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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are known for their historical research and editorial work, particularly on topics related to Wrttemberg history and historical documents from the region.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

AFTER THE ANTIQUE- A WHITE BISCUIT PORCELAIN MODEL OF THE BORGHESE CENTAUR BY GIOVANNI VOLPATO (1735-1803), LATE 18TH CENTURY Impressed stamp to one side of plinth G. Volpato Roma 28cm high, base 18cm wide There are two Roman forms of these large centaur sculptures. The first are the 'Furietti' pair in Laconian grey black marble which were discovered during excavations at Hadrian's Villa in Rome during the 1720s. That pair were purchased by Cardinal Furietti, whose descendants sold the centaurs to Pope Clement XIII after which they were added to the Capitoline Museum collection. This form, with the young Eros figure riding on the back of the older of the two centaurs, was excavated in Rome in the 17th century and entered into the Borghese collection. Together with 694 other statues it was acquired from Camillo Filippo Ludovico Borghese by Napoleon in 1807 and is now held in the Louvre Museum. Working in white biscuit, Volpato mimics the white marble of the original and a pair of centaurs by Volpato are held in the Museum of Arts and Crafts Hamburg (1878.564.a). For a comparable pair of centaurs by Volpato please see Christie's New York, Important European Furniture, Works of Art, Ceramics, 21 May 2003 lot 99 (sold for $15,535 inc. buyer's premium). Condition Report: With engrained surface dirt throughout- resulting in browner patches- and odd fluorescence under UV. Cupid right foot and right wing repaired, lacking fingers to centaur's hand and section of rein/strap formerly over hand Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.  Condition Report Disclaimer

AFTER THE ANTIQUE- A BRONZE MODEL OF THE PERSONIFICATION OF THE RIVER NILE IN THE MANNER OF RIGHETTI, CIRCA 1820-1850 15cm high, base 27cm wide, 13cm deep Provenance: Agnew & Co 2019 Masterpiece Fair This bronze depicting the River Nile is a reduced version of a colossal Roman marble group found in 1513 in Campo Marzio where it was probably part of the decoration of the Iseo Campense. The composition is an allegory of fecundity with a cornucopia placed prominently near the reclining Nile, and the sixteen small children who cavort on and about the figure of the river symbolize the sixteen cubits by which the river rose annually, fertilizing the surrounding areas. The complexity of the composition, due in large part to the incorporation of the children, meant that reproductions in bronze are scarce. A simplified version, without the children, and possibly executed by Carlier and Buviette is held in The Huntington Library, Art Museum, San Marino California. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Modern scuff to laurel wreath above his face- some edge wear and patina rubbing but generally in fairly good condition for age and likely handling Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer

Crusader - Gentleman's Art Deco 9ct gold case wristwatch, the rectangular white dial with Roman hour markers, seconds subsidiary, and blued steel hands, Birmingham, 1934, unsigned crown, hinged Dennison case back, signed 15 rubies manual wind movement, 22mm x 32mm (ex.crown), on a later strap, 14.1g gross approx. (ex.movement), with Carmichael Ltd., Hull, retailers box

An Art Nouveau period walnut bracket clock, Roman numerals on silvered chapter ring, twin winding holes, eight day movement striking on a gong, architectural case, 42cm high over handle, c.1900

Group of assorted items to include a Wedgwood terracotta jug, moonflask vase, glass ointment pot (possibly Roman), Art Deco bedside clock, rolls razor, Elkington & Co fruit knives and forks and a Mastra camera.Moonflask vase has couple of small rim chips

Salvador Dali (1904-1989)"Return of Ulysses", 1977From the portfolio "Homage to Homer"Lithograph on paperSigned and numbered 170/350 Published by Levine & Levine, New York(American edition of 350 plus AP, international edition of E350 plus AP, edition for exclusive distribution by the artist 125 in Roman numerals)75,8x56,5 cm (papel/sheet)Certified on the reverse by Bruce Hochman, International Fine Art Appraisers.

Ptolemaic - Roman Period, Ca. 100 BC - AD 100. A collection of two strings of glass beads composed of barrel-shaped, biconical, and tubular forms in yellow and green tones, with surfaces featuring striated or marbled designs.For similar see: The Louvre Museum, Main number: AF 13413.Size: 440-460mm x 5-8mm; Weight: 45gProvenance: 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.

Ptolemaic - Roman Period, Ca. 100 BC - AD 100. A mosaic glass inlay in the form of a stylised snake head, composed of opaque yellow with contrasting red and dark glass details set within a cobalt blue matrix. The head features a circular red eye outlined in black, positioned above a series of black vertical lines resembling fangs. A red, curved element below forms an open mouth. Black diagonal markings extend along the upper surface towards the tapering end, interspersed with smaller black rectangles along the lower edge. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.For similar see: Christie's, Live Auction 7758, The Groppi Collection, 26 April 2012, Lot 10.Size: 37mm x 18mm; Weight: 2gProvenance: Prince collection, 1990s-2014; Ex. Christie's, 26 April 2012, lot 7, Sale 7758, The Groppi Collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 100 - 300.A Roman cast bronze handle depicting the face of Apollo on its lower portion. A figure of a crane is depicted in profile on the middle part of the handle. The handle arches in a gentle curve to a duel terminal on the upper end, which is decorated with wings on each side. A thick loop projects from the top of the handle. For similar see: Christie's, The Royal House of Savoy (Live Auction 17486), Lot 76. Size: 105mm x 60mm; Weight: 105gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter..

Ptolemaic - Roman Period, Ca. 100 BC - AD 100. A rectangular mosaic glass inlay depicting a waterfowl, possibly a snipe, against a translucent grey-blue matrix. The bird is shown in profile with its head turned backward, preening its raised left wing. The long, brown beak extends forward, while the head and neck are rendered in red and yellow. The body features layered imbricated feathers transitioning from red and yellow to deep blue and white, with the tail in green and yellow. The wing is detailed with red, dark brown, and green flight feathers, and the underbelly is in yellow. The legs and webbed feet, positioned on a thin green baseline, are striped in red. Reviewed by Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.Exhibited: Antikensmuseum Basel und Sammlung Ludwig und Museum August Kestner Hannover, Köstlichkeiten aus Kairo!, 2008, no. 28b.Size: 24mm x 20mm; Weight: 5gProvenance: Prince collection, 1990s-2014; Ex. Christie's, 26 April 2012, lot 12, Sale 7758, The Groppi Collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Roman or earlier, Ca. AD 100 -300. A solid gold bracelet composed of a thick, rounded core encircled by tightly coiled gold wire, creating a spiralled surface.Size: 70mm x 62mm; Weight: 160gProvenance: 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 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. 1st - 2nd century AD.A translucent green glass urn with a rounded, globular body tapering towards a narrow base. Vertical ribs extend from the shoulder to the lower section. The wide cylindrical neck is accentuated by a thick, applied rim with a slight overhang.For similar see: The Metropolitan Museum of Art, Object Number: 81.10.15; Stern E.M., Roman, Byzantine and Early Medieval Glass, the Ernesto Wolf Collection, 2001, no. 86, p.195.Size: 155mm x 140mm; Weight: 325gProvenance: Prince collection, 1990s-2014; Ex. Jack-Philippe Ruellan. 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.

New Kingdom, 18th - 20th Dynasty, Ca. 1550 - 1070 BC (Papyrus pot), Roman Period, Ca. 100 BC - AD 100 (Harpocrates). A mould-formed pottery papyrus pot with raised petal-like motifs encircling the base and two slender branches extending downward, each adorned with delicate petals. A pierced ring handle is present on the side. Accompanying the vessel is Harpocrates statuette, depicted in a relaxed pose and with a finger to his lips.For similar see: The Museum of Fine Arts, Budapest, Inventory number 84.288.A. Exhibited: The Lily Place Collection of the Minneapolis Institute of Art from 1928 to 1958 and at the Robert and Frances Fullerton Museum of Art (RAFFMA) at California State University, San Bernardino from 1998 to 2023 (Papyrus pot). The Minneapolis Museum of Art and the Los Angeles County Museum of Art (LACMA) (Harpocrates).Size: 80-100mm x 35-40mm; Weight: 115gProvenance: (left) Collection of Dr. W. Benson Harer, Los Angeles, California, USA; Exhibited in the Robert and Frances Fullerton Museum of Art (RAFFMA), California State University, San Bernardino from 1998 to 2023, reference number EL01.087.1998; Ex. Superior Gallery, Los Angeles, California, USA, 1976; Ex. L. Blumka collection, 1958; Ex. Minneapolis Institute of Art, bequeathed by Ms. Lily Place, 1928, ref. no. 28.189; Ex. Cairo Suq, Cairo, Egypt. (right) Dr. W. Benson Harer, Los Angeles, California, USA; Ex. Superior Gallery, Los Angeles, California, USA, 1976; Ex. L. Blumka collection, purchased in 1958; Ex. Minneapolis Institute of Art from 1928 to 1958, bequeathed by Ms. Lily Place, 1928, ref. nos. 28.24.162 and 25.327; Ex. Cairo Suq, Egypt; Published in "Temple, Tomb, and Dwelling", fig. 78b. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

A sophisticated Waterford Crystal fan clock, beautifully crafted with radiant cut patterns that capture and reflect light. This elegant timepiece features a gold-tone clock face with Roman numerals, encased in premium Waterford crystal. The timeless fan shape adds a touch of Art Deco-inspired luxury, making it a perfect display piece for any home or office. Marked Waterford Crystal on the clock face, ensuring authenticity.Issued: 20th centuryDimensions: 5"HCountry of Origin: IrelandCondition: Age related wear.

A contemporary David Fry large stoneware bowl, blue and subtle flambé glazed in heather tones of blue and purple embellished with a relief "Twin Fish", a Chinese emblem for good luck, harmony and marital bliss traditionally found on ancient Sung wares, inscribed mark, together with promotional materials, diameter 35 cm. [David Fry has over 50 years of experience creating unique works inspired by his love of English medieval and Oriental ceramics, he has studied at various institutions and art schools including Southend School of Art from 1967. His first studio was at Beamish Hall, County Durham, in 1974. He has exhibited widely and won multiple awards including the 1987 BBC Design Award, and has made several presentation pieces including one for HRH Princess Anne in 1994. He worked on the restoration project at Newcastle Arts Centre producing architectural ceramics features where he found a studio directly on top of a Roman Milecastle, his studio is now in North Tyneside. He specialises in stoneware and porcelain decorated with high-fired Chinese and Japanese glazes]

After Salvador Dali (Spanish, 1904-1989). Color lithograph titled "Le Grand Pavon," published in 1996 in conjunction with Brana Fine Art after the original painting that was then owned by Doug and Alice Alsobrook. From a total edition of 220; here numbered in Roman numerals XXIII/LXXV (13/75). The paper had been pre-signed by Dali for Levine and Levine prints that were never published; the signature appears in the lower right of the sheet.Reference: Field 219 (Appendix Q).Sight; height: 28 3/4 in x width: 19 1/2 in. Framed; height: 39 1/2 in x width: 30 in x depth: 1 3/4 in.Condition: The colors are bold and bright. There are no major visible tears, losses, or signs of restoration. Housed under a mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.

