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ink on paper, monogrammed, titled label verso mounted, framed and under glass image size 20cm x 27cm, overall size 36cm x 44cm Exhibition label verso: 1 - 15 September (2018), The Torrance Gallery, Edinburgh Note: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.

A Late XIX Century Italian Grand Tour Canted Marble Desk Top Inkwell, of fluted circular form, inset with seven lava cameos in gilt metal mounts, the inside lid with a painted scene of Vesuvius erupting and enclosing an inkwell, pomander and pen holders, 12cm diameter.Inside rim of lid with some small chips one cameo with crack, nibbles and 2 small chips to base fluting, base with surface scratching, glass inkwell with wear and bent to edge, no chips. One inkwell is misshapen to brass edge.

Mid-20th century Italian spherical opaque glass light fitting (D24cm); together with a set of three similar light fittings (D16cm)

Two Italian glass hand blown vases in the Roman style - one probably first half 20th century, of bladed bun form in olive green glass with a marbled orange and caramel glass casing inside the neck, with two fluted teal blue glass scroll handles, pontil to base, 12.5cm high; the other 1970s, in frosted green glass, baluster form with applied prunts to the body, pontil to base, 13.5cm high.

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006), LA CASA ROSA, LERICA oil on board, signed, titled label versoframed and under glass image size 12cm x 30cm, overall size 24cm x 42cm Handwritten artist's label versoNote: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.

* LADY LUCINDA MACKAY (SCOTTISH b. 1941), BATMAN IN DIRLETON ink on paper, monogrammed, titled label versomounted, framed and under glassimage size 20cm x 27cm, overall size 36cm x 44cm Exhibition label verso: 1 - 15 September (2018), The Torrance Gallery, EdinburghNote: Artist and teacher, notably a draughtsman and painter of portraits, born in Sunninghill, Berkshire, brought up in the family home, Glenapp Castle, Ayrshire. Lady Mackay was the daughter of the 3rd Earl of Inchcape, chairman of the shipping line P&O who also ran Inchape PLC and was director of many other companies. Lucy Mackay was educated in Switzerland, Cambridge and at Edinburgh University and Edinburgh College of Art, 1960–5, under David Talbot Rice and William Gillies, graduating with a master’s honours degree in fine art. In 1973–4 she completed a postgraduate illustration studies year at the Central School of Art and Design. She settled in Edinburgh where she studied advanced botanic illustration at the Royal Botanic Garden, and where as a member of the Scottish Arts Club from 1983 she regularly attended life studies. Mackay began her extensive teaching career in 1966 as art assistant at Edinburgh Academy for Boys; from 1968–76 taught art, design and pottery at schools in the London area; then again in Edinburgh at the Salisbury Centre, 1981–2. In 1999 she joined the register of Angus County’s artists-in-residence for primary schools, serving at several schools. After winning first prize in a portrait painting competition run by the magazine Nursery World, 1953, and exhibiting a prize painting in the Daily Mail competition to celebrate the opening of the Forth Road Bridge, 1964, Mackay took part in many group shows, including the RSA. Among later solo exhibitions were The Italian Institute, Edinburgh, 1991; Torrance Gallery, Edinburgh, 1995, 1998 and 2005; and The Forum, Ocean Terminal, Leith, in aid of the Bethany Trust, 2004. She travelled extensively in several continents with paints and sketch-book. As well as a series of self-portraits Mackay completed many portraits, including Ronald Fletcher, broadcaster, 1968; the Queen’s Counsel Lionel Daiches, 1979–80; singer Ian Caddy, 1980–1; Professor David Daiches with his brother Lionel, 1988–9; the composer and conductor Emre Araci, 1997; and cellist Harriet Johnson, 2000. Her work was held by collections including the Scottish National Portrait Gallery; London College of Music; Royal Over-Seas League; Scottish Arts Club; Barlinnie Prison; and Geffrye Museum.

Alessandro Albrizzi (Italian 1934-1994) Modernist Smoked Glass and Chrome Coffee Table Circa 1970, the octagonal top on clear lucite supports to shaped quadripartite base.The top 140cm x 140cm, 37.5cm highSome scratches to glass, a couple of small chips to underside restricted to that side of the glass, some expected wear to base commensurate with age and use, stable and ready to use.

