt M.F. Bonham Carter. The obverse, taken from Vézien’s Fondation de Marseille medal of 1946, refers to the marriage of Gyptis and Protis and the founding of Marseillles (Massalia) by Greek mariners in 600 BC. The fair is normally staged in late September and early October each year

Clarke, Geoffrey Cyril Petts (British, 1924-2014); b. Darley Dale ENGLAND, Pyramus and Thisbe, 1985, a cast bronze medal by G.C.P. Clarke [Wolverhampton Polytechnic] for the British Art Medal Society, cubist face of Pyramus, rev. cubist face of Thisbe, 90mm, 743.91g (Attwood 32; The Medal 7, p.76; BM Acq. 1983-7, p.79, 59; Jones, CBM p.27, 15). Very fine and as made, rare £100-£200 --- Edition of 38. Pyramus and Thisbe, ill-fated lovers in Greek mythology, lived in Babylon, where they occupied neighbouring houses