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† ARTUR EITLER; oil on board, 'Train on the Tracks', signed lower right, 30 x 33cm, framed, and an unattributed pastel of drawing of a seated nude, indistinctly signed lower right, 79 x 56cm, framed and glazed (2).

A large quantity of assorted 19th century and later leather bound books and antique reference books, including 'Army and Navy, General Price List 1933-1934, 1935-1936 and 1939-1940, also various reference books including 'Cartier', 'Pocket Watches', 'Automobilia', 'The Grapes of Ralph', 'Radio Art', 'Drawing and Painting the Landscape', 'A & N Story Circular' 1908 and 1903, 'Old Glass Paperweights', 'Fountain Pens', 'The Art of the Cigar Label', 'Clocks and Watches', etc.

UNATTRIBUTED; a pastel drawing, portrait of a lady, indistinctly signed and dated 2009 lower left, 53 x 34cm, framed and glazed, a further watercolour, rural scene, indistinctly signed lower left, 48 x 34cm, and a Michael Aubrey print, 25 x 34.5cm (3).

† PAT JOBSON; a pastel drawing, 'Boats on The Thames', signed lower right and inscribed with artist's name verso, 35 x 45cm, framed and glazed.

† KEITH ROPER; pastel, 'Solent at Hurst Point', signed and dated 2000 lower right and inscribed with artist's name and title verso, 25 x 27cm, framed and glazed, and a further pastel drawing, 'Humber Shoreline', signed and dated 2000 lower right and inscribed with title and artist's name verso, 27 x 32cm, framed and glazed (2).

A collection of vintage books relating to wild flowers, the Lake District and Lakeland, trees, a landscape drawing, etc, titles included 'Familiar Wild Flowers', 'The Modern Fowler', 'Trees in Britain', 'Three Rivers', 'Wild Lakeland', 'A Field Guide to the Birds of Britain and Europe', 'Flowers in Britain', 'Sketching from Nature in Line and Tone', 'The English Lakes', 'Familiar Wild Flowers', 'A Short Organic Chemistry', etc (15).

ARTHUR JOHN BALLIOL SALMON (1868-1953); pencil and charcoal drawing, 'The Welterhorn', signed in pencil lower left and inscribed with title, 44 x 30.5cm, framed and glazed and a set of three early 19th century hand coloured engravings of royal houses comprising 'The King's Library, Buckingham House', 24.5 x 28.5cm, 'Queen Anne's Bed, Windsor Castle', 28 x 22.5cm, and 'Second Drawing Room, Buckingham House', 24 x 29cm, all framed and glazed, all by T Sutherland (4).

HELY AUGUSTUS MORTON SMITH RBA RBC LSC (1862-1941); watercolour, 'Cornflowers', still life of flowers, signed lower left and with Guaranteed Genuine Original Period Pen and Ink Drawing certificate verso, 24.5 x 35cm, framed and glazed.

Beatrice Parsons (1870-1955) Watercolour drawing "The Rock Garden, The Pleasance, Overstrand, Norfolk", signed lower right, framed and glazed, mount aperture 24cm x 34.5cm, bears A.W. Harvey Fine Art Dealer label verso

Beatrice Parsons (1870-1955) Watercolour drawing "A Rose Garden in North Oxford", signed lower right, framed and glazed, mount aperture 34.5cm x 44.5cm, bears Arthur Greatorex Ltd gallery label verso

Victorian anatomical drawing of a moth, dated 1872, 17 x 17cm, glazed frame

PRINTS, mainly London: Six coloured lithographs: The Coronation of Queen Victoria, 1838; Pollock’s scene in 'Jack the giant killer'; a London street party; Ladies fancy fair & bazaar; view of the portico of St. Martin’s church, 1842; Streets of London Quadrilles, 1873; & a music sheet cover; Plus: 9 others (2 not coloured). Rev. Dr. Zachary Pearce, An autograph letter, Signed, together with an engraved portrait; John Julius Angerstein: Engraved portrait with an autograph invitation; Plus: Walter Paget: A drawing 'A wash in Trafalgar, 16-7-07', with label; etc. (20)

Denise Arokas (French, b.1931) Study of a young lady oil pastel, signed in pencil lower centre right 13¼ x 10in (33.75 x 25.5cm), distressed, carved wooden frame (48.5 x 40.5cm) * Denise Arokas became Henri Matisse's last muse late in his life. Discovered aged 19 in Paris in 1950 by Matisse's great muse, the Russian refugee Ludia Delectorskya, Arokas was initially recruited as Matisse's night nurse, but commenced modelling for him soon afterwards. They became close companions and she soon moved with him to his studio in the Hotel Regina in Nice, resulting in important works such as the painting for the Pavillion de Marsan and large cut-out gouache works such as 'La Tristesse du Roi'. Matisse also gave Arokas drawing lessons during this period.