A PAIR OF NORTH ITALIAN CARVED GILTWOOD AND ETCHED GLASS MIRRORS SECOND HALF 18TH CENTURY each 69cm high, 27cm wide

Circle of Giovanni Battista Cipriani (Italian, 1727-1785) The Education of Achillesink and watercolour on paperPreparatory study for the painting of Chiron instructing Achilles with the bow, painted for an ante-room at Lansdowne House. A signed version is in the Fitzwilliam Museum no.330321.5 x 19.5cm Good honest condition, slight undulation so not laid down, some even discolouration of the paper, colours probably a little faded but still fair, under glass in a later washline mount and plain gilt frame.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. 

Giuseppe Bortignoni (Italian, 1778-1860) Interior with two ladiesoil on panelsigned28 x 20cm Very good untouched condition, possibly needing a light clean but no real faults noted, under glass in the highly ornate gilt scroll frame which has some losses, old label verso for Frank Hall of CardiffPLEASE 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. 

A carved giltwood coffee table, 20th century, Italian, the rectangular glass top raised on scrolling rococo supports united by stretchers, 120cm wide70cm deep48cm high

A pair of glass obelisks, late 19th/early 20th century, Italian, Venice, each raised on four amber-coloured ball feet and a plinth base,13cm wide12cm deep68cm high (2)Condition ReportOne with hair crack63cm high (2)

A small ebony mirror, late 17th century, Italian, the rectangular mercury glass plate within a finely ripple-moulded frame,15cm wide18cm high

A painted and parcel-gilt wooden pier mirror, 20th century, Italian, of Renaissance tabernacle form, with a dentil-moulded cornice and foliate-decorated frame enclosing an acid-aged glass plate, 114cm wide168cm highCondition ReportSome wear and degradation to plate. Light wear, rubbing and scratches to gilt.

A set of four Italian silver two-branch candelabra, by Fernando Genazzani, Florence, first half of the 20th century, marked with '71/FI' lozenge and '800', with a central standing neoclassical figure, scrolling arms to the galleried sconces and glass drip pans, on a loaded base,29cm wide13.3cm deep41cm high (4)Condition ReportOne figure with rosettes together, rather than held apart.The branches 53.125oztSolid silver. Currently fitted with modern wax candles. 

A pair of mid-century Italian murano-style glass antelope sculptures, in a smoky blue colour. Each measuring approx. 16cm tall.

A collection of mid 20th century studio art glass items. The collection to include a large Italian blue glass vase, alongside a large dish, some etched glass items, and a blue glass tazza.

A collection of mid 20th century Italian Venetian Murano studio art glass animal figures. The collection to include two fish figures, a swan, a stag, and a bull.

A Selection of Tested 9ct Gold Stick Pins. Four altogether.  To include a Tested 9ct Gold Italian Micro-mosaic Stick Pin on a Round Black Glass Base that measures approx. 7cm in length.  There is also a Tested 9ct Gold Pear-Shaped Garnet Stick Pin that measures approx. 6cm in length.  The Garnet measures approx. 11.62mm in length and approx. 6.80mm max width.  There is another Stick Pin with a Snake on the top with inset melee Round Brilliant Cut Ruby eyes, two melee Cabochon Turquoise stones and a Pear shaped melee Cabochon Ruby and measures approx. 3 inches in length.  There is also a 9ct Gold Cultured Pearl Stick Pin that measures approx. 6cm in length.  The Cultured Pearl measures approx. 6.80mm.  Total Gross Weight of the Stick Pins is approx. 13.4 grams.  The Snake Head Stick Pin is tarnished and would benefit from being cleaned with a Jewellery Cleaner. 

Italian Modern Design - Mid century Italian chrome and glass set of nesting tables. The nest of tables having tubular chrome frames with peripheral stretchers having inset glass tops to each45x50x30cm approx

A collection of silver pendant and chain necklaces. The lot to include four silver abstract textured flower pendant necklaces set with glass beads to silver snake chain necklaces, marked 925 to pendant and chain. A yellow tone metal on silver belcher chain necklace, marked sterling to spring ring clasp. The lot to also include an Italian silver gilt designer style heart pendant necklace, marked silver to clasp. Flower pendants measure largest 4cm x 4cm, smallest 3.5cm x 2.5cm. Necklaces measure 36cm - 51cm. Total weight 52g. All weights, measurements and sizes are approximate.

