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Group of fossil ammonites on modern pedestal, Jurassic/Cretaceous period, presented as an art objectGroep fossiele ammonieten op moderne sokkel , Jura / Krijtperiode, gepresenteerd als kunstobject46 x 35 x 20 cm

A group of Wren modern bedroom furniture pieces, to include a double wardrobe, W110, D55, H195cm, a pair of bedside drawers, a light oak double bedstead, four wall mirrors, a selection of wall art pictures, a table lamp and a mirrored side table.

Admiral; An Art Deco Style Decorative Cased Openface Pocket Watch, the signed patterned dial with gilt Arabic numerals and seconds subsidiary dial, within octagonal case of highly decorative design, inner case stamped "Nawco" "Challenge", movement stamped "Tacy Watch Co" "Admiral Non-Magnetic" "6 Six Jewels", on a fancy link chain; Together with a Pi Damian modern gilt coloured novelty collectors pocket watch, depicting hunter and hound scene, suspended on a gilt coloured snake link chain. (2)

McSHINE, K., ed. Information. New York, The Museum of Modern Art, 1970. Prof. ill. Owrps. (Wrps. a bit skimmed by silverfish). -- (P. de VREE, e.a.). Klankteksten, konkrete poëzie, visuele teksten. Sound texts, concrete poetry, visual texts. Akustische Texte, konkrete Poesie, visuelle Texte. Amst., Stedelijk Mus., 1971. Prof. ill. Des. by W. Crouwel. 4°. Owrps. (A few sm. creases, paper browned towards edges (as usual)). -- (2).NOTE: Ad 1: One of the first surveys of conceptual art. Includes entries by more than 150 artists from 15 countries, including Vito Acconci, Art & Language, George Brecht, stanley brouwn, Daniel Buren, Donald Burgy, James Lee Byars, Jorge Luis Caraballa, Hanne Darboven, Group Frontera, Dan Graham, Giorno Poetry Systems, Edward Ruscha, Sol LeWitt, Yoko Ono et al.

JAPAN -- (BROWN, K.H, a.o.). Visions of Japan. Kawase Hasui's masterpieces. (2004). 4°. Owrps. -- Id. & H. GOODALL-CRISTANTE. Shin-Hanga. New prints in modern Japan. (1996). 4°. Owrps. -- (M. IINO, a.o., ed.). Itô Shinsui zen mokuhanga. All the woodblock prints of Shinsui Ito. (1992). 4°. Owrps. (Text in Japanese). -- (T. OGURA, a.o.). The complete woodblock prints of Yoshida Hiroshi. (1987). 4°. Owrps. -- T. CLARK. Demon of painting. The art of Kawanabe Kyôsai. (1993). 4°. Owrps. -- (5).

JAPAN -- ITOH, T. The classic tradition in Japanese architecture. Modern versions of the Sukiya style. (1972). Square-4°. Ocl. -- J. DEES. Facing modern times. The revival of Japanese Lacquer Art, 1890-1950. (2007). Owrps. -- H. CORTAZZI. Isles of gold. Antique maps of Japan. (1992). 4°. Ocl. w. dust-j. -- A.J. KOOP & H. INADA. Japanese names & how to read them. A manual for art-collectors & students. (Repr. ed. 1923. 1960). Lge-8°. Ocl. w. (a bit dam.) dust-j. -- K. YOSHIDA, K. Tanrokubon. Rare books of 17th-c. Japan. (1984). Obrds. In or. slipcase. -- And 2 o. (7).

Gerhard Mantz - Territoriale Existenz, 2003Moderne Digitalkunst. Größe: 140 x 100 cm. Hochwertiger Digitaldruck (Inkjet) auf Leinwand. Aus direktem Nachlass des Künstlers.Gerhard Mantz (*1950, Neu-Ulm - 2021) erkannte schon früh die künstlerischen Möglichkeiten der Computertechnologie und konnte diese für seine Arbeiten mit Talent einsetzen. Mantz studierte 1970-75 an der Kunstakademie Karlsruhe und kam in den 1980er Jahren nach Berlin wo er auch viele Ausstellungen hatte. In seinen frühen Jahren schuf Mantz noch reale Objekte, Plastiken aus Acryl, MDF, Holz und anderen Stoffen. Um das begrenzte Spektrum der anfassbaren Realität zu erweitern, fokussierte er sich in den 1990er und 2000er Jahren immer mehr auf virtuelle Objekte und gestaltete überwiegend Digitale Kunst. Es kam zur Entmaterialiserung. Für seine Digitalkunst erlangte der Künstler auch internationale Bekanntschaft. Seine Werke wurden in ganz Europa und den USA ausgestellt. U.a. 1985 Künstlerhaus Bethanien, 1988 Georg Kolbe Museum Berlin, 1989 Contemporary Art Center Osaka, 1990 Karl Bornstein Gallery, Los Angeles, 1999 Brandts Klædefabrik, Odense, 2008 P.S.1 Contemporary Art Center - Museum of Modern Art (MoMA) New York, 2014 Rosier Gallery, Berkeley, 2016 Galerie Hammelehle und Ahrens Köln in St. Gertrud, sowie zuletzt vermehrt im Till Richter Museum im Schloss Buggenhagen mit seinem letzten imposanten Werkzyklus "Avatare". Genauere Biographie auf der Künstler Homepage www.gerhard-mantz.de

Art Deco Kaminuhr, um 1930Aus Keramik, weiß glasiert und polychrom mit einem Blumenmuster Aufglasur handbemalt. Rechteckiger Korpus mit getreppten Verzierungen, in der Mitte das Zifferblatt mit arabischen Ziffern. Mechanisches Uhrwerk zum aufziehen. Rückseite bezeichnet: MODERN DECOR. Maße ca. 27,5 x 34 x 9 cm. Mit Alters- und Gebrauchsspuren, nihct funktionsgeprüft.