THE ENGINEER AND MACHINISTS ASSISTANT 2 vols. new & improved ed. 1860, plus Le BLANC, M. The Engineer and Machinists' Drawing-Book 1862, fol. cont. hf. cf. (3)

Company School, 19th century, an architectural drawing of the Pearl Mosque in the Red Fort, ink and watercolour on paper, inscribed 'The Motee Masjid Agra Fort',17.5 x 23cmProvenance: Arthur Probsthain bookshop, London.Condition ReportSmall tears to the edges, smudges present from the ink, evidence of previous folds present.

Sean Feeney (British, 1956), a sycamore and rosewood media cabinet, in the Art Deco style, stringing inlay top over triangulated rippled sycamore flush-fitting doors, stepped platform and plinth, 100cm high, 96cm wide, 68cm deep, with the working drawing and specification sheet. Provenance: commissioned by a West-Midlands-based client in the 1980's/early 1990's. Note: Proceeds to Various Animal Welfare Charities. Note: CITIES Certificate No.25GBA106NPZ7Y

Raoul Dufy (French, 1877-1953), a printed folio folding menu for Le Diner de la Bonne Cuisine, to be served on 21st May 1935 at 9pm, in aid of the Cercle Ronsard, featuring a traditional oxtail stew (´Queue de Boeuf à l´ancienne´), fresh pea and parsley cream soup (´Crème de pois frais au cerfeuil´), stuffed suckling pig with sage (´Porcelet farci à la Sauge´) accompanied by asparagus, a Rouen-style duckling (´Caneton rouennais facon du Chef´), salad, and a dessert of pineapple with blackberries (´Ananas voiles aux Morères´), also including a wine and drinks list featuring Pouilly-Fuissé 1933, Chateau la Mission Haut-Brion 1923, various champagnes, a Fine Hennessy and more. The following three pages of the menu are dedicated to text, in French, relating to three of the courses, each featuring a printed drawing by Dufy at the base, including a fisherman at sea, a number of piglets feeding from a sow, and five ducks, signed and inscribed by Dufy in blue crayon to the top right of the cover. Note: the Cercle Ronsard was a charitable organisation associated with providing benefits for the unemployed. Provenance: inherited by the vendor's mother, Yvette Kapferer, daughter of Marcel Kapferer, the important French/Jewish art collector (1872-1966)

MARINA B: AN ONYX, EMERALD, RUBY AND DIAMOND 'NAJWA' NECKLACE, CIRCA 1982Designed as a rope of onyx beads, spaced by links set with pear-shaped cabochon emeralds, brilliant-cut diamonds, and onyx and ruby sections, mounted in 18K gold, signed Marina B, with maker's mark 'MB', numbered W347, with maker's mark 'S.A. P.B' for Sté Pierre-G. Brun, French assay marks, with maker's case, length approximately 83cm (slightly extensible)Société Pierre-G Brun is a jewellery workshop which worked for Cartier, Fred, amongst others. They were bought by Cartier in 2000.For a similar model, page 75: 'Marina B. The Art of Jewellery Design', by Viviane Jutheau de Witt, first published in 2003 by Skira Editore S.p.A.  In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry.  Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses.  Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996.  Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit.  Condition Report: A couple of beads discoloured to the front near the clasp (discreet) and a dozen on the reverseEmeralds: of bluish-green hue, medium tone, overall well matchedRubies: of purplish-red hue, medium tone, overall well matchedDiamonds: bright and livelySignature on clasp + maker's mark 'MB' for Marina B located on the tongue of claspEagle's head for French 18K gold + stamped OR750Maker's mark for Marina B - numbered W347With maker's mark for Société Pierre-G BrunClasp closes securelyNormal signs of wear, commensurate with ageTotal gross weight approx. 130g