A COLLECTION OF MAINLY MID TWENTIETH CENTURY CERAMICS AND GLASS WARE, to include a West German vase 119/25, an Italian vase and jug set painted with figures holding umbrellas (shallow glaze chips on rim of jug), an Italian bowl in the form of a basket with slip decoration (chips), mid twentieth century tea ware including Ridgway Homemaker, Alfred Meakin Oklahoma, Parlez Vous, Fisherman's Cove, Montmartre, etc, a J Fryer Oldcourt Ware teapot and two tennis sets, a Crown Ducal Liberty and Freedom teapot (hairlines and chips inside lid), a Wade The Gallery Collection: Japanese Garden jug, a smoky glass decanter with clear handle, height 32cm, a deep brown and clear glass vase, an amber glass jug (roughness to base of handle, a handkerchief glass bowl, a Golden Crown cocktail shaker, Babycham and Cherry B glasses, etc (qty) (Condition Report: most pieces appear ok, sd and as stated in description)

MARCELLO DUDOVICH (1879-1962) - COMPRESSE GASAL Italian, circa 1901, lithograph in colours, printed by Chappuis-Bolognia, Art Nouveau advertising poster for carbonated water tablets, framed Provenance: Christie's London South Kensington, 1 June 1995, lot 160, with lot label 99 x 81cm Condition: Condition Report The glass has chipped at the upper and lower left hand frame corners. 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.

A nest of two Italian glass occasional tables, 55cm wide55w x 50d x 46h cm

Italian green glass wine cooler with stopper, H.35cm; Venetian vase with a pinched neck, cut claret jug with a faceted stopper, mallet decanter, decanter with engraved fish, amber tapering cylindrical vase, 6 other vases, jar with cover, and 2 loose stoppers. (15)

Mid 20th Century Italian fluted tapering heavy glass circular table lamp, H.25cm overall

Vasen-Trio von Alessandro MandruzzatoDiagonal zu einer Raute verschobene, beidseitig abgeplattete Block- bzw. Scheibenform. Dickwandiges Glas in "Sommerso"-Technik, farblos, gelb, rot und violett, die Schmalseiten mit stilisiertem, korallenartigem Relief, die Längsseiten mit Boden und Mündung geschliffen und poliert. H. 13,3 cm-17,3 cm.Three Italian Murano cut and polished "Sommerso" glass vases by Alessandro Mandruzzato.Italien. Murano. Alessandro Mandruzzato. 1960er/1970er Jahre.

Satz von sechs Midcentury-TürknäufenFarbloses Muranoglas mit Goldflittereinschmelzungen und Messing. Über kurzem zylinderförmigen Schaft gestreckt ellipsenförmige Handhabe. H. 6 cm. 10,5 cm x 5,5 m.A set of six Italian Mid-century Murano glass door handles.Italien. Barovier & Toso. Mitte 20. Jh.

Großer Venezianischer WandspiegelFarbloses bzw. hellblaues Muranoglas sowie floral ornamentiertes Spiegelglas. Gerade, hochrechteckige, offen gestaltete Spiegelrahmung aus gedrehten Stäben, in den Ecken durch Blatt- und Blütenwerk verbunden. Kartuschenförmige Bekrönung aus Voluten. 123 cm x 69 cm.A large Italian Murano glass mirror.Italien. 20. Jh.

Bechervase von Arnoldo TosoZylindrisch. Dekor aus spiralförmig hochlaufenden Bändern aus gelbem, dunkelblauem und türkisblauem Glas. Sign. "Arnoldo Toso Murano". H. 19,3 cm.An Italian Murano glass vase by Arnoldo Toso. Engraved signature. Italien. Murano. Arnoldo Toso. Ende 20. Jh.