WILLIAM LINNELL (BRITISH 1826 - 1906), FLOCKS FROM THE MOUNTAIN oil on canvas, signed and dated 1871, titled label verso framedimage size 102cm x 158cm, overall size 122cm x 178cm Handwritten labels verso Provenance: Private Scottish collection.Note: William Linnell was a British painter and draftsman. London born, he was the son of the painter John Linnell (1792-1882). Linnell is particularly noted for his 1840 drawing of Smugglerius, which is an écorché sculpture of a man posed in imitation of the ancient Roman sculpture known as the Dying Gaul. His work is held in the permanent collection of the Fitzwilliam Museum at Cambridge University, the Tate Museum in London, and the National Gallery of Art in Washington, D.C..

A TERRACOTTA BUST OF A ROMAN SENATOR PROBABLY ENGLISH, 18TH CENTURY 44.5cm high Provenance: Works of Art from the collection of the late Roger Warner Esq, offered by his family Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Historic and more recent repairs to breaks and damages. Firing vents to reverse and back of head- dirt to surface Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer

AN IMPRESSIVE GEORGE III GILT METAL MOUNTED MUSICAL AUTOMATON CENTRE SECONDS CALENDAR TABLE CLOCK UNSIGNED, LONDON, CIRCA 1790The substantial six pillar triple fusee bell-striking movement with plates measuring 8.75 by 7.25 inches and verge escapement regulated by lenticular bob pendulum incorporating unusual vertical rack slide regulation to suspension, the musical train playing a choice of six tunes on eleven bells with eleven hammers, via a 3.5 inch long 2.5 inch diameter pinned cylinder transversely positioned to the upper left of the backplate, every three hours after the sounding of the hour bell, the backplate engraved with a delicate arrangement of symmetrical rococo scrollwork around a central small basket of flowers within a scribed-line outer border, the 8 inch arched dial with circular fired white enamel Roman numeral chapter disc with Arabic five minutes beyond the outer minute track, with pierced brass hands and blued steel arrow sweep centre-seconds hand set within a moulded bezel surround, the spandrel areas with four fired enamel subsidiary dials, FASTER/SLOWER opposing selection for six tunes HORNPIPE/SANDY OF THE LEE/HELEN MACHREE/ROBIN GRAY/MINUET/HORNPIPE to the upper quadrants, over date-of-the-month opposing STRIKE/SILENT to the lower, within polychrome floral spray decorated verdigris painted infill, beneath arch composed with a realistically painted pair of red-brick townhouses flanking an aperture revealing ten parading figures modelled as actors, musicians and acrobats passing back and forth in front of three panels of glass spinning rod 'waterfall' automata, incorporating curved niche profile to the central bay of the backdrop and set within naturalistic leafy surrounds, the apex of the arch also bordered with painted representation of gathered drapery, the gilt brass mounted ebonised case with large fire-gilt figural surmount cast and chased as Mars wearing a feather-plumed helmet, armour and a cape, stood with the three-headed Cerberus on an oval plinth flanked by two further smaller figures of Classical maidens, over repeating leaf draped capping to the bell-top superstructure applied with rams-head adorned martial trophy decorated festoon mounts and lions masks at the angles to the concave sections, raised over a repeating rosette decorated gilt brass diamond lattice sound fret frieze flanked by further figural finials cast as Mars opposing a king applied to the corners above the ogee over concave top mouldings, the opening front with leaf cast fillet moulding bordering the glazed dial aperture surmounted by mask-centred husk swag decoration and applied with a generous martial trophy mount to lower rail, flanked by lions masks issuing further pendant husks and martial trophy motifs over stags head mounts to the canted angles, the sides with generous hinged carrying handles over rosette decorated gilt diamond lattice pierced arched sound frets and martial trophy mounts to lower margins, the rear matching the front, on cavetto moulded skirt base with generous acanthus scroll cast and chased supports.88cm (34.5ins) high, 35.5cm (14ins) wide, 28cm (11ins) deep. Although unsigned, the present lot does exhibit strong similarities with examples from the workshop of Francis Perigal who is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as gaining his freedom of the Clockmakers' Company on 1781, serving as Master in 1806 and dying 1824. Most notable amongst these features are the layout of the music work (transverse barrel set to the upper left of the backplate), use of fired enamel (both for the chapter disc and the subsidiaries), provision of sweep centre seconds set between the hour and minutes hands, and extensive use of glass-rod 'waterfall' automaton. Indeed, all of these elements can be seen in an example by Perigal sold at Christies, King Street, London sale of Magnificent Clocks 15th September 2004 (lot 16). The 'vine engraving' on the backplate can be also be closely compared to that on a table clock by George Margetts illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on page 371 (Figure 20.4). Amongst the tunes is 'Auld Robin Gray' which is a Scottish ballad written by Lady Anne Lindsay in 1772; 'Sandy o'er the Lee' is also noted as 'Mr Baird's Favourite Reel' in Niel Gow's A Second Collection of Strathspey Reels of 1788. The extensive use of Martial motifs within the mounts of the present clock would suggest that it was originally supplied to a client with strong military connections; possibly for a regimental institutional or perhaps a wealthy member of the military class. Condition Report: CONDITION REPORT AVAILABLE ON REQUEST FROM THE DEPARTMENTCondition Report Disclaimer

Y A WILLIAM III SILVER MOUNTED EBONY TABLE CLOCKTHOMAS HERBERT, LONDON, CIRCA 1695The six finned and latched twin chain fusee movement now with anchor escapement and later system of 'three-in-two' quarter striking on two bells, sounding ting-tang for the quarters and single blow on the larger bell at the hour, the backplate finely executed and attributed Tompion's engraver 'Graver -155' with symmetrical foliate scrollwork incorporating festooned bell-flower swags over a shaped cartouche signed Thomas Herbert, LONDINI within a broad engraved laurel band outer border, the 6.25 inch square brass dial with finely matted centre within applied silvered Roman numeral chapter ring with stylised fleur-de-lys half hour markers and Arabic five minutes within the outer minute track, with scroll pierced sculpted steel hands, applied cast silver winged cherub mask spandrels to angles and N/S strike/silent selection switch at twelve o'clock, the ebony veneered case with foliate-bud tied hinged silver carrying handle to the domed caddy surmount applied with silver repousse foliate scroll pierced mounts to front and sides, over double ogee top mouldings and silver foliate scroll pierced repousse lozenge sound fret to the upper rail of the front door, the uprights with unusual twin mask and winged scroll decorated silver escutcheon mounts, the sides with conforming lozenge repousse sound frets over rectangular windows, the rear with rectangular glazed door set within the frame of the case applied with further matching escutcheon mounts, on ogee moulded shallow skirt base with moulded squab feet, (formerly with verge escapement and hour striking with pull-quarter repeat work).33cm (13ins) high with handle down, 24cm (9.5ins) wide, 15cm (6ins) deep. Thomas Herbert is recorded in Loomes, Brian Clockmakers of Britain 1286-1900 as born around 1651 and becoming a Free Brother of the Clockmakers' Company in 1676, having possibly previously gaining his freedom of the Needle Makers' Company. In 1676 Thomas Herbert was appointed 'Watchmaker and Clockmaker in Extraordinary' to the King (Charles II), and Married Sarah East (daughter of the clockmaker Edward East) at Knightsbridge Chapel in December of that year. He is subsequently noted as the 'King's Clockmaker' when he took as an apprentice Evan Herbert in 1680; and then as the 'Queen's Clockmaker' when accepting John Okey as an apprentice in 1693. In 1699 Thomas Herbert petitioned to the Crown for payment of his account for watches 'furnished for the Pages of the Bedchamber' and was paid £9 15s 6d for work undertaken at Hampton Court in 1702. Three years later Thomas Herbert was awarded £100 per annum 'in lieu of such bills as he did annually make for mending, cleaning and taking care of her Majesty's clocks and watches...'. Further requests 'in regard of his great poverty' were made on 1708, and in 1713 a telling record notes 'to be paid to Thomas Herbert for half a year's salary due Midsummer 1701, as clockmakers to King William III, by general letters of privy seal'. Loomes does not record his date of death, but it is likely that it was fairly soon after this date due to his advancing years. The engraved decoration to the backplate of the present lot can be closely compared to the backplates of 'The Selby Lowndes Tompion' (no. 217) and 'The Medici Tompion' (no. 278) illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 pages 239-40 (Figures 13.24 and 13.25). Most notable is the strong similarities within the rendering of the foliate scrollwork with 'larger more luxuriant leaves' than often seen, as well as the delicate bell-flower festoon swags. The Signature script also has strong similarities especially within the calligraphy for 'LONDINI'.Although the movement of the present clock has had historic alteration to the mechanism it does present as a very attractive scarce silver mounted example by a fine and rare maker, which could be brought back to working condition in its present form without a great deal of expense. Or, conversely, presents as a tantalising project for restoration back to its original specification. Condition Report: As catalogued the movement has been altered in the 19th century from hour-striking with pull-quarter repeat to 'three-in-two' ting-tang quarter striking; the strike train has also been converted form verge escapement regulated by short bob to anchor regulated by lenticular bob. Hence, due to these alterations, all wheelwork above the fusee for both trains has been changed/renewed. In addition to this there are a series of filled holes to both plates as well as additional filled slots to the frontplate. The going train is currently not running as the fusee chain is detached at the fusee end; the chain however appears not to be broken and the train itself free form visible damage. The spring will 'tighten' when the barrel is rotated however we cannot vouch for the overall integrity of the mainspring. The strike train is in working condition but is a little lazy and will probably require some adjustment. Two of the movement pillars have lost their latches (one is pinned and the other has been filed flush with the frontplate) and the strike-side lower pillar has some slight marking from the chain becoming detached from the fusee. The dial is in good original condition with no visible evidence of notable alteration except for al, the feet now being pinned rather than latched and the hour hand being repaired at its tip. The chapter ring has overall oxidation/mellowing. The case is generally in sound original condition. The caddy superstructure has some noticeable cracking within the veneers visible within the front and rear surfaces. The interior of the caddy also has brass reinforcements to the handle fixings, hence it is possible that the caddy has become detached at some point. The corners have neatly filled holes to the top edges suggesting that finials were fitted at some point. The mask around the dial (behind the front door hence only visible when door is open) has some shrinkage cracking and veneer patch repairs to the overlap. The lower right-hand joint of the front door is also a little loose. The right-hand side has some veneer cracking and wear around the upper fret aperture and the left hand has similar cracking and a small veneer patch repair. The rear door has a veneer patch repair adjacent the key escutcheon mount and the lower rail has been scooped-out (along with a small amount to the surrounding frame beneath) to allow clearance for the swing of the larger later lenticular pendulum bob. The rear edge of the seatboard is also cut with a slot for the same purpose. The front right hand corner of the seatbaord and the base of the case is cut with a slot aperture most likely to allow for a pull-quarter repeat lever which is no longer present. The silver mounts are all in good condition. The locks and hinges appear original however the feet are replacements. Faults to the case are otherwise very much limited to crack in the left-hand side glass, minor bumps, scuffs and shrinkages.Clock has a case key but no winder. Condition Report Disclaimer