Gerhard Mantz - Seltene Anflug, 2011Moderne Digitalkunst. Größe: 70 x 45 cm. Hochwertiger Digitaldruck (Inkjet) auf Leinwand. Aus direktem Nachlass des Künstlers.Gerhard Mantz (*1950, Neu-Ulm - 2021) erkannte schon früh die künstlerischen Möglichkeiten der Computertechnologie und konnte diese für seine Arbeiten mit Talent einsetzen. Mantz studierte 1970-75 an der Kunstakademie Karlsruhe und kam in den 1980er Jahren nach Berlin wo er auch viele Ausstellungen hatte. In seinen frühen Jahren schuf Mantz noch reale Objekte, Plastiken aus Acryl, MDF, Holz und anderen Stoffen. Um das begrenzte Spektrum der anfassbaren Realität zu erweitern, fokussierte er sich in den 1990er und 2000er Jahren immer mehr auf virtuelle Objekte und gestaltete überwiegend Digitale Kunst. Es kam zur Entmaterialiserung. Für seine Digitalkunst erlangte der Künstler auch internationale Bekanntschaft. Seine Werke wurden in ganz Europa und den USA ausgestellt. U.a. 1985 Künstlerhaus Bethanien, 1988 Georg Kolbe Museum Berlin, 1989 Contemporary Art Center Osaka, 1990 Karl Bornstein Gallery, Los Angeles, 1999 Brandts Klædefabrik, Odense, 2008 P.S.1 Contemporary Art Center - Museum of Modern Art (MoMA) New York, 2014 Rosier Gallery, Berkeley, 2016 Galerie Hammelehle und Ahrens Köln in St. Gertrud, sowie zuletzt vermehrt im Till Richter Museum im Schloss Buggenhagen mit seinem letzten imposanten Werkzyklus "Avatare". Genauere Biographie auf der Künstler Homepage www.gerhard-mantz.de

Gerhard Mantz - Arpége, 2010Moderne Digitalkunst. Größe: 140 x 100 cm. Hochwertiger Digitaldruck (Inkjet) auf Leinwand. Aus direktem Nachlass des Künstlers.Gerhard Mantz (*1950, Neu-Ulm - 2021) erkannte schon früh die künstlerischen Möglichkeiten der Computertechnologie und konnte diese für seine Arbeiten mit Talent einsetzen. Mantz studierte 1970-75 an der Kunstakademie Karlsruhe und kam in den 1980er Jahren nach Berlin wo er auch viele Ausstellungen hatte. In seinen frühen Jahren schuf Mantz noch reale Objekte, Plastiken aus Acryl, MDF, Holz und anderen Stoffen. Um das begrenzte Spektrum der anfassbaren Realität zu erweitern, fokussierte er sich in den 1990er und 2000er Jahren immer mehr auf virtuelle Objekte und gestaltete überwiegend Digitale Kunst. Es kam zur Entmaterialiserung. Für seine Digitalkunst erlangte der Künstler auch internationale Bekanntschaft. Seine Werke wurden in ganz Europa und den USA ausgestellt. U.a. 1985 Künstlerhaus Bethanien, 1988 Georg Kolbe Museum Berlin, 1989 Contemporary Art Center Osaka, 1990 Karl Bornstein Gallery, Los Angeles, 1999 Brandts Klædefabrik, Odense, 2008 P.S.1 Contemporary Art Center - Museum of Modern Art (MoMA) New York, 2014 Rosier Gallery, Berkeley, 2016 Galerie Hammelehle und Ahrens Köln in St. Gertrud, sowie zuletzt vermehrt im Till Richter Museum im Schloss Buggenhagen mit seinem letzten imposanten Werkzyklus "Avatare". Genauere Biographie auf der Künstler Homepage www.gerhard-mantz.de

Gerhard Mantz - Die Kraft der Hingabe, 2008Moderne Digitalkunst. Größe: 100 x 55 cm. Hochwertiger Digitaldruck (Inkjet) auf Leinwand. Aus direktem Nachlass des Künstlers.Gerhard Mantz (*1950, Neu-Ulm - 2021) erkannte schon früh die künstlerischen Möglichkeiten der Computertechnologie und konnte diese für seine Arbeiten mit Talent einsetzen. Mantz studierte 1970-75 an der Kunstakademie Karlsruhe und kam in den 1980er Jahren nach Berlin wo er auch viele Ausstellungen hatte. In seinen frühen Jahren schuf Mantz noch reale Objekte, Plastiken aus Acryl, MDF, Holz und anderen Stoffen. Um das begrenzte Spektrum der anfassbaren Realität zu erweitern, fokussierte er sich in den 1990er und 2000er Jahren immer mehr auf virtuelle Objekte und gestaltete überwiegend Digitale Kunst. Es kam zur Entmaterialiserung. Für seine Digitalkunst erlangte der Künstler auch internationale Bekanntschaft. Seine Werke wurden in ganz Europa und den USA ausgestellt. U.a. 1985 Künstlerhaus Bethanien, 1988 Georg Kolbe Museum Berlin, 1989 Contemporary Art Center Osaka, 1990 Karl Bornstein Gallery, Los Angeles, 1999 Brandts Klædefabrik, Odense, 2008 P.S.1 Contemporary Art Center - Museum of Modern Art (MoMA) New York, 2014 Rosier Gallery, Berkeley, 2016 Galerie Hammelehle und Ahrens Köln in St. Gertrud, sowie zuletzt vermehrt im Till Richter Museum im Schloss Buggenhagen mit seinem letzten imposanten Werkzyklus "Avatare". Genauere Biographie auf der Künstler Homepage www.gerhard-mantz.de

LTP Manjusri (Sri Lankan 1902-1982 - Columbo '43 Group): 'At The Palace' pencil rubbing etching signed with initials in pencil 20cm x 40cmNotes: LTP Manjusri was a pioneering figure in modern Sri Lankan art, known for his unique blend of traditional Buddhist themes and contemporary techniques. Born in 1902, he initially trained as a scholar in Sinhala, Pali, and Buddhist philosophy before discovering his passion for painting in Shantiniketan, where he met Nandalal Bose. A founding member of the Colombo '43 Group, Manjusri’s work—spanning temple murals, original paintings, and etchings—reflects his deep cultural and religious roots. His contributions were internationally recognized, with exhibitions in London, Vienna, and New York, and works held in major collections including the New York Public Library and the Horniman Museum. In 1979, he was honored with the Ramon Magsaysay Award and an honorary doctorate from the University of Peradeniya.