"Macchie ambra verde"-Vase von Archimede SegusoHohe Becherform mit quadratischem Querschnitt. Dickwandiges Überfangglas mit orangebraunen, grün umrandeten Fleckeneinschmelzungen und fein zersprengter Goldfolie. Entw. Archimede Seguso 1952. H. 26 cm.Vgl. Marc Heiremans: "Glas-Kunst aus Murano 1910-1970", Abb. 119.An Italian Murano "Macchie ambra verde" glass vase designed in 1952 by Archimede Seguso and made in his glassworks.Italien. Murano. Vetreria Archimede Seguso. 1952-um 1960.

"Monofiori Balloton"-Vase von VeniniKugelform. Petrolgrünes Glas, dunkelblauer Lippenrand. Flächendeckender optischer Rauten-Netzdekor. Entw. 1970. Firmen-Marke und -Etikett. H. 15,3 cm.An Italian Murano "Monofiori Balloton" glass vase by Venini. Engraved Venini mark and Venini label. Italien. Murano. Venini. Nach 1970.

Konsoltisch "Dama" von Makio HasuikeTransparentes, leicht grünliches Glas. Organisch geformter Korpus auf gerundetem, konischem Stand. In gestreckte Deckplatte übergehend. Herstellerzeichen. Entw. Makio Hasuike. H. 80,5 cm. 130 cm x 43 cm.An Italian glass console table by Makio Hasuike. Manufacturer's mark.Italien. Fiam. 1990er Jahre.

"Sommerso"-Parfumflakon von Luigi OnestoBeidseitig abgeplattete, mittig einschwingende Form mit spitzovalem Querschnitt, der Stöpsel korrespondierend in hoher Zweispitzform. Farbloses und polychromes, in "Sommerso"-Technik ausgeführtes Überfangglas in Himbeerrot, Blau und Violett. Teilw. geschliffen und poliert. Sign. "Oball L. Onesto Murano". H. 23,7 cm.An Italian Murano "Sommerso" glass perfume bottle (flacon) and stopper made by Michele Onesto in the Vetreria Artistica Oball studio. Signed.Italien. Murano. Vetreria Artistica Oball. Luigi Onesto. Ende 20. Jh.

Murano-Enghalsvase von La MurrinaFarbloses Glas, horizontaler Dekor aus weißen, hellblauen und schwarzen Streifenbändern in der Art der "A canne"- Dekore von Gio Ponti und Venini. Sign.; H. 27,7 cm.An Italian Murano glass vase with by La Murrina. Signed.Italien. Murano. La Murrina. Ende 20. Jh.

Moderne Bechervase von Mario FormentelloLeicht konische Form. Überfangglas, farblos, flächendeckender, geometrischer Dekor aus farblosen, dunkelgrünen, violetten und gelben Murrinen. Ritz-Sign. "Formentello - Murano" und Etikett von Formentello/Eli Vetri D'arte. H. 24,5 cm.A modern Italian Murano glass vase by Mario Formentello. Engraved signature and label.Italien. Murano. Mario Formentello/Eli Vetri D'arte. Um 2000.

Vase von Afro Celotto im Midcentury-StilOrganische, beidseitig ins Oval gedrückte, gebogte Kolbenform. Überfangglas, farblos, vertikale Band und Fadeneinschmelzungen in Gelb, Brauntönen, Rot und Schwarz, schauseitig ein Band mit Dekor aus dunklen Tupfen. Sign.; H. 21 cm.An Italian Murano glass vase by Afro Coletto. Signed. Italien. Murano. Afro Coletto. Ende 20. Jh.

Große ovale Schale "Zebrato" von Barovier & TosoGemuldete Form auf gewellt gekniffenem Standring. Farbloses, spiralförmig geripptes Glas mit dunkelblauer Fadeneinschmelzung und fein zersprengter Goldfolie. Entw. Ercole Barovier für Barovier & Toso, Murano, 1949. H. 10,5 cm; B. 42 cm.A large Italian Murano "Zebrato" glass bowl designed by Ercole Barovier for Barovier & Toso in 1949.Italien. Murano. Barovier & Toso. Um 1949/1950.