RENÉ BOIVIN: A COLLECTIBLE 'GROSEILLES' CULTURED PEARL RINGOf bombé design, set with graduated cultured pearls, each punctuated with dot gold detailing, mounted in 18K gold, signed René Boivin, with maker's mark 'Sté RB' for René Boivin, French assay mark, with maker's case, ring size I½ (Probably a design from Juliette Moutard, later reinterpreted by Marie-Caroline)A similar ring is illustrated, page 388, 'René Boivin, Paris', by Francoise Cailles, éditions de l'Amateur.René Boivin (1864–1917) began his jewellery career at seventeen, following his elder brother Victor’s footsteps by working first as a goldsmith’s apprentice and taking drawing lessons at a local art school. Having refined his skills in several workshops, he soon earned a reputation as a talented draughtsman, designer and engraver. By 1890, René was ready to start his own enterprise. He acquired his first workshop in Paris, equipping it with all the necessary tools and skilled craftsmen. A few years later, he moved to new premises on the rue de Turbigo and married Jeanne Poirot, sister of the esteemed French fashion designer Paul Poiret. The firm’s reputation grew rapidly by word of mouth, thanks to its meticulously crafted pieces and commissions from jewellers such as Mellerio and Boucheron. Though proficient in both modern and classical design, René developed a keen interest in naturalism; his solid background in botany led him to create life-like floral motifs. While Art Nouveau’s flowing curves were fashionable at the time, the Boivin workshop chose a more unconventional path to appeal to a more discerning clientele. Boivin’s wife Jeanne had already been deeply involved in the business, and after René’s untimely death in 1917, she took full control of Maison Boivin. Though she had not planned a career in jewellery, she quickly adapted to managing both the creative and financial aspects of the business. Jeanne not only upheld René’s legacy, but she also steered the firm through challenging post-war years, leading a workshop of around twenty artisans and establishing it as the only major jewellery house of its time run by women. Jeanne possessed a keen eye for talent. In 1919, she recruited Suzanne Vuillerme, later known as Suzanne Belperron, a new graduate from the Besançon Beaux-Arts Academy. Belperron’s innovative use of coloured stones, texture, and predominantly 18K yellow gold set her work apart from the prevailing Art Nouveau and Art Deco styles. Her collaboration with Jeanne brought renewed energy to the firm throughout the 1920s. In 1931, Belperron left to form a partnership with Bernard Herz, paving the way for Juliette Moutard to join the firm. Moutard was an experienced designer having worked at Verger Frères and designed for Cartier and Van Cleef & Arpels. She began her long-standing association with Maison Boivin in 1933. Under Jeanne’s guidance, Juliette flourished. She introduced bold, imaginative designs that embraced organic, feminine lines over rigid Art Deco forms. Jeanne further recognised Juliette’s talent by entrusting her with drawing duties for both herself and her daughter Germaine, who had recently joined the business. The close collaboration between Jeanne, Germaine, and Juliette created a unified creative force, often making it hard to pinpoint the origin of any single design. The firm’s approach was as distinctive as its jewellery. Clients were rarely given cost estimates or delivery dates, and customer gemstones or design ideas were only accepted for particularly significant patrons, such as the Duchess of Windsor and Millicent Rogers. Madame Boivin was so confident in her workshop’s output that she famously declared, “my style is my signature”, believing the pieces spoke for themselves. Many clients appreciated this unconventional method, knowing each design was unique, with few repeats and even fewer exact copies. Juliette Moutard dedicated her entire career to Maison Boivin, remaining at the firm even after Madame Boivin retired in 1954 and passed away five years later, leaving Germaine in charge. Together, Moutard and Germaine maintained the firm’s creative integrity and commitment to originality. Moutard retired in 1970 but stayed connected to the firm until her death in 1990. The family sold the jewellery house to their diamond supplier Mr. Perrier, and in 1967 Jacques Bernard took over, with a former Cartier workshop manager later assuming ownership. The 1980s brought revived interest in the Boivin Maison, first led by Marie-Caroline de Brosses and subsequently by Sylvie Vilein. The introduction of fresh, new creations that remained true to the Boivin style, attracting clients such as Hélène Rochas and the Aga Khan. The Asprey Group, acquired the firm before Nathalie Choay purchased it in 1999 to preserve its heritage and archives. Now overseen by Thomas Torroni-Levene, these documents will form the basis of a definitive book scheduled for publication this year, one that aims to record the complete history of René Boivin and highlight the contributions of each designer along the way. Condition Report:Cultured pearls: of white/cream tint with pink and green overtones, very good lustreSignature located inside mount, on the upper side of the galleryEagle's head for French 18K gold & maker's mark for René Boivin, 'RB with snake'Normal signs of wear, overall in good conditionTotal gross weight approx. 29.5g