A GEORGE II/III POSTED THIRTY-HOUR WEIGHT-DRIVEN WALL ALARM TIMEPIECEUNSIGNED, SOUTHERN ENGLAND, MID 18th CENTURYThe posted frame with rectangular section corner uprights rivetted to both the top and bottom plates enclosing three-wheel going train incorporating anchor escapement for regulation by long pendulum swinging behind the frame to the rear, with crown-wheel weight-driven alarm mechanism applied to the inside of brass backplate sounding on bell mounted above the top-plate via a t-shaped vertically pivoted hammer, the rectangular dial with silvered Arabic alarm setting disc to the rococo foliate scroll engraved centre within 5.75 inch applied silvered Roman numeral chapter ring with diamond lozenge half hour markers, with steel fleur-de-lys hand beneath applied pierced and engraved dolphin fret and a bell surmounted by a brass ball-and-spire finial, mounted on a later mahogany wall bracket with break-arch back panel applied with shaped side brackets supporting a rectangular table over double-scroll outline base.The clock 24.5cm (9.75ins) high, 14.5cm (5.75ins) wide, 13.5cm (5.25ins) deep including pendulum crutch, the clock on bracket 41cm (16.25ins) high, 18cm (7ins) wide, 14cm (5.5ins) deep. Although unsigned the style engraving to the centre of the dial would suggest that the present timepiece was made in Southern England during the middle of the 18th century. Indeed, related engraving seen on table clock backplates is described in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 within the chapter titled Vine Engraving, 1740-1770 (pages 337-357). Condition Report: The trains both appear all-original with the only exception being the escape wheel collet suggesting that the wheel has been off its arbor at some time (possibly to make an adjustment for wear?) The pinions show noticeable wear however timepiece is in working order although a precautionary gentle clean/service is advised; the pendulum crutch is probably a replacement. The hand, fret, bell and finial are later replacements; each side of the top plate has two spare threaded holes suggesting that side frets were also fitted. Single pin holes to the centre of both sides of the top and bottom plates also indicate that side panels were also fitted (pinned into place) at some point. The wall bracket has residue form parcel tape (used by a previous removal company) which should be fairly straightforward to remove. Timepiece has weights for both the strike and alarm trains but no pendulum. Condition Report Disclaimer

A GEORGE II BRASS MOUNTED EBONISED QUARTER-CHIMING TABLE/BRACKET CLOCK WITH TRIP REPEATJOHN ELLIOTT, EXETER, MID 18th CENTURYThe substantial five (formerly six) pillar movement with plates measuring 8.25 by 7 inches, sounding the quarters on a graduated nest of eight bells and striking the hour on a further larger bell, now with anchor escapement regulated by lenticular bob pendulum incorporating pivoted rise/fall regulation arm to suspension, the backplate engraved with a basket of fruit within symmetrical foliate vine scrollwork centred by a large gadroon-bordered shaped cartouche signed John Elliott, Plymouth, the 8 inch brass break-arch dial with shaped false bob aperture to the matted centre within applied silvered Roman numeral chapter ring with fleur-de-lys half hour markers and Arabic five minutes beyond the minute ring, with scroll-pierced steel hands and applied female mask and scroll cast spandrels to angles with the upper interrupted by subsidiary Strike/Silent selection and regulation adjustment dials, the arch further date of the month dial flanked by strapwork scroll cast mounts, the ebonised case with five brass disc-and-spire finials to the inverted bell-top superstructure incorporating brass mouldings at the junction between each section, over brass-edged double cavetto top mouldings and opening front inset with brass fillet mouldings to the glazed dial aperture and scroll pierced and engraved upper quadrant frets flanked by brass bound rounded angles, the sides with hinged cast brass handles over concave-topped rectangular scroll pierced and engraved sound frets centred with a basket of flowers over a stylised lions mask within brass fillet surround, the rear with conforming rectangular break-arch glazed door set within the frame of the case, on two-tier cavetto moulded skirt base edged in brass over generous cast ogee bracket feet.57.5cm (22.75ins) high, 35cm (13.75ins) wide, 23cm (9ins) deep. Very little of John Elliott of Plymouth is known with only his marriage, in November 1732, being recorded. As was the tradition for clockmakers to marry after completing their apprenticeship this would suggest that he was born in around 1710.  The engraving to the backplate of the present clock broadly conforms to designs illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS - Art on a Canvas of Brass 1660-1800 pages 301-03 (Figures 17.8-17.10) which would date the present lot to around 1740-50. Condition Report: Movement is complete and in good original condition with the only noticeable replacements being the escapement and the going train third wheel. The going train will run however both the strike and quarter trains are presently not functioning. Both of these trains appear intact, unaltered and will wind; they will just about operate with manual assistance but will not trip/run when hands are advanced. As the movement is somewhat dry/dusty a gentle clean/service and some adjustment will be required before it can be put to use. The movement is generally well made/finished and generally exhibits minimal wear or rebushing etc.; there is no trip-repeat line fitted at present. The dial is generally dull/discoloured with mellowing to the castings and patchy oxidation to the silvering. The centre has two smallish plugged holes within the matting (near the IIII and VIII numerals) almost certainly left over from fixing an arched silvered signature plate which is no longer present. As with the movement the dial is of good quality and well finished. The case is generally in good original condition. The caddy superstructure has some slight veneer shrinkage only, as does the front door which opens to reveal only a couple of small losses/repairs and cracking to the veneer overlap of the mask bordering the dial. Both sides have some shrinkage cracking with the most notable being to the rail beneath the fret aperture to the left-hand side; otherwise are in good original condition although the frets are somewhat tarnished/discoloured. The rear door, surround and skirt base are all in good original condition with only slight wear and other age-related blemishes evident.Generally a well made clock in very sound original condition (except for the escapement) which has a pendulum, case key and a winder. Condition Report Disclaimer

A Butterfield type sundial, silver, engraved decoration, black Roman and Arabic numerals for four latitude scales, with indication on the back of the latitudes of 18 cities, French, 18th C. (1st quarter), non-original needle, wcase, marked BUTTERFIELD A PARIS, marked silver, without Portuguese marks, pursuant to Decreto-Lei No. 120/2017, of September 15 - art. 2nd, no. 2, paragraph c), Dim. - 6 x 5,5 cm; Peso - 21 g.

AN ART DECO BURR YEW-WOOD JEWELLERY BOX (2)Circa 1930 Mounted with stringing, interior fitted with velvet lining and subsidiary tray, 23cm wide; 11cm high; Together with sycamore inlaid octagonal tea caddy, with internal lid and foil lined, 12cm wide; 12.5cm highThis lot contains ivory and has been registered in accordance with the Ivory Act (section10). Reference No. 48QW66DY Prospective buyers should be aware that some countries have limitations on importing items made from endangered species, including materials such as coral, ivory, and tortoiseshell. Therefore, it is advisable for potential buyers to familiarize themselves with relevant customs regulations before placing bids, particularly if they intend to import this lot into another country. 

A finely crafted marble and alabaster bust depicting Emperor Augustus, the first Emperor of Rome (27 BCE-14 CE). This neoclassical interpretation of Augustus is sculpted with remarkable detail, featuring a serene yet authoritative expression, stylized short hair, and a toga draped over his shoulders. The bust is composed of multiple types of stone, with the head rendered in white marble, the drapery in a reddish alabaster, and additional decorative elements in dark stone, adding to its visual depth and realism. This piece is inspired by ancient Roman portraiture, which emphasized Augustus' idealized yet approachable features, reinforcing his image as a benevolent and powerful ruler. Such busts were common in public and private spaces of the Roman Empire, symbolizing the authority and divinity of the emperor. A highly decorative and historically significant sculpture, this bust is an excellent addition to any collection of classical art, historical artifacts, or fine decor. Dimensions with rotating marble base: 18"L x 11"W x 24"H.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

A late 19thC walnut cased mantel clock, the circular white enamel dial bearing Roman numerals, key wind, the movement for R & Co Paris, the case of architectural form, 27cm high, together with an Art Deco oak cased mantel clock, the silvered square dial bearing Arabic numerals for John D Francis Ltd, key wind, 13cm high.

An art deco style "Elliott, London" Mantel Clock with Roman numerals, with pendulum and key, 11 1/2" wide x 5" deep x 8 1/2" high.

An Art Deco walnut cased Grandmother clock, the square dial with Roman numerals, 140cm high

Abby Hope Skinner The Fortune Teller, 2025 Oil on aluminium panel Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Abby Hope Skinner is a contemporary figurative artist and portrait painter working primarily in oils. Her practice delves into themes of folklore, the otherworldly, and archetypal characters, often referencing classic illustrations and traditional storytelling motifs. By blending historical inspirations with a modern sensibility, her work invites viewers into narratives that feel both timeless and deeply personal. Education 2013-2016 BA in Illustration, Arts University Bournemouth, England 2012-2013 Foundation Degree, Arts University Bournemouth, England" Group Exhibitions 2021 The Royal Society of Portrait Painters, Mall Galleries, London, England 2014 Christmas Group Show, The Darren Baker Gallery, London, England 2012 En Plo Gallery Group Show, Paphos, Cyprus Awards 2023 Shortlisted, Herbert Smith Freehills Portrait Award 2021 Shortlisted, exhibited and 'Highly Commended' by the De Laszlo Foundation, Royal Society of Portrait Painters 2018 Shortlisted, BP Portrait Award 2015 Shortlisted, BP Portrait Award 2014 Shortlisted, Royal Society of Portrait Painters Shortlisted for Sky Arts Portrait Artist of The Year, chosen by Lord Melvyn Bragg 2013 Best in Show, Summer Show, Arts University Bournemouth Statement about AOAP Submitted Artwork Abby's contribution to Art on a Postcard celebrates themes of strength and transformation. Created for International Women's Day, the painting portrays a powerful young woman as a modern fortune teller holding the Death card and a pendulum - symbols of change and renewal that honour women's resilience and evolving narratives. Designed to resemble a tarot card, the artwork incorporates gold framing and intricate accents, with Roman numeral "X" referencing the Wheel of Fortune card, symbolising life's cycles and turning points. 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.