Enghalsvase von Afro Celotto und SchiavonOrganische, beidseitig ins Oval gedrückte, gebogte Kolbenform. Überfangglas, farblos, vertikale Band- und Fadeneinschmelzungen in Gelb, Brauntönen, Rot und Schwarz, schauseitig ein Band mit Dekor aus dunklen Tupfen. Sign.; H. 30,5 cm.An Italian Murano glass vase by Afro Coletto and Schiavon. Signed. Italien. Murano. Afro Coletto und Schiavon. Um 2000.

Große "Fazzoletto"- Vase von Venini mit "Zanfirico"-DekorAuf rundem Stand hochgezogene, in der Art eines Taschentuchs gefaltete Wandung. Farbloses Glas mit sehr feinem, weißem "Zanfirico"-Fadennetzdekor. Entw. Fulvio Bianconi, um 1948/50. Dreizeiliger Firmenätzstempel "venini murano ITALIA". H. 27,5 cm.A large Italian Murano handkerchief-shaped "Fazzoletto" glass vase modelled by Fulvio Bianconi for Paolo Venini. Three-line factory acid stamp.Italien. Murano. Venini. Um 1950-1960.

Murano Tischlampe1-flg.; Roséfarbenes, weiß hinterfangenes Glas mit Goldglittereinschmelzungen und Messing. Über Rundsockel kelchförmiger Lampenschirm. Elektrifiziert. H. 29 cm.An Italian Murano glass and brass table lamp.Italien. Murano. 2. Hälfte 20. Jh.

A modern Italian glass and chromium plated revolving two-tier cocktail table, possibly by Naos Furniture, the two oval synchronized tops on three supports, height 43cm, length 88cm, depth 58cm.

Grand Tour. A pair of 19th century Italian micro mosaic plaques, depicting scenes of Rome, with ivory frame and wooden backs, together with a glass viewing lens, length 8.5 x width 5.75 cm. (2)

2 pieces of Mid 20th Century Italian art glass. An Empoli vase 25cm. A Murano Glass vase 13cm

A box of Victorian and later silver and costume jewellery to include a pair metal Victorian ear pedants, banded agate brooches, agate bead necklace, Ruskin style ceramic bead necklace a/f, silver an paste spray brooch, silver hinged bangle, silver locket, 1/5th 9ct rolled gold hinged bangle, bois durci oval brooch depicting a stag, Italian glass bead necklaces, paste a faux tortoiseshell comb, etc. (qty)various Condition:Mostly commensurate with age. Some condition issues, viewing recommended in person

Giorgio Vigna, Italian b.1955 for Venini -  'Fuochi d'aqua' vase, 2007;    iridescent glass, copper, inscribed 'Giorgio Vigna, Venini 2007', height 101 cm  Provenance:  The Collection of Mary and Alan Hobart, Founders of Pyms Gallery 

A 19th century Italian micro-mosaic brooch, of rectangular form, depicting the Pantheon, Rome, within blue glass surround, mounted in gold, Papal States’ mark for Rome (1815-1870), length 32mm. £200-£300 --- Condition Report General wear commensurate with age. A few tesserae missing, few tiny nicks to the glass border, but overall good condition. Weight 7.8gm.

Sicilian School (18th century) Design for a Trompe L’Oeil Wall Decoration, pen and grey ink and wash, watercolour, inscribed with a scale labelled 'Scala di Palmi dieci Siciliani' at the upper left, on laid paper without watermark, sheet 473 x 287 mm (18 5/8 x 11 1/4 in), under glass, some scattered damp-stains and toning, small split in the upper left corner, other small nicks and tears to extremities, framed, [late 18th century]Provenance:Sale. Sotheby’s London, 22nd April 1998, lot 336 (as Italian School, 18th Century);P. & D. Colnaghi, London, in 1998;Private collection, Florida, until 2012;Stephen Ongpin, London;Collection of John and Eileen Harris*** Attributions to the Sicilian architects Andrea Giganti (1731-1787) or Elia Interguglielmi (1746-1835) have been tentatively suggested.