ERNST LUDWIG KIRCHNER (GERMAN 1880-1938) ZWEI FRAUEN IM GESPRÄCH [TWO WOMAN IN CONVERSATION], c. 1921 stamped with the Nachlass E. L. Kirchner mark and numbered P Da/Ba 5 in ink and K6796 and 6450 in pencil (to reverse), Indian ink and wash on paper  30.2cm x 36cm (11 7/8in x 14 1/8in) Theo Hill Galerie, Cologne, 1968;Anthony Hepworth FIne Art, Bath;The Collection of Gillian Raffles. This work is listed in the Ernst Ludwig Kirchner Archives, Wichtrach/Bern and will be included in any forthcoming catalogue raisonnés of the artist's graphic works,Exhibited:Mercury Gallery, London, Summer Exhibition, 11 June - 15 September 1973, no. 191, illustrated in exhibition catalogue. ‘I learnt to value the first sketch, so that the first sketches and drawings have the greatest worth for me. How often I’ve failed to pull off and consciously complete on the canvas that which I threw off without effort in a trance in my sketch…’ Ernst Ludwig Kirchner, ‘Zebdher Essay’, recorded in his diary, 1927 Ernst Ludwig Kirchner’s Zwei Frauen im Gesprach is the perfect expression of the ‘modernist primitivism’ that defined German Expressionism in the early 20th Century, both that of the Die Brücke group (of which Kirchner was the founder and leading light) and its Munich counterpart, Der Blaue Reiter, led by Kandinsky. Both groups sought to free art – and life – from the shackles of bourgeois ideals and (in art) stifling Academism, alighting upon the cultures of non-European peoples as ciphers of a more direct and intuitive emotional ‘truth’, in particular the art of the Pacific (inspired by Gauguin) and of Africa. Whilst today we would look at the Expressionists’ approach to non-Europan art as a form of cultural appropriation, based on fundamental misconceptions of this art being ‘primitive’ rather than highly sophisticated in its own right, this approach was, at least, wholehearted in its intention: Kirchner and his contemporaries were genuinely looking to the non-European for something lacking in the West, their ‘primitivism’ beyond a mere imitation – rather  a search for authenticity, a direction of travel to express true modernity.  In Zwei Frauen im Gesprach, we see two young women in conversation in what looks like Kirchner’s studio – which itself was a gesamkunstwerk (total art work) of hand-printed batik hangings, dark painted walls, hand-carved furniture and African objects. In the background, we see one of these objects, a small totemic figure, listening in, perhaps, to what these two thoroughly modern women are discussing. The figure on the left, with her bobbed hair and arch hand gesture looks like she has stepped straight out of a Berlin cabaret. Indeed, she could well be the dancer Nina Hard, renowned for her slick black bob, whom Kirchner had met in Zürich in May 1921 and who was to became an important model and muse for him.  And this sculpture in the background could well be African, brought back by the brother of fellow Die Brücke artist Erich Heckel, who held a job in colonial East Africa, but equally it could be a work of Heckel or Kirchner’s own making, as modern as the women themselves. Kirchner’s sculptures of the 1910s are incredible hybrid works, far beyond imitations of African art and distinctly European, that don’t really find their counterpart until Georg Baselitz’s chainsaw carvings of the 1980s. In Zwei Frauen im Gesprach Kirchner shows his mastery of brush and ink, which perhaps could be said to be the medium of German Expressionism. The brush allows for bold, jagging lines and an emphasis on outline over shading, as sculpting the figures on paper as they would with chisels out of wood; and the ink allows for speed – an idea as modern as modern can be. Brush and ink allows spontaneity, a definitiveness of gesture, that Kirchner, Heckel and fellow members of Die Brücke honed in their ‘quarter-hour’ life drawing sessions, where working quickly became analogous to working without premeditation – or as Jill Lloyd puts it, speed of execution becomes an ‘attempt… to catch modernity on the wing’. (Jill Lloyd, German Expressionism: Primitivism and Modernity, Yale University Press, New Haven & London, 1991, p.45)