Annie Nichols Saint Agata's Breasts on a Tazza 1, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Originally training and working as a chef, Annie also studied fine art, and her art practice is heavily influenced by food, the etiquette of table service, privilege, desire and collecting. Statement about AOAP Submitted Artwork 46 Saint Agata's Breasts on a Tazza 1 (AKA Tits on a Tazza) - 2025 In 251 CE Saint Agata of Sicily defied a powerful Roman official Quintianus, rejecting his romantic advances and refusing to renounce her Christian faith. So, he had her tortured and her breasts torn off in an attempt to control and silence her. But she remained defiant. She became a symbol of resilience and strength and is often depicted holding a plate or tazza containing her severed breasts. In Sicily, on her feast day, breast-shaped, 'Minne di Sant' Agata' buns are made honouring Saint Agata, the patron saint of sexual violence victims, breast cancer patients, martyrs, and bellringers. Her story reflects a long history of women resisting control, who face violent punishment for their defiance, and a stark reminder of violence inflicted on women across the globe today, who continue to stand up for their beliefs and rights despite violence and oppression. 47 Annie Nichols Santa Lucia's Eyes on a Tazza 1 In 304 CE, in Syracuse, Sicily, Santa Lucia was promised in an arranged marriage to a wealthy suitor. She refused, having vowed to remain a virgin and dedicate her life to God. Enraged, the suitor betrayed her as a Christian to the Roman authorities during a time of brutal persecution. She was tortured, forced into prostitution, and eventually executed; her eyes gouged out before her death. Santa Lucia is often depicted carrying a plate or tazza containing her eyes, symbolizing strength and perseverance. Her story reflects a long history of women resisting control, who face violent punishment for their defiance, and a stark reminder of violence inflicted on women across the globe today, who continue to stand up for their beliefs and rights despite violence and oppression. Santa Lucia is the patron saint of vision and light, the blind, ophthalmologists, glaziers and stained glass workers. 48 Annie Nichols Santa Lucia's Eyes on a Tazza 2 In 304 CE, in Syracuse, Sicily, Santa Lucia was promised in an arranged marriage to a wealthy suitor. She refused, having vowed to remain a virgin and dedicate her life to God. Enraged, the suitor betrayed her as a Christian to the Roman authorities during a time of brutal persecution. She was tortured, forced into prostitution, and eventually executed; her eyes gouged out before her death. Santa Lucia is often depicted carrying a plate or tazza containing her eyes, symbolizing strength and perseverance. Her story reflects a long history of women resisting control, who face violent punishment for their defiance, and a stark reminder of violence inflicted on women across the globe today, who continue to stand up for their beliefs and rights despite violence and oppression. Santa Lucia is the patron saint of vision and light, the blind, ophthalmologists, glaziers and stained glass workers. 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.  

Yulia Iosilzon Pond with Amanita, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Yulia Iosilzon's figurative paintings on stretched transparent fabric are portals into vivid dreamlike worlds with roots in both ancient mythologies and contemporary social concerns. Her works hint at unfolding narratives of human-animal metamorphosis. Her visual references are wide ranging; she draws on imagery from childhood cartoons and representations of paradise, as well as exploring the Jewish iconography of her heritage. This symbolic language also extends into her ceramic practice. Education 2017- 2019 MA Fine Art, Royal College of Art, London, UK 2013 - 2017 BA Fine Art, Slade School of Fine Art, UCL, London, UK Solo Exhibitions 2024 Cool Summer, De Brock, Knokke, Belgium Modus Operandi, Bertnson Bhattacharjee, London, UK 2023 Heaven's Chambers, Carvalho Park, New York, USA 2022 Frogspawn, Sapling, London, UK Yulia Iosilzon - Art Narratives, Roksanda, London, UK Amanita Muscaria, De Brock Gallery, Knokke, Belgium Nocturnal, Foundry, Seoul, South Korea 2021 Yulia Iosilzon, Art Antwerp 2021 Solo Booth presentation, De Brock Gallery, Antwerp, Belgium A Chorus of Beauty and Menace, Carvalho Park, New York, USA The Big Fish!, Berntson Bhattacharjee x Sotheby's Nordics, Stockholm, Sweden Fanfarria, Huxley-Parlour, London, UK 2020 Invisible Power, Osnova, Moscow, Russia Artist Room Solo Presentation, Columbia x Roman Road, London, UK 2019 Paradeisos, Carvalho Park, New York, USA Group Exhibitions 2025 The Threshold Beckons, Carvalho Park, New York, USA Auguries of Innocence, Cedric Bardawil, London, UK 2024 Kristian Touborg, Se Yoon Park, Yulia Iosilzon, Carvalho Park at Frieze No. 9 Cork Street, London, UK The Dimension of Feeling, Vortic x House of Koko, London, UK 2023 Hold Me Now, IONE & MANN, London, UK Luminous Terrain, Atipografia, Arzignano, Italy Processing the past and digesting the future, Badr El Jundi, Madrid, Spain L'heure du conte, Pangée, Montreal, Canada 2022 Jingle Bells VI, De Brock, Knokke, Belgium Once Upon a Time in Mayfair, Dynamisk x Phillips, London, UK The Earth has music for those who listen, Sapling, London, UK Two Sisters, Roman Road & Working Project, London, UK The Sky above the Roof, Tabula Rasa Gallery, Beijing, China 2021 All That And A Bag Of Chips, Des Bains, London, UK Unsellable, Just a Studio, London, UK Paradise Is Not Just a Place, Roman Road, London, UK The Ode to the Body, Daniel Benjamin Gallery, London, UK Selfhood, Berntson Bhattacharjee Gallery, London, UK 2020 Fight or Flight, Roman Road, London, UK Birthday, White Crypt, London, UK Begin Again, Guts Gallery, London, UK London Now, Space K, Seoul, South Korea Crowd, Hannah Barry Gallery, London, UK RedivideR, Platform Projects, Platform Southwark, London, UK 2019 Bloomberg New Contemporaries, South London Gallery, London, UK Detritus, Wells Projects, London, UK Lacuna, Sottosale Projects, London, UK Velvet Ropes, House of Vans, London, UK Bloomberg New Contemporaries, Leeds Art Gallery, Leeds, UK Library, Triumph Gallery, Moscow, Russia RCA Graduation Show, RCA, London, UK Varieties of Disturbance, Shelf Spanish City, Newcastle, UK Wolves by the Road, Assembly House, Leeds, UK Rub The Bronze Dog's Nose, Moscow Museum of Contemporary Art, Moscow, Russia Splodge, Hockney Gallery, London, UK We Can Only Have Fun on Certain Days, Warbling Collective, London, UK Nourishment, Guests Space, London, UK AWB, Herrick Gallery, London, UK 2018 Something Else, Triumph Gallery, Moscow, Russia UJS Exhibition, London, UK More Life, Hockney Gallery, London, UK The Origin of Who, Kvadrat 16 Gallery, Copenhagen, Denmark Thumbnails, Hockney Gallery, London, UK We Are the Ones Vol I, Group Exhibition, Copenhagen, Denmark Visions, Triumph Gallery, Moscow, Russia 2017 Slade Degree Show, Slade School of Fine Art, London, UK Awards 2019 Bloomberg New Contemporaries 2016 Audrey Wykeham Prize Gallery Representation Carvalho Park (New York, USA) Public Collections Roberts Institute of Art (London, UK) HSBC Art Collection (London, UK) Xiao Foundation Museum (Rizhao, China) Nanjo Museum (Nanjo, Japan) X Museum (Beijing, China) Sixi Museum (Nanjing, China) Statement about AOAP Submitted Artwork This is a body of work about scenic environments in which the anthropomorphic creatures find themselves in their natural habitat - a pond. These environments are inhabited by dynamic, changing entities with hybrid anatomies that mix delicately featured human faces with bulbous animal bodies. These creatures move through a colorfully flecked, luminous matter that supports and harmonizes their existence, like an extracorporeal amniotic fluid. 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.

Bex Massey Queen, 2025 Watercolour and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bex Massey's work examines the role of painting and the language of display in the face of popular culture. She amalgamates simulacra and allegory to investigate notions of 'worth' via motifs and tones extracted from her childhood. Massey's previous works and exhibitions have engaged the codes and history of queer culture, along with markers of selfhood and Northern identity. Recent works have become visually softer, more sedate and uncomfortable as the unease and 'value' in this series is created via the relationships between the minimal conflations. The image pairings within these paintings encourage allusion to female bodies, building an underlying sexual tension imbued by the artist into quotidian objects. Compositionally the couplet mirror each other and their visceral epicentres form a visual echo. This is further extended by an implied auditory element as the scenes contain the potential of noise, whether it is the moment a cat yawns or fizzy drink explodes - force in one image is released in its partner. These climactically coupled, female laden, tension imbued depictions are a nod to societies persistently binary notions of gender and therein the habitual reminder that outside the male gaze, Female + Female = Incorrect. Masseys recent fertility journey with her partner has brought this into sharp focus, and this process is alluded to in the titles of canvas which are named after the sperm donors they have considered. This additional layer encourages the work to be viewed via a reproductive lens. Education 2012-2013: MA Fine Art. Merit. Chelsea School of Art, London. 2004-2007: Ba Hons Fine Art. 2:1. The School or Art, Architecture and Design, London. 2025: Just Desserts, Seventeen, London, UK Solo Exhibitions 2024 My deuce, My double, GERTRUDE x Seventeen, London, UK 2022 The truth is out there, Roman Road, London, UK 2020 We didn't start the fire, VOLT Eastbourne, UK 2018 ÀhhÁÀhhÁ, SLUGTOWN, Newcastle upon Tyne, UK 2017 ÀhhÁ, Arebyte LASER, London, UK Group Exhibitions 2024 Strange Days: Surrealist Gaze, Cross Lane Projects, Cumbria, UK Landscape of the Gods, Vestry street, London, UK 2023 Landscape of the Gods, Cross Lane Projects, Cumbria, UK Catastrophic, Unit G, London, UK 2022 Elephant, Art Gazette, London, UK QUEER ART(ists) NOW, Space Station Sixty Five, London, UK Art on a Postcard summer Auction, The Bomb Factory, London, UK Instagram Live, 19 Karen, Queensland, Australia Northern Deviants, Unit G, London, UK Kunst the clown and friends, Gallery 46, London, UK Hyper Contemporary, Hasbrook Galleries, Milwaukee, USA 2021 Play and the post peak, The Factory, London Still Journey, The Columbia, London. The Big Show, Good Mother Gallery, San Francisco. Everywoman, Superchief Gallery, New York. 2020 Pop Now, Gallery 46, London. Body Politic, Susan Boutwell Gallery, Munich. She Performs, The Glass Tank, Oxford. Viewing Room, Harlesden High St, London. Awards 2024 Shortlisted 'Macfarlanes Art Prize'. Shortlisted 'Clyde & Co Art Prize'. 2022 Shortlisted 'BEEP Painting Prize'. 2021 Winner 'Repaint History Prize for Womxn Artists'. 2016 Shortlisted 'Blooom Award, by Warsteiner'. 2016 Shortlisted 'Taking Shape Prize'. 2014 Shortlisted 'Young Masters Art Prize' 2014 Shortlisted 'The Signature Art Prize Gallery Representation Seventeen (London, UK) Statement about AOAP Submitted Artwork 'Queen' is a hopeful bid for equality in light of International Women's Day, as Queen Conch shells are seen as lucky. They are a motif that I return to regularly in my work as they are also evocative of the female form. 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.