A collection of unusual vintage costume jewellery pieces, an 80mm pot metal possibly Brier twin bloom floral brooch enamelled and set with glass beads; a similar Bird of Paradise brooch; a cornucopia of flowers, 70mm; small celluloid buckle; a 9mm delicate celluloid bird millinery flash; Italian graduated glass bead necklace, 45cm; 120cm WWI Jacquard trim showing British and German soldiers; three gilt metal buttons rose enamel centre; a pair of amusing cufflinks depicting cards, racing etc; 70mm cloisonne flower brooch; pair of floral enamelled earclips; matching floral brooch and earclips; three yacht brooches.

A large Empoli Italian Stelvia Glass vase. Possibly designed by Wayne Husted. 37.5cm

A pair of late 18th century Italian silver condiments of neo classical form, with dolphin supports and bird handles on the cover, one with an inset glass liner, the other with an inset pierced grille, maker's mark 'F.O', Rome 1790-1800, 12.8cms high - 12.8oz gross. (2)

A mixed lot: two graduated Italian silver vessels, each with an applied medallion (the larger one incised ‘1/6 l’ for 1/6 of a litre); a pair of continental silver bon bon dishes; an Edwardian silver toast rack, with two divisions by the Goldsmiths & Silversmiths Co Ltd., London 1902; two small silver circular photograph frames, (one a Concorde souvenir); a silver specimen vase; and a silver-mounted glass inkwell, by William Comyns, London 1908, the latter 9cms diameter – 14.6oz weighable silver. (9)

An Italian studio glass figure group of two birds, studio glass vases, carnival glass dish etc

Schneider pink crackle glass vase, 26cm high, together with another art glass two handled squat baluster vase, possibly Italian, 14 x 22cm

An Italian mid-century Artedi travertine stone and chrome coffee table with a glass top. H.38 W.100 D.100cm.

JIRI ANDERLE (Czech / Bohemian 1936) - Donna Simonetta Vespucci | 1983 | technique: colored etching on paper | 490 x 330 mm | signature: bottom right | framed under glass | Lot description | This work, called "Simonetta" is another remarkable example from the work of Jiri Anderle, known for his ability to connect historical and modern artistic influences. Simonetta Vespucci was a famous Italian noblewoman and the muse of Renaissance artists, whose beauty inspired many works of art of the time. Here, Anderle captures the ideal of feminine beauty in colored drypoint with an emphasis on detailed processing and fine lines. The intertwining figures refer to the Renaissance ideal of harmony and proportion, while the use of color and symbolism gives the piece a modern context. This graphic sheet not only reflects Anderle's deep respect for historical motifs, but also his ability to reinterpret and update them for a contemporary audience. | condition report*In case of missing photos, please feel free to contact us.

JIRI ANDERLE (Czech / Bohemian 1936) - Lutenist (after Caravaggio) | 1982 | technique: etching and drawing on paper | 660 x 490 mm | signature: down the middle | note: Sheet 34/70 | framed under glass | Lot description | This graphic sheet by the Czech artist Jiri Anderle is inspired by the work of the Italian Baroque painter Caravaggio. Here, Anderle reinterpreted the motif of a musician with a lute, which symbolizes the harmony between art, music and nature. In typical fashion, Anderle uses fine linework and detailed shading to emphasize the emotional depth of the scene. The combination of realistic and surreal elements gives the work a timelessness that is characteristic of Anderle's work and refers to his fascination with classical art in a modern expression. | condition report*In case of missing photos, please feel free to contact us.

SIX BOXES AND LOOSE CERAMICS, GLASS AND KITCHEN WARES, to include a small collection of mid twentieth century Italian pottery, oriental ceramics including a satsuma ginger jar, blue and white bowls and mille fleur pattern teacups and saucers, a Shelley trinket dish decorated with roses, a Kaiser Baronesse covered bowl, an enamel on copper bowl, indistinctly signed, a set of Spanish 1970s saucepans printed with stylised flowers, modern saucepans, etc (6 boxes + loose) (sd)

An Italian metal standard lamp, the Aminta, designed by Emma Schweinberger, for Artemide of Milan, modern; (the uplighter lacking its glass shade), with circular base

Mid-Century modern Italian curved glass coffee table by Angelo Cortesi for Fiam, 1970sMid-Century moderne Italiaanse gebogen glazen salontafel van Angelo Cortesi voor Fiam, jaren 7046.5 x 60.5 x 45 cm