DAVID MELLOR C.B.E. F.C.S.D. R.D.I. (BRITISH 1930-2009) RARE 'EMBASSY' CUTLERY SET, 1971/2 115 pieces, a dozen 9-piece settings plus serving spoons and ladles, stamped maker's marks, hallmarked for Sheffield, silver and stainless steel, comprising 12 table knives with steel blades, 12 fish knives, 12 dessert knives with steel blades, 12 table forks, 12 fish forks, 12 dessert forks, 12 soup spoons, 12 dessert spoons, 12 tea spoons, 4 table spoons, 3 ladles, one ladle hallmarked for Sheffield 1966 the dinner knives 23.5cm long (9 ¼in long), the weighable silver approximately 5250 grms. (115) J. M. L. Stone Esq.;Bonhams, London, Silver and Objects of Vertu, 4 June 2008, from whom acquired by the current owner;Private Collection, London. Sold together with a copy of the original receipt from David Mellor, dated 25 October 1972. DAVID MELLOR’S EMBASSY TABLEWAREPolitics unravels a plan to promote British tableware worldwide.It was an order that was a dream, ‘We want you to supply silver you have designed to every British embassy in the world.’ The client of course was the British Government and the silversmith the Sheffield-based David Mellor. This was the idea of Lord John Hope, the Minister of Works in the Macmillan Conservative government. He considered British embassies should be both built and furnished in a modern style. The Ministry of Works commissioned Mellor in 1962. What became known as ‘Embassy Tableware’ was unveiled at the Design Centre in 1963. The Council of Industrial Design enthusiastically stated that it was, ‘the best of its kind that has been produced in this country for many years’. Comprising everything from candelabras to condiments, it covered all that a British Embassy could possibly need. All the silver was made at Mellor’s workshop with the exception of the Embassy cutlery. This was forged by hand under David Mellor’s supervision at the specialist Sheffield company of C W Fletcher and given a satin finish. With a rectangular profile, it is more modern in shape than Mellor’s Pride which he designed in 1953 when he was a student at the Royal College of Art. Mellor wanted Embassy cutlery to have a certain splendour, but to avoid pomposity. The prongs of the dinner and desert forks are unusual as he adopted the 17th century approach of using three as opposed to the subsequent convention of four tines, but unlike their 17th century counterpart, with a ‘W’ formation as opposed to straight tines. The embassies in Warsaw and Mexico City were duly supplied with Mellor’s Embassy silver range, but then disaster struck. In the 1964 General Election Labour won by just four votes and the new Prime Minister was the pipe smoking Harold Wilson. The following year the Government axed supplying silver to all its embassies. For a while, some pieces of Embassy Tableware were available from David Mellor direct or from Harrods. However, Mellor offered silver canteens of Embassy cutlery to order until the early 1970s. Corin Mellor, David’s son, advises that only five to six were ordered. 

SIR WILLIAM NICHOLSON (BRITISH 1872-1949) NANCY IN A FEATHER HAT (THE ARTIST'S DAUGHTER), 1910 signed and dated (lower left), oil on canvas 75cm x 62.2cm (29 ½in x 24 ½in) with the Goupil Gallery, London, where purchased by the 9th Duke of Marlborough (Charles Spencer-Churchill 1871-1934) and returned;probably with P. & D. Colnaghi Ltd., London;Christie's, London, 7 December 1917, lot 21, as Portrait of the Artist's Daughter (260gns) to Frederick Leverton Harris MP (1864-1926);An unidentified Scottish collection;J. & R. Edmiston Auctioneers, Glasgow, 26 March 1929, lot 36, as The Artist's Daughter (The Feathered Hat) (£100 16s.);with Ian McNicol, Glasgow;Christie's, London, 1940-1 (catalogue untraced);with Piccadilly Gallery, London;J. E. (Jack) Posnansky and by descent to his daughter Gillian Raffles;The Collection of Gillian Raffles. Exhibited:Goupil Gallery Salon, London, October – December 1910, no. 108 (£315);XIV Esposizione Internazionale d’Arte della Città di Venezia, April - October 1924, no. 53, as Ritratto di ragazza con berretto piumato.Literature:Stokes, Hugh, ‘The Goupil Gallery Salon’, Country Life, Vol. XXVIII, no. 722, 5 November 1910, p.635;Ladies' Field, Vol. LII, no. 664, 3 December 1910, p.6;The Art Journal, December 1910, p. 383, illustrated;Baldry, A. L., ‘The Paintings of William Nicholson’, The Studio, vol. LIII, no.219, June 1911, pp.8-9, illustrated;Reed, Patricia, William Nicholson: Catalogue Raisonné of the Oil Paintings, Modern Art Press Ltd., London, 2011, p. 172, cat. no. 178, illustrated.This painting has been requested for inclusion in the William Nicholson exhibition at Pallant House Gallery, Chichester to be held from 22 November 2025 to 31 May 2026. Portrait of the Artist’s Daughter: Nancy in a Feather Hat by William NicholsonFirst exhibited in 1910 to widespread acclaim, the re-appearance in public of Nancy in a Feather Hat, a portrait by William Nicholson of his daughter, is a major event in the current evaluation of the artist’s standing within twentieth-century British art history. Nicholson met the Scottish artist Mabel Pryde (1871-1918) in 1888, when they were students at Hubert von Herkomer’s art school in Bushey, Hertfordshire. They eloped five years later and their children, the artist Benjamin (Ben), the soldier John (Tony), the designer Annie (Nancy) and the architect Christopher (Kit), were born between 1894 and 1904. The children sat for both of their parents and Patricia Reed has stated that ‘as a child, Nancy was Nicholson’s favourite model’ (Patricia Reed, William Nicholson: Catalogue Raisonné of the Oil Paintings, Modern Art Press Ltd, London, 2011, p. 67). His earliest recorded portrait of her dates from 1901 when she was aged about two (Reed, op.cit., no.33), whilst Nancy with Ribbons (Reed, ibid., no.34) of the same year became the first of his works to be acquired for a public collection when it was purchased for the Galleria d’Arte Moderna in Venice in 1905.Nancy in a Feather Hat was painted during a particularly auspicious period in Nicholson’s career. The family were established in homes in Mecklenburgh Square, London and Rottingdean in East Sussex, whilst his prowess as a portraitist was acknowledged by election to the Royal Society of Portrait Painters (1909) and his role as a founding member of the National Portrait Gallery (1910). A successful solo exhibition was staged at the Chenil Gallery in 1910 and William Marchant of the Goupil Gallery had become his main dealer.In her description of the present portrait, Reed has explained:‘The artist’s daughter, Nancy, aged ten, wears a blue shawl and a large feather hat, while the bouquet to her right suggests that she is a flower-seller. The apricot-coloured ostrich feathers and blue shawl were William Nicholson’s starting-point, but it is Nancy’s personality that attracts the viewer’s interest.’ (Reed, ibid., p.172). Indeed, the work encompasses not only the intimate yet unsentimental bond between father and daughter, but also Nicholson’s bravura use of dressing-up and other props to weave a suggested narrative, a deft manipulation of chiaroscuro and the use of contrasting colours to highlight aspects of a rhythmic composition. By presenting his sitter in a shallow, undefined space and in front of a plain, dark background, a palette based as much on monochrome as complimentary colour fields is used to the full, wielded by way of his beautiful handling of oil paint, in which fringe shawl and flower petals are realised with as much attention as tones of complexion and the texture of feathers. Nancy was to bear out the independence suggested at this age in adulthood, not least by applying feminist principles to her marriage to the poet Robert Graves and to her career designing and printing fabrics.When Nancy in a Feathered Hat was exhibited in the Goupil Gallery Salon in 1910, it was singled out for praise in the press from Country Life to The Studio. It was one of twenty-two works by Nicholson to be shown at the Venice Biennale of 1924, a milestone in his international career. Its illustrious provenance involves the 9th Duke of Marlborough (briefly) and includes the British businessman and Member of Parliament Frederick Leverton Harris. It was eventually acquired by Gillian Raffles’ father, J. E. (Jack) Posnansky, from whom she inherited it.This painting has been requested for inclusion in the William Nicholson exhibition at Pallant House Gallery, Chichester to be held from 22 November 2025 to 31 May 2026. 