Yulia Iosilzon Pond, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Yulia Iosilzon's figurative paintings on stretched transparent fabric are portals into vivid dreamlike worlds with roots in both ancient mythologies and contemporary social concerns. Her works hint at unfolding narratives of human-animal metamorphosis. Her visual references are wide ranging; she draws on imagery from childhood cartoons and representations of paradise, as well as exploring the Jewish iconography of her heritage. This symbolic language also extends into her ceramic practice. Education 2017- 2019 MA Fine Art, Royal College of Art, London, UK 2013 - 2017 BA Fine Art, Slade School of Fine Art, UCL, London, UK Solo Exhibitions 2024 Cool Summer, De Brock, Knokke, Belgium Modus Operandi, Bertnson Bhattacharjee, London, UK 2023 Heaven's Chambers, Carvalho Park, New York, USA 2022 Frogspawn, Sapling, London, UK Yulia Iosilzon - Art Narratives, Roksanda, London, UK Amanita Muscaria, De Brock Gallery, Knokke, Belgium Nocturnal, Foundry, Seoul, South Korea 2021 Yulia Iosilzon, Art Antwerp 2021 Solo Booth presentation, De Brock Gallery, Antwerp, Belgium A Chorus of Beauty and Menace, Carvalho Park, New York, USA The Big Fish!, Berntson Bhattacharjee x Sotheby's Nordics, Stockholm, Sweden Fanfarria, Huxley-Parlour, London, UK 2020 Invisible Power, Osnova, Moscow, Russia Artist Room Solo Presentation, Columbia x Roman Road, London, UK 2019 Paradeisos, Carvalho Park, New York, USA Group Exhibitions 2025 The Threshold Beckons, Carvalho Park, New York, USA Auguries of Innocence, Cedric Bardawil, London, UK 2024 Kristian Touborg, Se Yoon Park, Yulia Iosilzon, Carvalho Park at Frieze No. 9 Cork Street, London, UK The Dimension of Feeling, Vortic x House of Koko, London, UK 2023 Hold Me Now, IONE & MANN, London, UK Luminous Terrain, Atipografia, Arzignano, Italy Processing the past and digesting the future, Badr El Jundi, Madrid, Spain L'heure du conte, Pangée, Montreal, Canada 2022 Jingle Bells VI, De Brock, Knokke, Belgium Once Upon a Time in Mayfair, Dynamisk x Phillips, London, UK The Earth has music for those who listen, Sapling, London, UK Two Sisters, Roman Road & Working Project, London, UK The Sky above the Roof, Tabula Rasa Gallery, Beijing, China 2021 All That And A Bag Of Chips, Des Bains, London, UK Unsellable, Just a Studio, London, UK Paradise Is Not Just a Place, Roman Road, London, UK The Ode to the Body, Daniel Benjamin Gallery, London, UK Selfhood, Berntson Bhattacharjee Gallery, London, UK 2020 Fight or Flight, Roman Road, London, UK Birthday, White Crypt, London, UK Begin Again, Guts Gallery, London, UK London Now, Space K, Seoul, South Korea Crowd, Hannah Barry Gallery, London, UK RedivideR, Platform Projects, Platform Southwark, London, UK 2019 Bloomberg New Contemporaries, South London Gallery, London, UK Detritus, Wells Projects, London, UK Lacuna, Sottosale Projects, London, UK Velvet Ropes, House of Vans, London, UK Bloomberg New Contemporaries, Leeds Art Gallery, Leeds, UK Library, Triumph Gallery, Moscow, Russia RCA Graduation Show, RCA, London, UK Varieties of Disturbance, Shelf Spanish City, Newcastle, UK Wolves by the Road, Assembly House, Leeds, UK Rub The Bronze Dog's Nose, Moscow Museum of Contemporary Art, Moscow, Russia Splodge, Hockney Gallery, London, UK We Can Only Have Fun on Certain Days, Warbling Collective, London, UK Nourishment, Guests Space, London, UK AWB, Herrick Gallery, London, UK 2018 Something Else, Triumph Gallery, Moscow, Russia UJS Exhibition, London, UK More Life, Hockney Gallery, London, UK The Origin of Who, Kvadrat 16 Gallery, Copenhagen, Denmark Thumbnails, Hockney Gallery, London, UK We Are the Ones Vol I, Group Exhibition, Copenhagen, Denmark Visions, Triumph Gallery, Moscow, Russia 2017 Slade Degree Show, Slade School of Fine Art, London, UK Awards 2019 Bloomberg New Contemporaries 2016 Audrey Wykeham Prize Gallery Representation Carvalho Park (New York, USA) Public Collections Roberts Institute of Art (London, UK) HSBC Art Collection (London, UK) Xiao Foundation Museum (Rizhao, China) Nanjo Museum (Nanjo, Japan) X Museum (Beijing, China) Sixi Museum (Nanjing, China) Statement about AOAP Submitted Artwork This is a body of work about scenic environments in which the anthropomorphic creatures find themselves in their natural habitat - a pond. These environments are inhabited by dynamic, changing entities with hybrid anatomies that mix delicately featured human faces with bulbous animal bodies. These creatures move through a colorfully flecked, luminous matter that supports and harmonizes their existence, like an extracorporeal amniotic fluid. 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.

Yulia Iosilzon Pond Vol III, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Yulia Iosilzon's figurative paintings on stretched transparent fabric are portals into vivid dreamlike worlds with roots in both ancient mythologies and contemporary social concerns. Her works hint at unfolding narratives of human-animal metamorphosis. Her visual references are wide ranging; she draws on imagery from childhood cartoons and representations of paradise, as well as exploring the Jewish iconography of her heritage. This symbolic language also extends into her ceramic practice. Education 2017- 2019 MA Fine Art, Royal College of Art, London, UK 2013 - 2017 BA Fine Art, Slade School of Fine Art, UCL, London, UK Solo Exhibitions 2024 Cool Summer, De Brock, Knokke, Belgium Modus Operandi, Bertnson Bhattacharjee, London, UK 2023 Heaven's Chambers, Carvalho Park, New York, USA 2022 Frogspawn, Sapling, London, UK Yulia Iosilzon - Art Narratives, Roksanda, London, UK Amanita Muscaria, De Brock Gallery, Knokke, Belgium Nocturnal, Foundry, Seoul, South Korea 2021 Yulia Iosilzon, Art Antwerp 2021 Solo Booth presentation, De Brock Gallery, Antwerp, Belgium A Chorus of Beauty and Menace, Carvalho Park, New York, USA The Big Fish!, Berntson Bhattacharjee x Sotheby's Nordics, Stockholm, Sweden Fanfarria, Huxley-Parlour, London, UK 2020 Invisible Power, Osnova, Moscow, Russia Artist Room Solo Presentation, Columbia x Roman Road, London, UK 2019 Paradeisos, Carvalho Park, New York, USA Group Exhibitions 2025 The Threshold Beckons, Carvalho Park, New York, USA Auguries of Innocence, Cedric Bardawil, London, UK 2024 Kristian Touborg, Se Yoon Park, Yulia Iosilzon, Carvalho Park at Frieze No. 9 Cork Street, London, UK The Dimension of Feeling, Vortic x House of Koko, London, UK 2023 Hold Me Now, IONE & MANN, London, UK Luminous Terrain, Atipografia, Arzignano, Italy Processing the past and digesting the future, Badr El Jundi, Madrid, Spain L'heure du conte, Pangée, Montreal, Canada 2022 Jingle Bells VI, De Brock, Knokke, Belgium Once Upon a Time in Mayfair, Dynamisk x Phillips, London, UK The Earth has music for those who listen, Sapling, London, UK Two Sisters, Roman Road & Working Project, London, UK The Sky above the Roof, Tabula Rasa Gallery, Beijing, China 2021 All That And A Bag Of Chips, Des Bains, London, UK Unsellable, Just a Studio, London, UK Paradise Is Not Just a Place, Roman Road, London, UK The Ode to the Body, Daniel Benjamin Gallery, London, UK Selfhood, Berntson Bhattacharjee Gallery, London, UK 2020 Fight or Flight, Roman Road, London, UK Birthday, White Crypt, London, UK Begin Again, Guts Gallery, London, UK London Now, Space K, Seoul, South Korea Crowd, Hannah Barry Gallery, London, UK RedivideR, Platform Projects, Platform Southwark, London, UK 2019 Bloomberg New Contemporaries, South London Gallery, London, UK Detritus, Wells Projects, London, UK Lacuna, Sottosale Projects, London, UK Velvet Ropes, House of Vans, London, UK Bloomberg New Contemporaries, Leeds Art Gallery, Leeds, UK Library, Triumph Gallery, Moscow, Russia RCA Graduation Show, RCA, London, UK Varieties of Disturbance, Shelf Spanish City, Newcastle, UK Wolves by the Road, Assembly House, Leeds, UK Rub The Bronze Dog's Nose, Moscow Museum of Contemporary Art, Moscow, Russia Splodge, Hockney Gallery, London, UK We Can Only Have Fun on Certain Days, Warbling Collective, London, UK Nourishment, Guests Space, London, UK AWB, Herrick Gallery, London, UK 2018 Something Else, Triumph Gallery, Moscow, Russia UJS Exhibition, London, UK More Life, Hockney Gallery, London, UK The Origin of Who, Kvadrat 16 Gallery, Copenhagen, Denmark Thumbnails, Hockney Gallery, London, UK We Are the Ones Vol I, Group Exhibition, Copenhagen, Denmark Visions, Triumph Gallery, Moscow, Russia 2017 Slade Degree Show, Slade School of Fine Art, London, UK Awards 2019 Bloomberg New Contemporaries 2016 Audrey Wykeham Prize Gallery Representation Carvalho Park (New York, USA) Public Collections Roberts Institute of Art (London, UK) HSBC Art Collection (London, UK) Xiao Foundation Museum (Rizhao, China) Nanjo Museum (Nanjo, Japan) X Museum (Beijing, China) Sixi Museum (Nanjing, China) Statement about AOAP Submitted Artwork This is a body of work about scenic environments in which the anthropomorphic creatures find themselves in their natural habitat - a pond. These environments are inhabited by dynamic, changing entities with hybrid anatomies that mix delicately featured human faces with bulbous animal bodies. These creatures move through a colorfully flecked, luminous matter that supports and harmonizes their existence, like an extracorporeal amniotic fluid. 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.