MAX LIEBERMANN (GERMAN 1847-1935) PORTRAIT OF A GIRL (MÄDCHENBILDNIS) signed (lower right), watercolour on paper 23.2cm x 20.5cm (9 1/8in x 8in) Mr J. E. Posnansky;Waddington Galleries, London;The Collection of Gillian Raffles. Max Liebermann was a pioneer of German Impressionism. Before the First World War, his infusion of naturalism and modernist sensibility attracted numerous important commissions, and he became the most in-demand portrait artist for Berlin high society.  Liebermann was an enthusiastic and well-travelled disciple of modern art and brought the diverse aesthetic ideas he encountered abroad back to Germany. This, however, came to present issues for the artist: in Paris (at the time the art world’s epicentre) his style was deemed ‘not French enough’; the Secessionist Impressionists felt he was too accommodating of the transgressive Expressionists; the Expressionists found him too conservative. Furthermore, as a Jew in early twentieth-century Berlin, he faced and diminishing career opportunities and increasing persecution.Yet it is Liebermann’s astonishing diversity of reference that makes this exquisite portrait so compelling. The assured and academic draughtsmanship evidences a firm grounding in principles of anatomy and proportion, while the delicate hatching articulating the girl’s features, and the unpainted passages across the girl’s face - which is beautifully unidealized - suggest the glimmers of Impressionism. So, too, does the contrast between sitter’s pale complexion and her vivid red tresses. Charmingly, the artist appears to have signed the work using the same pigment with which he painted the girl’s hair. 

RHEE SEUNDJA (KOREAN 1918-2009) UNTITLED, 1961 signed (lower right), and inscribed 615F1244, oil on canvas 27cm x 34.8cm (10 5/8in x 13 5/8in) Acquired in Paris by the current owners aunt in the 1960s;Private Collection, London. Rhee Seundja was a pioneering Korean modern artist who seamlessly merged Western abstraction with Eastern philosophies. She began her artistic journey in the early 1950s in France, studying at the Académie de la Grande Chaumière, where Chinese abstract masters Zao Wou-Ki and Chu Teh-Chun had also trained. Immersing herself in the European art scene, she explored Art Informel, which was gaining momentum in Paris, and turned to abstraction in 1956.By the early 1960s, Rhee had developed a distinct style that fused an Eastern mindset with Western materials, creating a unique colour palette and artistic language. She reinterpreted traditional Korean patterns, using each brushstroke as a symbolic act of nurturing - both the land and, metaphorically, the children she had been separated from since 1951. Her work from this period, reflected themes of nature, spirituality, and femininity, often expressed through geometric forms, bold colours, and richly textured surfaces.Through her synthesis of cultural traditions and artistic innovation, Rhee became a significant figure in both Korean and international modern art, leaving behind a rich artistic legacy.

LAURENCE STEPHEN LOWRY (BRITISH 1887-1976) GOING TO THE MILL, 1925 signed and indistinctly dated (lower left), oil on panel  43.2cm x 53.4 cm (17in x 21in) Acquired directly from the Artist by A.S. Wallace, 1926, and thence by descent to the present owner. Exhibited:On long-term loan to Pallant House Gallery, Chichester, 2013-2024L S Lowry’s early masterpiece Going to the Mill was painted a hundred years ago and, quite remarkably, has been in the same private family collection for all but one of those hundred years. It was acquired directly from Lowry by the journalist A.S. Wallace, an editor at the Manchester Guardian who had illustrated three of Lowry’s works in the special ‘Manchester Civic Week’ supplement published by the paper. Civic Week was held from the 2nd to the 9th of October 1925, ostensibly to celebrate Manchester’s industrial success, but also with an ulterior motive to discourage the city’s disgruntled workers from going on strike. It was the grim nature of  the workers’ lives that, of course, interested Lowry, but which also made it hard for him to find an audience for his  visual elegies of the industrial city – a concept that is perhaps hard to fathom now, for those of us that have grown up knowing Lowry as one of Britain’s most celebrated ‘painters of modern life’. During Civic Week, Lowry’s works were displayed in Lewis’s department store, where they were mostly passed by – despite the favourable reviews the Guardian had given his first solo show in 1921. A.S. Wallace, however, fell for Lowry’s depictions of the ‘lovely, ugly town’ (to borrow from Dylan Thomas’s description of his hometown of Swansea), striking up a friendship with the artist and asking to buy one. Lowry duly obliged: Going to the Mill is marked on the back as being £30 – Lowry let Wallace have it for £10. If not his first ever sale, this has to have been one of his earliest. He also threw in an additional work - The Manufacturing Town. The Wallace family still have Lowry’s letter of 9th November 1926, in which the artist writes: ‘Many thanks for your letter and cheque £10. I am very glad Mrs Wallace likes the picture Going to Work and take the liberty of asking you to please accept The Manufacturing Town as a souvenir of the Civic Week. I can assure you that it will always be with great pleasure that I shall think of that Saturday morning.’   The latter painting was sold by the Wallace family – with Lowry’s blessing, as he understood that a new generation of the family needed help getting set up – and is now in the collection of the Science Museum in London. Going to the Mill was kept – recently being on long term loan to Pallant House Gallery, Chichester, and only comes to market now as a further generation finds themselves in need of a ‘leg up.’Going to the Mill is the epitome of a 1920s Lowry, when he truly becomes a unique voice. In the overall smoky, sooty quality of the sky and buildings – it will be a few years yet before Lowry begins to stage his visions of the city against isolating backgrounds of plain flake-white – we see the influence of his teacher, Alphonse Valette, who had been drawn to Manchester precisely for its grit and the Romantic quality of its dark streets and thick polluted skies, the poetic fallacy of heavy-set architecture shrouded in smog, from which individual stories emerged, lamp-lit for moments, before being swallowed up by the gloom. Yet Lowry holds our attention to these individual lives much longer (and this is eventually the function of those white backdrops, to separate individuals from the mass and to hold them in time). Looking at Going to the Mill, initially all we see is a crowd, drawn inextricably – like water pouring towards a drain – to the gate of the mill on the left. But Lowry invites us to spend time looking, and slowly the painting reveals the men walking away from the mill, the woman standing alone looking out at us, drawing the viewer into the lives of others, or the man carrying what seems like a large portfolio, who could be an avatar of Lowry himself. As such, the crowd is broken down into individuals, each with a story – a story that Lowry himself manages to capture with a flick of the brush, a weighting of the paint, a bend of the knee or turn of the shoulder. Going to the Mill shows us that he is no naif painter of ‘matchstick men and matchstick cats and dogs’ as the old pop song goes – this is an artist of true dexterity who is making a deliberate formal choice, abstracting the figure, in order to express a concept, the sense of a life lived in even the smallest, most incidental figure. His works are as composed and deliberate as Seurat’s A Sunday on La Grande Jatte but imbued with an intensity of feeling more easily found in Van Gogh’s early paintings of Dutch peasants. These comparisons are not over-blown, not least as Lowry, in the early 30s, was one of the very few British artists exhibiting in the Salon in Paris and gaining recognition for the precision and intensity of his vision. And it is important to note that it was T. J. Clark, the great art historian of French painting of the late 19th and early 20th century, who curated Lowry’s 2014 Tate retrospective and presented Lowry deliberately as another of the great ‘painters of modern life’.Lowry’s paintings are never simple renditions of what he saw on the streets of his beloved city (or, more accurately, cities – Salford and Manchester). Works such as Going to the Mill are theatrical in their conception, which is why the ‘backdrop’ of the mill at Pendlebury repeats itself, often in altered configurations, throughout his works – such as the slightly later A Town Square, formerly in the Midland Bank collection, which sold at Sotheby’s in 2024. The city becomes a stage for an exploration of loneliness, isolation, loss, hope, although in Lowry’s hands the buildings themselves function as actors – figuring birth, marriage, death and the tyranny of mill-time, before, in later works, they are enveloped in an all-consuming white of Beckettian structure. Lowry was an inveterate theatre-goer who – intriguingly, instructively – cited both the 1920s ‘kitchen sink’ drama Hindle Wakes and Luigi Pirandello’s absurdist masterpiece Six Characters in Search of an Author as highly influential on his work. The breadth between these two plays indicates the breadth of Lowry’s conceptual framework for his apparently ‘simple’ painting. This conceptual reach, centred on the urban experience, is – as T. J. Clark argues so persuasively - what makes Lowry so relevant today, in our world of megalopolises, many of them growing at the same break-neck speed as Victorian Manchester once did. 

BERNARD COHEN (BRITISH, 1933- ) FIRST PANEL PAINTING OF 1970, 1970 signed, titled and dated in pen (to reverse - on stretcher bar), acrylic on linen 90cm x 90cm (35 ½cm x 35 ½cm) with Studio La Città, Verona;Sotheby’s, London, Modern & Post-War British Art, 14 November 2012, lot 237, where acquired by the present owner.

HENRI GAUDIER-BRZESKA (FRENCH 1891-1915) THREE NUDES STANDING, 1913 monogramed and dated in ink (lower left), pen and ink on paper 38.5cm x 50.2cm (15 1/8in x 19 ¾in) with Mercury Gallery, London;Bonham's, London, Modern British and Irish Art, 5 March 2013, lot 46;The Collection of Gillian Raffles.

MODERN ART OIL ON CANVAS RECLINING LADY

A stunning Art Deco ceramic figurine by Josef Lorenzl for Goldscheider, embodying the elegance and glamour of the 1920s and 1930s. This exquisite sculpture features a poised dancer in a dramatic black dress with a floral pattern, gracefully lifting the fabric to reveal her dynamic pose. The glossy finish accentuates the movement and fluidity of the design, while the multicolored marbled base adds a striking contrast. Josef Lorenzl was a leading sculptor of the Art Deco period, known for his elongated, graceful figures that captured the essence of modern femininity. Goldscheider, one of the premier Viennese ceramics manufacturers, produced some of the most sought-after Art Deco pieces, often collaborating with renowned artists like Lorenzl. Goldscheider Wien stamp. Artist signature on the side.Artist: Josef LorenzlIssued: c. 1926Dimensions: 18.25"HCountry of Origin: AustriaCondition: Age related wear.