Yulia Iosilzon Pond II, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Yulia Iosilzon's figurative paintings on stretched transparent fabric are portals into vivid dreamlike worlds with roots in both ancient mythologies and contemporary social concerns. Her works hint at unfolding narratives of human-animal metamorphosis. Her visual references are wide ranging; she draws on imagery from childhood cartoons and representations of paradise, as well as exploring the Jewish iconography of her heritage. This symbolic language also extends into her ceramic practice. Education 2017- 2019 MA Fine Art, Royal College of Art, London, UK 2013 - 2017 BA Fine Art, Slade School of Fine Art, UCL, London, UK Solo Exhibitions 2024 Cool Summer, De Brock, Knokke, Belgium Modus Operandi, Bertnson Bhattacharjee, London, UK 2023 Heaven's Chambers, Carvalho Park, New York, USA 2022 Frogspawn, Sapling, London, UK Yulia Iosilzon - Art Narratives, Roksanda, London, UK Amanita Muscaria, De Brock Gallery, Knokke, Belgium Nocturnal, Foundry, Seoul, South Korea 2021 Yulia Iosilzon, Art Antwerp 2021 Solo Booth presentation, De Brock Gallery, Antwerp, Belgium A Chorus of Beauty and Menace, Carvalho Park, New York, USA The Big Fish!, Berntson Bhattacharjee x Sotheby's Nordics, Stockholm, Sweden Fanfarria, Huxley-Parlour, London, UK 2020 Invisible Power, Osnova, Moscow, Russia Artist Room Solo Presentation, Columbia x Roman Road, London, UK 2019 Paradeisos, Carvalho Park, New York, USA Group Exhibitions 2025 The Threshold Beckons, Carvalho Park, New York, USA Auguries of Innocence, Cedric Bardawil, London, UK 2024 Kristian Touborg, Se Yoon Park, Yulia Iosilzon, Carvalho Park at Frieze No. 9 Cork Street, London, UK The Dimension of Feeling, Vortic x House of Koko, London, UK 2023 Hold Me Now, IONE & MANN, London, UK Luminous Terrain, Atipografia, Arzignano, Italy Processing the past and digesting the future, Badr El Jundi, Madrid, Spain L'heure du conte, Pangée, Montreal, Canada 2022 Jingle Bells VI, De Brock, Knokke, Belgium Once Upon a Time in Mayfair, Dynamisk x Phillips, London, UK The Earth has music for those who listen, Sapling, London, UK Two Sisters, Roman Road & Working Project, London, UK The Sky above the Roof, Tabula Rasa Gallery, Beijing, China 2021 All That And A Bag Of Chips, Des Bains, London, UK Unsellable, Just a Studio, London, UK Paradise Is Not Just a Place, Roman Road, London, UK The Ode to the Body, Daniel Benjamin Gallery, London, UK Selfhood, Berntson Bhattacharjee Gallery, London, UK 2020 Fight or Flight, Roman Road, London, UK Birthday, White Crypt, London, UK Begin Again, Guts Gallery, London, UK London Now, Space K, Seoul, South Korea Crowd, Hannah Barry Gallery, London, UK RedivideR, Platform Projects, Platform Southwark, London, UK 2019 Bloomberg New Contemporaries, South London Gallery, London, UK Detritus, Wells Projects, London, UK Lacuna, Sottosale Projects, London, UK Velvet Ropes, House of Vans, London, UK Bloomberg New Contemporaries, Leeds Art Gallery, Leeds, UK Library, Triumph Gallery, Moscow, Russia RCA Graduation Show, RCA, London, UK Varieties of Disturbance, Shelf Spanish City, Newcastle, UK Wolves by the Road, Assembly House, Leeds, UK Rub The Bronze Dog's Nose, Moscow Museum of Contemporary Art, Moscow, Russia Splodge, Hockney Gallery, London, UK We Can Only Have Fun on Certain Days, Warbling Collective, London, UK Nourishment, Guests Space, London, UK AWB, Herrick Gallery, London, UK 2018 Something Else, Triumph Gallery, Moscow, Russia UJS Exhibition, London, UK More Life, Hockney Gallery, London, UK The Origin of Who, Kvadrat 16 Gallery, Copenhagen, Denmark Thumbnails, Hockney Gallery, London, UK We Are the Ones Vol I, Group Exhibition, Copenhagen, Denmark Visions, Triumph Gallery, Moscow, Russia 2017 Slade Degree Show, Slade School of Fine Art, London, UK Awards 2019 Bloomberg New Contemporaries 2016 Audrey Wykeham Prize Gallery Representation Carvalho Park (New York, USA) Public Collections Roberts Institute of Art (London, UK) HSBC Art Collection (London, UK) Xiao Foundation Museum (Rizhao, China) Nanjo Museum (Nanjo, Japan) X Museum (Beijing, China) Sixi Museum (Nanjing, China) Statement about AOAP Submitted Artwork This is a body of work about scenic environments in which the anthropomorphic creatures find themselves in their natural habitat - a pond. These environments are inhabited by dynamic, changing entities with hybrid anatomies that mix delicately featured human faces with bulbous animal bodies. These creatures move through a colorfully flecked, luminous matter that supports and harmonizes their existence, like an extracorporeal amniotic fluid. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

ROMAN GREEN GLASS "GRAPE" JUG MEDITERRANEAN, C. 3RD CENTURY A.D. large olive-green translucent jug with applied handle and trails of amber glass around the rim and shoulder, flaring mouth, cylindrical neck merging into a piriform body with a pattern of stylised grapes, the underside with central pontil mark and old Bijnsdorp Collection label 11.2cm high Sasson Ancient Art, JerusalemThe Nico F. Bijnsdorp Collection (NFB 203), acquired from the above on the 11th April 2007Exhibited:Thermenmuseum, Heerlen, Netherlands, “Romeins Glas uit Particulier Bezit”, 29th April - 28th August 2011, exhibition no. 98 Mould-blown vessels featuring grape patterns seldom include handles, with the majority of examples being handleless flasks. For two additional single-handled jugs, refer to E. Marianne Stern's The Toledo Museum of Art: Roman Mould-blown Glass (Toledo, 1995, pp. 193-4, nos. 125-6). Jug no. 126 displays a similar applied thread decoration and vestigial leaf motifs at the shoulder. The colour combination of the body and handle of this particular vessel is notably rare.

ROMAN EROTIC MOSAIC FRAGMENT LOWER EGYPT, C. 2ND CENTURY A.D. stone tesserae, depicting two figures engaged in sexual intercourse within a garden setting, next to a trellised structure 53.5 x 63cm Private collection, France, acquired on the Spanish art market in 1972, thence by descentFrench art market, 2018Bonhams, London, 23 July 2020, lot 65 (part)Peter Petrou, LondonSotheby's, London, Worlds within Worlds | Works from the Collection of Peter Petrou, 21st September 2021, lot 167Private collection, London, United Kingdom, acquired at the above

ROMAN GLASS "GRAPE" VESSEL EASTERN MEDITERRANEAN, C. 3RD CENTURY A.D. mould blown glass, standing on a disc-shaped base, with concave bottom and central pontil mark, blown in three part mould, the piriform body with a pattern of stylised grapes below a collared shoulder and flaring mouth 11cm tall Private collection, United KingdomShlomo Moussaieff, London, United Kingdom, collection formed 1948 - 2000 For similar please see: The Metropolitan Museum of Art, New York, accession number 15.43.184

ROMAN MOSAIC FRAGMENT DEPICTING LEANDER AND HERO LOWER EGYPT, C. 2ND CENTURY A.D. stone/marble tesserae, depicting the hero Leander swimming across the Hellespont to meet with his lover Hero, who is shown standing in a tower holding a burning torch 58 x 96cm Private collection, France, acquired on the Spanish art market in 1972, thence by descentFrench art market, 2018Bonhams, London, 23 July 2020, lot 65 (part)Peter Petrou, LondonSotheby's, London, Worlds within Worlds | Works from the Collection of Peter Petrou, 21st September 2021, lot 168Private collection, London, United Kingdom, acquired at the above The myth of Leander and Hero tells the tragic story of a young man, Leander, who swam across the Hellespont each night to be with Hero, a priestess of Aphrodite in Sestos. Hero would light a torch from her tower to guide him across the dangerous waters. Eventually, Leander drowns during a storm, and in her despair, Hero takes her own life by throwing herself into the sea. The myth explores themes of love, sacrifice, and the fatal consequences of passion.

ROMAN MOSAIC FRAGMENT LOWER EGYPT, C. 2ND CENTURY A.D. stone/marble tesserae, depicting three nude Pygmies, two standing and seemingly involved in athletic activities, while the third is seated, holding palm branches 48.5 x 77cm Private collection, France, acquired on the Spanish art market in 1972, thence by descentFrench art market, 2018Bonhams, London, 23 July 2020, lot 65 (part)Peter Petrou, LondonSotheby's, London, Worlds within Worlds | Works from the Collection of Peter Petrou, 21st September 2021, lot 166Private collection, London, United Kingdom, acquired at the above A Roman fresco from Pompeii, now in the Archaeological Museum in Naples, depicts Pygmies performing as entertainment at an outdoor banquet on the banks of the Nile.For another fragment from the same Nilotic mosaic border, also featuring Pygmies, see Sotheby's, London, December 4th, 2018, lot 59.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), SHORE COTTAGE oil on board, signed, titled versoframed and under glassimage size 26cm x 26cm, overall size 41cm x 41cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), FRUIT & FLOWERS COMPOSITION oil on board, signed, titled versoframed and under glassimage size 31cm x 26cm, overall size 50cm x 45cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), STUDY WITH MARIGOLDS oil on board, signed, titled versoframed and under glassimage size 26cm x 26cm, overall size 47cm x 47cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), GREENAN CASTLE oil on board, signed, titled versoframed and under glassimage size 25ccm x 25cm, overall size 45cm x 45cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

* FRANK COLCLOUGH (SCOTTISH 1941 - 2023), SPARKLING WATERS -ARGYLL acrylic on board, signed, titled versoframed and under glassimage size 26cm x 21cm, overall size 41cm x 36cm Note: Frank Colclough was born in Wick, Caithness and lived in London before settling back in Scotland in 1975. He originally worked as a design draughtsman while studying art at Camberwell Art School and worked as a professional artist since 1981. All Frank Colclough early contemporary paintings were in watercolour, but over recent years he worked in acrylic and oils. The inspiration for Frank Colclough paintings stems from his admiration of the Scottish colourist movement. This is reflected in his paintings which consist mainly of marine views of the Scottish West Coast and colourful still life studies. Frank Colclough contemporary paintings appear in many private and public art collections. The RSW, RGI and RSA have also regularly exhibited his work. Frank was a frequent, popular and very successful contributor to The Scottish Contemporary Art Auctions from 2008 for many years.

A quantity of French art nouveau silver plate or base metal rouge or loose powder compacts, circular examples including Roman Goddess c1909 4cm diameter, 2 x figural 4cm diameter, couple playing tennis signed Franier c1905 4.5cm diameter, Marianne with cracked ice verso 4cm diameter, religious gentleman 4cm diameter, oval example inscribed Bruges 5cm x 3.5cm and a square Anvers Cathedrale 4cm (8)

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)

[MONET CLAUDE]: (1840-1926) French Impressionist painter. MIRBEAU OCTAVE (1848-1917) French novelist and art critic. An excellent A.L.S., Octave Mirbeau, three pages, 8vo, n.p., n.d., to Claude Monet, in French. Mirbeau commences his letter by thanking Monet a thousand times for a gift (possibly a painting?) and a portrait photograph, remarking ´Les oliviers que je connaissais sont superbes de lumière en dessous, et je me retrouve là-bas, sous leurs branches que j´aime tant. Et quant à votre photographie, qui m´a été aussi une surprise exquise, c´est un chef d´oeuvre. Vous etes, vous tout entier, male, puissant, avec votre oeil qui dompte le soleil.....´ (Translation: ´The olive trees that I knew are superb in the light below, and I find myself there, under their branches that I love so much. And as for your photograph, which was also an exquisite surprise for me, it is a masterpiece. You are, all of you, male, powerful, with your eye taming the sun...´) and continues by trying to lift his friend´s spirits, ´Maintenant, parlons de vous en peu. Est-ce que vraiment vous allez devenir fou, vous? Et vous laisser abattre comme un vulgaire bonhomme? Comment, jamais vous n´avez été en possession de votre art, comme maintenant, et parce que, cette année, le temps vous a contrarié, vous allez tout envoyer promener! Vous le retrouverez le temps qu´il vous faut; et vous ferez d´admirables chefs d´oeuvre. Nom d´un chien, mais c´est enrageant, ce qui vous prend; et cette énergie dont vous avez donné tant de preuves, où donc est-elle maintenant?´ (Translation: ´Now, let's talk about you for a bit. Are you really going to go mad? And let yourself be brought down like a common man? How can you, when you have never been in possession of your art like you are now, and because the weather has upset you this year, you are going to throw it all away! You will find it again in time; and you will produce admirable masterpieces. Damn it, it's infuriating, what's got into you; and that energy of which you have given so much proof, where is it now?´), further writing ´Voulez-vous que je vous dise, mon ami?.......Mais, écoutez-moi bien, il y a aussi une cause purement physique;........les lubies - passagères d´ailleurs - prennent l´homme le mieux trempé. Mais cést pas grave. Il faut vous secouer; et la pire des choses pour vous, est de rester couché des journées entières, comme vous me dites. Il faut secouer cela, rigoureusement. Vous avez eu le plus grand tort de ne pas venir ici. Si vous ne vous sentez pas en veine de travail, encore, il ne faut pas vous acagnarder.........Remuez, voyagez, allez de l´un á l´autre. Vous savez que la maison ici est votre. Pourquoi ne venez-vous pas passer quelques jours?......Venez. Nous causerons de Monet; nous ferons l´article ensemble. Ca ne va pas, non plus, cette affaire-là? Et bien, nous tacherons de la faire aller. J´ai un ami puissant dans le gouvernement, un homme qui deviendra peut-etre, Napoleon.....il nous aidera. Voyons, mon cher Monet, je vous en prie, retrouvez votre belle energie des beaux jours. Moquez-vous de cet idiot de Wolff. Il n´empechera pas que vous etes un grand artiste, et que votre succès se ralentisse. Car vous avez franchi les dures portes, et vous etes en plein horizon. Cela est mathématique. Rien ne peut vous faire perdre les positions conquises, rien que votre découragement et votre inertie´ (Translation: ´Do you want me to tell you, my friend?.......But, listen to me carefully, there is also a purely physical cause;........whims - passing whimss at that - take even the steeliest man. But it doesn't matter. You have to shake yourself awake; and the worst thing for you is to lie in bed for days on end, as you tell me. You have to shake it off, rigorously. You were very wrong not to come here. If you don't feel like working, again, you mustn't hide away.........Stir yourself, travel, go from one to the other. You know that the house here is yours. Why don't you come and spend a few days?......Come. We'll talk about Monet; we'll do the article together. That's not going well either, is it? Well, we'll try to make it work. I have a powerful friend in the government, a man who may become Napoleon... he'll help us. Come now, my dear Monet, I beg you, rediscover your wonderful energy of the good times. Make fun of that idiot Wolff. He will not prevent you from being a great artist, and your success from slowing down. For you have passed through the difficult doors, and you are in full view. This is mathematical. Nothing can make you lose the positions you have conquered, only your discouragement and your inertia´). Mirbeau encourages Monet to write to him soon and let him know that he is feeling better, and also writes of his own current work, ´Mon roman se poursuit; le temps ne me derange guère, et cést stupide ce que je fais. Mais je crois que je deviens philosophe. Je regrette de ne pas faire mieux; mais puisque je ne peux pas, je me fais à la place, une raison. Vous verrez ca bientot, en effet; ce que je vous demanderai, ce sera de ne pas trop me blaguer. Il y avait un péril très grand dans mon livre, c´etait de tomber dans l´enfantillage. Or j´y suis tombé, naturellement´ (Translation: ´My novel is continuing; time doesn't bother me much, and what I'm doing is stupid. But I think I'm becoming philosophical. I regret not doing better; but since I can't, I'll make myself a reason instead. You'll see that soon enough; what I'll ask of you is not to joke too much with me. There was a very great danger in my book, which was to fall into childishness. Well, I fell into it, naturally´) and concludes his letter by again writing with positivity, ´Ce que je vous dis est la vérité pure. Mde. Hoschedé a du vous le dire certainement. Le seul danger, c´est de vous laisser aller à des découragements, que vous n´avez pas le droit d´avoir. Voyons, quand venez-vous? Toute de suite, hein! Je vous embrasse tendrement; me femme qui vient de lire ma lettre, dit qu´elle est illisible, et écrite betement; mais, tout de meme, elle l´approuve. Merci encore, mon cher ami, de votre superbe et trop magnifique don, merci de votre photographie. Et méditez ce que je vous raconte dans ma lettre, qui est, en effet, stupidement tournée, mais qui est, tout de meme, un che f´oeuvre de raison´ (Translation: ´What I'm telling you is the absolute truth. Mrs Hoschedé must have told you that. The only danger is that you will become discouraged, which you have no right to do. Come on, when are you coming? Right away, eh! I send you my warmest regards; my wife, who has just read my letter, says it is illegible and badly written, but she approves it all the same. Thank you again, my dear friend, for your superb and magnificent gift, thank you for your photograph. And meditate on what I tell you in my letter, which is, indeed, stupidly worded, but which is, all the same, a masterpiece of reason´). A letter of excellent content and association from Mirbeau to Monet, the artist whom he sang the praises of. VGMirbeau´s mention of Napoleon in the present letter is evidently a reference to Georges Clemenceau (1841-1929) French Prime Minister 1906-09, 1917-20. Clemenceau was a long-time friend and supporter of the impressionist painter, writing a short biography on the artist, and was also instrumental in persuading Monet to have a cataract operation in 1923.The source of Monet´s apparent depression may well have been the French writer and art critic Albert Wolff (1825-1891), mentioned in the present letter. Wolff strongly opposed Impressionism and an 1876 Impressionist Exhibition (at which Monet displayed eighteen paintings).

GLYN PHILPOT (BRITISH 1884-1937) PORTRAIT OF ARTHUR CHRISTIE (1895-1975) Oil on canvas Variously inscribed to labels attached to stretcher (verso) 64 x 50cm (25 x 19½ in.)Provenance: Sir Edmund Davis, Australian-South African mining magnate and art collector, who resided at 13 Lansdowne Road and most notably Chilham Castle, Kent Sale, Christie's, 7 July 1939, lot 84 S. Gibbs, Private Collection, purchased from the above for 15gns. Daisy Philpot, the artist's sister Thence by descent to Gabrielle Cross, the artist's niece Henry Christie, Private Collection, UK Thence by descent, to be sold on behalf of the executors of the estate Exhibited: London, Grosvenor Galleries, Glyn Philpot R.A., 1923, no. 32, as ' Portrait study for the Three Kings' London, Tate Gallery, Paintings and Sculpture by the late Glyn Philpot R.A. (1884-1937), 14 July - 28 August 1938, no. 22, as 'Study for the Three Kings' Literature: Daisy Philpot, Manuscript Catalogue of Paintings by Glyn Philpot, c. 1938-57, p. 28 (unseen)This striking portrait by Glyn Philpot depicts Arthur Christie (1895-1975), friend and model of the artist. Philpot was renowned for his skill in capturing character and intimacy through portraiture, making him one of the most sought-after and highly paid society portraitists of his time. However, his most successful works were those created in relaxed, informal settings, where he established a genuine connection with his sitters. In this portrait, Philpot skilfully captures Christie's prominent features including his angular jawline, vivid red hair, intense gaze, defined lips, and prominent brow. The viewer is immediately struck by the intensity of the sitter's gaze, a motif Philpot repeated throughout his works influenced by the great Venetian master, Titian. Philpot greatly admired the work of Titian and actively practiced and taught his techniques at the Royal Academy Schools. Despite the beautiful interplay of light and shadow across the sitter which illuminates Christie the portrait is set against a dramatic dark backdrop which creates a stunning contrast reminiscent in the work of artists such as John Singer Sargent and James McNeill Whistler. Lot 93 was first exhibited in 1923 at Philpot's solo exhibition at the Grosvenor Galleries under the title Portrait Study for the Three Kings. It is believed that the present portrait was a study for The Adoration of the Three Kings (1918), a work exhibited at the Royal Academy that same year and later sold by the Baltimore Museum of Art at Christie's in 1990 to a British private collector. (See Figure 1.)The Adoration of the Three Kings depicts three sumptuously cloaked figures bearing gifts as they arrive at the stable door. The viewer takes the perspective of Mary, Joseph, and the infant Jesus, as the Magi cross the threshold bathed in a golden light. Raised in a devout Baptist family, Philpot's early religious teachings profoundly shaped his life and artistic vision. His interest in biblical themes was evident as early as 1903 when, at just 19, his painting The Elevation of the Host was accepted at the Royal Academy of Arts. This work, depicting the raising of Christ during the Eucharist, reflected his early engagement with Christian iconography from a distinctive and modern perspective.In 1906, Philpot converted to Roman Catholicism, a decision that created significant tension within his family. His subsequent travels through Spain, Portugal, and Morocco deepened his study of Catholic imagery and the works of the Old Masters. These experiences significantly influenced his art, inspiring some of his most powerful religious-themed paintings. By 1929, Philpot had become the first president of the Guild of Catholic Artists and Craftsmen, solidifying his commitment to his faith. However, his devout Catholic beliefs often conflicted with his identity as a queer man-a tension that permeates his body of work. This portrait of Arthur Christie was acquired by Sir Edmund Davis, the Australian-born mining financier and prominent art collector. Sir Edmund Davis was advised by Charles Ricketts and Charles Shannon and built an impressive collection that included works by James McNeill Whistler, William Orpen, and Edward Burne-Jones, some of which were later bequeathed to the Musée du Luxembourg. It is likely that Sir Edmund Davis purchased this portrait from the 1923 Grosvenor Gallery exhibition. The work was later lent by Davis to the Tate Gallery's Paintings and Sculpture by the Late Glyn Philpot exhibition in the summer of 1938.Following Sir Edmund Davis' death, the portrait was sold at Christie's alongside other notable works from Davis' collection, including Rodin sculptures, a lead figure by Philpot, and paintings by James Pryde and James McNeill Whistler. The work was eventually acquire by Philpot's sister, Daisy Philpot and thence by descent to Gabrielle Cross, the artist's niece. Philpot frequently returned to certain models, portraying them in various roles and guises throughout his career. Among his most notable muses was Henry Thomas, whom he met in 1929. It has been suggested that Arthur Christie may have also been the model used for the Angel Gabriel in The Angel of Annunciation (1925) and for The Transfiguration of Dionysus before the Tyrrhenian Pirates (1924). Condition Report: Please contact pictures@dreweatts.com for a full condition report. 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λ DUNCAN GRANT (BRITISH 1885-1978) CLASSICAL LANDSCAPE Watercolour Stamped with collector's mark (lower right) 16 x 26cm (6¼ x 10 in.)Painted in 1924. Provenance: Possibly from the collection of Thomas Esmond Lowinsky, L.2420a Lord Clywd, Private Collection Louise Kosman, Modern British Art, Edinburgh The present work is a study after Roman Landscape by Annibale Carracci held in the Berlin Museum.   