Quantity of Vintage and Modern Star Wars Books, Annuals, Graphic Novels. Including Calendars, Signed Graphic Novel, Art of Dave Dorman and more. (A lot)

Ca. 400 - 300 BC. A terracotta fragment of a horse head with an arched neck and mane rendered with a row of vertical grooves. The muzzle and eye are subtly contoured. Mounted on a modern display stand.For similar see: V. Karageorghis, G. S. Merker, J. R. Mertens, The Cesnola Collection, terracottas, 2004, Cat. 295, p. 173.Size: 70mm x 65mm; Weight: 130gProvenance: Private UK collection, acquired on the US art market; Ex. Paul S. Forbes collection, Maryland, acquired in the 1970s - 1980s.

Late Period, Ca. 664 - 332 BC. A wooden mask from a sarcophagus with a smooth, oval-shaped face and defined features. The almond-shaped eyes are inlaid and set within brown bronze frames, with extended cosmetic lines and are paired with thick bronze brows. The nose is long and straight with a slightly flared tip. The lips are narrow and slightly curved. The back is flat and bears multiple attachment marks. Mounted on a modern display stand.For similar see: Museo archeologico di Firenze inv. n. 2401.Size: 400mm x 160mm; Weight: 1.9kgProvenance: Private London collection; previously French art market 1970s/1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.

Late Period, Ca. 64 - 332 BC.A bronze head of a cat with alert ears, rounded cheeks, and recessed eyes, possibly for inlays. The head is mounted on a modern, smooth-cut cubic base of white stone.For similar see: The Hardvard Museum, Object Number 1962.69.Size: 70mm x 70mm; Weight: 855gProvenance: Private UK collection; Ex. private French collection, in the 1970s; Ex. Patrick Decllerck, Auction, France, sale no. 775, 2014.This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by an authentication statement by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.

ASIAN ART REFERENCE BOOKS - JAPANESE ART A varied collection of volumes relating to Japanese art, woodblock prints, Christie's catalogues of Japanese Modern & Contemporary paintings etc. (Approx 25) For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration. Ownership Statement: This item is offered for sale without disclosing the identity of the owner.

Ca. 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. 2700 - 2400 BC. A stylised marble idol with a large circular head set on a slender neck, broad semi-circular shoulders, and pointed hands. The body narrows into a lozenge-shaped lower half, with a defined pubic triangle incised on the front. The back is plain and smoothly finished. The figure is mounted on a modern display stand.For similar see: Sotheby's, Egyptian, Classical. and Western Asiatic Antiquities, 08 Dec. 2010, Lot. 41, The Cleveland Museum of Art, 1993.165.Size: 135mm x 48mm; Weight: 180gProvenance: 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.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

A striking hand-carved black stone sculpture from Kenya, depicting a contemplative seated figure with a smooth, minimalist design. The piece is sculpted in a fluid, abstract form, emphasizing the serene posture and curved lines of the figure. The polished surface highlights the natural beauty of the stone. A sticker on the underside indicates its origin as Made in Kenya. This elegant sculpture makes a wonderful addition to any collection of African art or modern minimalist decor.Issued: 21st centuryDimensions: 11"HCountry of Origin: AfricaCondition: Age related wear.

A unique pair of contemporary mixed-media sculptures blending ceramic, concrete, and natural elements. The first piece features a geometric ceramic form with a textured surface (14"H), an angular spout-like protrusion, and a natural bamboo branch bound with wire, adding an organic contrast. The second piece is a cylindrical concrete sculpture with a rough, fragmented design, incorporating embedded stones and an opening at the top, possibly for use as a candle holder (8"H). Geometric piece is signed on the base, indicating an artist's work. These sculptures make a striking addition to any modern or minimalist art collection.Issued: 21st centuryDimensions: See DescriptionCondition: Age related wear.

This card has been authenticated and graded by PSA and awarded a Gem Mint 10.About this card:PSA 10 Draw Energy Full Art #271 Cosmic Eclipse 2019, a Secret Rare card from the final Sun & Moon set. Featuring vibrant artwork and holographic detailing, this card is graded PSA 10 gem mint, meaning flawless edges, surfaces and centring. A standout energy card for collectors of high-grade modern Pokémon sets.

An Art Deco style modern bronze figure of a dancer, on one leg, on a circular marble base, 55cm high

After Chiparus, a modern bronze Art Deco style figure of a dancer, on a stepped marble base, 50cm high

Assorted modern books on Art & Design (2 shelves)

An Art Deco style platinum amethyst and diamond panel ring, set with round-cut amethysts and modern round brilliant-cut diamonds with stepped baguette-cut diamond shoulders, setting height 12.1mm, size R, 7.3g . Condition Report:No damage, all stones present, amethyst has lightly abraded facet edges, diamonds very bright and lively, light wear to mount mainly on back of shank, marked platinum

An Art Deco style platinum peridot and diamond cluster ring, rub-over set with octagonal step-cut peridot with modern round brilliant and baguette-cut diamonds, setting height 13.9mm, size M, 5.2g . Condition Report:No damage or repair, all stones present, no wear to mount, marked Plat

An Art Deco style platinum peridot and diamond ring, claw set with 2.5ct octagonal step-cut peridot flanked by modern round brilliant-cut diamond stepped shoulders, setting height 9.3mm, size N, 4.1g . Condition Report:No damage or repair, all stones present, diamonds very bright and lively, marked Plat

An Art Deco style platinum amethyst and diamond ring, set with octagonal step-cut amethysts and modern round brilliant-cut diamond shoulders, setting height 8.4mm, size N, 3.2g . Condition Report:No damage or repair, all stones present, diamonds very bright and lively, marked Plat

An Art Deco style platinum synthetic yellow sapphire and diamond cluster ring, set with 1.6ct octagonal step-cut synthetic sapphire surrounded by modern round brilliant and baguette-cut diamonds, total diamond content approx 1ct, setting height 15.8mm, size Q, 5.7g . Condition Report:No damage or repair, all stones present, sapphire is uncertified and a strong brownish yellow, diamonds very bright and lively, no wear to mount, marked Plat