An Art Deco marble and spelter mantel clock, the central Roman dial flanked with two spelter seals, measuring 23cm H and a Victorian brass mantel clock

* Baglione (Giovanni, 1566/71-1643/44). Young couple in contemporary dress, black chalk on pale grey-brown laid paper, with touches of white chalk, early manuscript number 174 in brown ink to centre of top margin, and ‘l 225’ in brown ink to lower right corner, inscribed in pencil to verso (in a later hand) ‘Del Cavalier Baglione’, sheet size 298 x 224 mm (11 3/4 x 8 7/8 ins), hinge-mounted to a larger sheet of 18th century laid backing paper, with elaborate presentation title and inscription in Italian in brown ink above and below the drawing, giving the artist’s name above, and a long biographical note below, old inscribed number in brown ink to upper left corner: 161, some marks and soiling to the backing sheet with a few short closed marginal tears to margins (not affecting the drawing itself), the backing sheet with ruled framing lines around the drawing, backing sheet 49 x 34 cmQTY: (1)NOTE:Provenance: Private Collection.Giovanni Baglione worked mainly in Rome, his mature style typical of the early Roman Baroque, whilst also retaining elements of his early training in the Central Italian tradition of disegno. Between 1621 and 1622 he was in Mantua as the court artist to Duke Ferdinando Gonzaga. Baglione is best known as the author of the Vite de’ Pittori, Scultori, Architetti, ed Intagliatori (Lives of Painters, Sculptors, Architects and Engravers), first published in 1642, one of the most important contemporary sources for artists in Rome at this time. The artist is also famous due to his suit for libel in August 1603 against Caravaggio, Orazio Gentileschi and other painters in connection with some unflattering poems then circulating in Rome the previous summer. Caravaggio’s testimony during the trial is one of the few documented records of his opinions on art and his contemporaries.The present drawing, in which the chalk has been applied lightly and with shaded areas creating a sfumato effect, depicts an elegant young couple in contemporary dress, with two other figures behind, and may be a study for a wedding procession or similar subject.

* Carloni (Marco, 1742-1796). A collection of 28 hand-coloured engravings from Vestigia delle terme di Tito e loro interne pitture, Rome: Presso Ludovico Mirri mercante di quadri incontro al Palazzo Bernini, 1776, 28 fine engravings on heavy laid paper after Francesco Smugliewicz (1745-1807), hand-coloured in watercolour and gouache, depicting decorative frescoes found on the walls of the Baths of Titus at Nero's Domus Aureus, some with multiple sheets conjoined and old folds, with margins, some with minor damp stains to margins, largest sheet size 65 x 96cm (25.5 x 37.7 ins), smallest sheet size 31 x 42 cm (12.2 x 16.5 ins) QTY: (1)NOTE:From the series of 60 large-scale engravings after the frescoes found on the walls of the Baths of Titus at Nero's Domus Aureus (Golden House), first excavated in 1460. Carloni's beautifully rendered plates faithfully capture the ancient Roman 'grotesque' style, which became a hallmark of Italian Renaissance art. The prints are based on drawings made by the Polish artist Francesco Smugliewicz (1745-1807) and the Italian architect Vincenzo Brenna (1747-circa 1818). The series was available uncoloured, or coloured in gouache (as here) following the colours of the original frescoes.

Art Deco 9ct gold ladies wristwatch with blued hands, silver roman numerals and dial, octagonal case and 15 jewel movement, on black leather strap, case diameter 21mm. 

DAVID YURMAN: A LADY’S STAINLESS STEEL QUARTZ WRISTWATCHQuartz movement, the square white dial with ‘DY’ signature at 12 o’clock, Roman quarter numerals and brilliant-cut diamond hour markers, steel arrow hands, crown set with black cabochon, within a brilliant-cut diamond bezel, case with scrolled detailing, to a flat curb-link bracelet, in stainless steel, with maker’s case and user manual, case 28mm, bracelet length 20cm *This lot is sold without a reserve David Yurman is a renowned luxury jewellery brand with a rich history. The brand was founded in 1980 by David Yurman, a sculptor, and his wife, Sybil Yurman, a painter. They combined their artistic backgrounds to create distinctive jewellery designs. They were born two months and a few miles apart.Their coincidental encounter in New York in 1969 marked the beginning of a long-lasting collaboration in both business and art. The business that David and Sybil have established is based on their ongoing conversation about their mutual creative vision and desire to create exquisite clothing. A more than half-century career has been molded by their deep partnership with each other, their son Evan, their business associates.They both had a hand in the underground art scenes in California and New York in the 1960s, traveling back and forth between Big Sur, Venice Beach, Haight-Ashbury, and Greenwich Village. Their individual artistic languages were formed throughout their respective apprenticeships under various masters, which finally resulted in the combined masterwork that we are all familiar with today.The David Yurman signature cable motif, inspired by the twisted helix of a ship's rope, became iconic and is a hallmark of their jewellery brand gained recognition in the 1980s with the introduction of the Cable bracelet, which quickly became a symbol of luxury and elegance.The brand is known for its craftsmanship, using high-quality materials such as precious metals and gemstones to create exquisite pieces. The Yurman family remains deeply involved in the brand's creative and business aspects, ensuring a personal touch in every piece. The brand continues to innovate, incorporating new materials and design elements while staying true to its core cable motif. Condition Report: Case back signed David Yurman, ‘DY’, numbered T 932-M and A-03563, Swiss Made, 3ATMClasp stamped stainless steelIn running condition at the time of cataloguing. New battery replacement by the departmentNormal signs of wear, overall in good conditionTotal gross weight approximately 81.1gAccompanied by case and manual *Please note that the watch has not been opened. The movement was not tested for the accuracy of time or duration of the power reserve and may need servicing at the buyer's discretion. Please note that Adam's cannot guarantee the (future) working of the movement. The jewellery department is happy to offer any additional assistance. 

A Napoleon III ormolu-mounted tortoiseshell and brass-inlaid 'Boulle' marquetry mantel clock, the mounts cast by Auguste Delafontaine, third quarter 19th century, the arched case surmounted by a figure of Chronos, the repousse brass dial with enamel Roman numerals within a laurel wreath border, above a glazed panel behind figures of the Fates, flanked by uprights headed by scrolling pilasters surmounted by shells, the apron inlaid with the inscription CUNCTA CUM TEMPORE REGUNT between scrolling feet, the sides and back inset with glazed panels, on a conforming bracket, the mounts stamped AD, the twin train movement stamped EM 7370 and 10.6, 114.5cm high, 44.5cm wide, 22cm deepNote: This clock is a direct copy of a Louis XIV period clock and bracket, attributed to the workshop of André-Charles Boulle, with movement by Antoine Gaudron, which is now in the Louvre, having been gifted in 1985 by Jean-Paul and Michel Fabre (OA 11029). In the 1732 inventory of André-Charles Boulle's atelier, a clock of this model is listed as 'une boeste contenant les modeles de la pendule a Parques avec le Temps isolé', clearly indicating a clock depicting the three Fates with Time 'isolated', watching the three sisters from above as Clotho divides the thread of life, Lachesis measures it, and Atropos cuts it. The model derives from a design by Boulle, published by Mariette in 'Nouveaux desseins de meubles et ouvrages de bronze et de marqueterie inventés et gravés par André-Charles Boulle', circa 1715. The Delafontaine bronze factory was first established in the late 18th century by Jean-Baptiste-Maximilien Delafontaine (1750-1820), and was subsequently under the direction of Jean-Baptiste's grandson, Auguste-Maximilien, under whose tenure the present clock was most likely produced. In 1870, located at 10 rue de L'Université, the firm created decorative works of art of the highest quality and was a main competitor to the Barbedienne foundry.Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.  

Collection of Vintage Jewellery and Accessories This collection includes various vintage and possibly antique jewellery pieces, predominantly dating from the early to mid-20th century. Notable items include brooches, earrings, and decorative accessories with ornate designs, featuring materials such as gold-tone and silver-tone metal, rhinestones, enamel, and faux pearls. Highlights of the collection are: - A cameo brooch with a classical female profile surrounded by a gold-tone beaded border (approx. 3–4 cm in diameter). - A blue rhinestone circular brooch with symmetrical stone arrangements (approx. 3 cm diameter). - An arrow-shaped brooch set with clear rhinestones (approx. 5 cm long). - A floral basket brooch adorned with multicoloured glass bead details (approx. 3 x 3 cm). - Chandelier-style earrings featuring green beads, faux pearls, and intricate gold-tone filigree details (approx. 4–5 cm long). - A turtle-shaped pin with a multicoloured geometric shell crafted from coloured segments and rhinestones (approx. 2.5 x 2 cm). - A cross-shaped pin with rhinestones and faux pearl detail (approx. 4 cm long). - A bracelet or brooch with ruby-red and pearl-like stones on a gold-tone structure. - Filigree floral pins, silver-tone fan-shaped brooches, enamel bird brooches, and basket brooches, many embellished with rhinestones or glass stones. - A pocket watch pendant with a gold-tone frame, Roman numeral markings, and text partially visible on the dial. - A Swiss-made pendant watch marked "Gilbert" with "17 Jewels Incabloc" and gold-tone detailing. The group showcases mid-20th-century styles spanning Art Deco influences to retro costume jewellery designs. These pieces exhibit various techniques, including enamel work, layering of stones, filigree patterns, and geometric or floral motifs. Although no hallmarks were noted during this inspection, this assemblage distinctly represents the era's craftsmanship and decorative trends.