A 9ct white gold diamond ribbon bow brooch, indistinct maker, London 2004, in the Art Deco style, grain set with graduated modern round brilliant-cut diamonds, total diamond content approx 1.5ct, 50mm, 11.5g . Condition Report:No damage or repair, all stones present, diamonds very bright and lively, fitting working, full UK hallmarks clear, marked 375

An Art Deco style platinum diamond openwork plaque ring, rub-over and grain set with modern round brilliant-cut diamonds, total diamond content approx 1ct, setting height 19.1mm, size N, 5.7g . Condition Report:No damage or repair, all stones present, diamonds very bright and lively, 1 principal diamond has a slight yellow tint, hardly any wear to mount, marked Plat

An 18ct white gold sapphire and diamond plaque ring, in the Art Deco style, set with round-cut sapphires and modern round brilliant-cut diamonds, setting height 16.2mm, size O, 4.7g . Condition Report:No damage or repair, all stones present, full UK hallmarks clear, marked 750

An Art Deco style 18ct white gold diamond full eternity ring, maker B & J, Birmingham 1993, set with modern round brilliant-cut diamonds, total diamond content approx 1.8ct, setting height 4mm, size Q, 5.7g . Condition Report:No damage, all stones present, 1 diamond is set slightly lower than all of the others, diamonds are quite bright and lively, only light wear to mount, full UK hallmarks clear, marked 750

An Art Deco style platinum synthetic pink sapphire and diamond cluster ring, millegrain set with 0.6ct oval mixed-cut sapphire surrounded by modern round brilliant and baguette-cut diamonds, setting height 11.8mm, size O, 3.5g . Condition Report:No damage or repair, all stones present, sapphire is a vivid pink, diamonds extremely bright and lively, marked Plat

An Art Deco style platinum synthetic yellow sapphire and diamond plaque ring, millegrain set with oval mixed-cut synthetic sapphire surrounded by modern round brilliant-cut diamonds, setting height 16mm, size N, 4.6g . Condition Report:No damage or repair, all stones present, sapphire is a vivid greenish yellow with no obvious internal inclusions visible through a loupe, diamonds extremely bright and lively, with several small internal feathers, no wear to mount, marked Plat

An Art Deco style 18ct white gold synthetic? sapphire pearl and diamond geometric bar brooch, set with 4.2mm pearls, channel set calibre-cut sapphires and modern round brilliant-cut diamonds, 58.1mm, 4.6g . Condition Report:No damage or repair, all stones present, sapphires are uncertified, fitting working, marked K18

An 18ct gold emerald and diamond flowerhead cluster ring, claw set with oval mixed-cut emerald and modern round brilliant-cut diamonds, total diamond content approx 0.23ct, setting height 10.3mm, size S, 5.3g . Condition Report:No damage or repair, all stones present, emerald is a medium green with numerous typical internal inclusions, diamonds very bright and lively, hardly any wear to mount, full UK hallmarks clear, Art Nouveau 750

Frames, framed pictures and prints togeter with a book on modern art

Parisian women.- Uzanne (Octave) La Femme a Paris. Nos Contemporaines, one of 110 copies on japon, 20 plates by Massé after Vidal, duplicated in plain and hand-colour, some hand-colouring to illustrations, prospectus/order form loosely inserted, bookplate, hinge neatly reinforced with paper tape, original wrappers, light creasing and rubbing to extremities and along joints, some patches of retouching to 2 upper corners of upper and lower wrappers, spine broken in places with the odd f. detached, still a lovely copy overall, preserved in custom-made drop-back box, Paris, Ancienne Maison Quantin, 1894; and another by Uzanne, also housed in custom-made box, 4to & 8vo (2) *** A beautifully hand-coloured example of a fin-de-siècle magazine. This copy in unusually good condition in the classic art nouveau style. An comprehensive view of French women across all sections of society: more typical coverage of the 'modern woman' are present, but illustrations of these women getting dressed in the boudoir, being washed, or taking naps are a more intimate depiction than the classic high class femme Parisienne found in other journals. Even more unusual is the inclusion of women "dans ses difféent milieux, états et conditions" - domestic workers, shopkeepers, women in sport, and even, in the third part, a delineation of different factions of prostitution. An illuminating and inclusive journal for the modern femme a Paris.     

Glasse (Hannah) The Art of cookery, made plain and easy, 'A new edition, with all the modern improvements', large folding letterpress bill of fare for each month, printed signature of Glasse to head of B1, the odd contemporary marginal ink recipe, including 'To preserve butter' to p.352 and 'Malaga wine' to foot of last page of index, spotted, occasional staining, lightly browned, contemporary calf, sympathetically rebacked, gilt spine in compartments, corners worn, covers rubbed and scuffed, [Cagle 704; Maclean pp.59-61; Oxford pp.76-77 (note) ; Simon BG 768; Vicaire 413-414], Printed for W. Strahan, J. Rivington and sons, L. Davis [& others], 1784; and another copy of the same without the bill of fare, 8vo (2)

Selection of Antique and modern art glass. See photos.

Collection of assorted reference books to include dolls, Japanese art, modern design, collectors items, rugs and carpets, ceramics and glass, etc

A modern French bronze Art Deco figure of a female dancer with arms outstretched after Chiparus on black marble base, 25½" high

A modern French gilded bronze Art Deco-style figure of a female hold a theatrical mask on black marble base with green marble plinth, 16" high

A modern Austrian coloured bronze Art Deco-style figure of a female ballerina with mouse after Deyas on black marble base, 15½" high

A modern French gilded bronze Art Deco-style figure of a classical female archer on rocky base after Faguays on black marble plinth, 20" high

A modern French Art Deco- style bronze figure of a female dancer after A. Gory on black marble tapered base, 20" high

A modern French bronze Art Deco-style figure of a dancing female standing on one leg holding a shield and dagger on black marble base, 20" high

A modern French bronze Art Deco-style figure of a female dancer with arm outstretched after Chiparus on black marble base, 15½" high