MARINA B: A MOTHER-OF PEARL AND GOLD RING, CIRCA 1980Of bombé design, centring a heart-shaped plaque, within a mother-of-pearl frame, to further mother-of-pearl shoulders, mounted in 18K gold, signed Marina B, with maker's mark 'MB', numbered, with maker's mark 'GS' for Guillemin & Soulaine, French assay mark, ring size FGuillemin & Soulaine was a Parisian workshop established in 1955. They worked for jewellery houses such as Marina B, Bulgari, Harry Winston to name just a few. The workshop closed in 1984.In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry.  Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses.  Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996.  Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit.  Condition Report: Mother-of-pearl: of white body colour with pink and green overtones - a minor chip at the tip of one shoulderNumbered 1075/34Normal signs of wear, overall in good condition commensurate with ageTotal gross weight approx. 8.9g

RENÉ BOIVIN: A RARE CULTURED PEARL CLIP PENDANT BROOCH, CIRCA 1940Designed as a cluster of grapes, of various sized cultured pearls of cream tint, suspended from a polished vine leaf surmount, mounted in silver and gold, signed René Boivin, indistinct maker's mark, French assay marks, length 6.8cmAccompanied by a certificate of authenticity from René Boivin Joaillier, certifying that the brooch is an original piece manufactured by René Boivin, circa 1940, after a drawing by Juliette Moutard. Certificate no. 202503PEP, dated March 31st 2025.René Boivin (1864–1917) began his jewellery career at seventeen, following his elder brother Victor’s footsteps by working first as a goldsmith’s apprentice and taking drawing lessons at a local art school. Having refined his skills in several workshops, he soon earned a reputation as a talented draughtsman, designer and engraver. By 1890, René was ready to start his own enterprise. He acquired his first workshop in Paris, equipping it with all the necessary tools and skilled craftsmen. A few years later, he moved to new premises on the rue de Turbigo and married Jeanne Poirot, sister of the esteemed French fashion designer Paul Poiret. The firm’s reputation grew rapidly by word of mouth, thanks to its meticulously crafted pieces and commissions from jewellers such as Mellerio and Boucheron. Though proficient in both modern and classical design, René developed a keen interest in naturalism; his solid background in botany led him to create life-like floral motifs. While Art Nouveau’s flowing curves were fashionable at the time, the Boivin workshop chose a more unconventional path to appeal to a more discerning clientele. Boivin’s wife Jeanne had already been deeply involved in the business, and after René’s untimely death in 1917, she took full control of Maison Boivin. Though she had not planned a career in jewellery, she quickly adapted to managing both the creative and financial aspects of the business. Jeanne not only upheld René’s legacy, but she also steered the firm through challenging post-war years, leading a workshop of around twenty artisans and establishing it as the only major jewellery house of its time run by women. Jeanne possessed a keen eye for talent. In 1919, she recruited Suzanne Vuillerme, later known as Suzanne Belperron, a new graduate from the Besançon Beaux-Arts Academy. Belperron’s innovative use of coloured stones, texture, and predominantly 18K yellow gold set her work apart from the prevailing Art Nouveau and Art Deco styles. Her collaboration with Jeanne brought renewed energy to the firm throughout the 1920s. In 1931, Belperron left to form a partnership with Bernard Herz, paving the way for Juliette Moutard to join the firm. Moutard was an experienced designer having worked at Verger Frères and designed for Cartier and Van Cleef & Arpels. She began her long-standing association with Maison Boivin in 1933. Under Jeanne’s guidance, Juliette flourished. She introduced bold, imaginative designs that embraced organic, feminine lines over rigid Art Deco forms. Jeanne further recognised Juliette’s talent by entrusting her with drawing duties for both herself and her daughter Germaine, who had recently joined the business. The close collaboration between Jeanne, Germaine, and Juliette created a unified creative force, often making it hard to pinpoint the origin of any single design. The firm’s approach was as distinctive as its jewellery. Clients were rarely given cost estimates or delivery dates, and customer gemstones or design ideas were only accepted for particularly significant patrons, such as the Duchess of Windsor and Millicent Rogers. Madame Boivin was so confident in her workshop’s output that she famously declared, “my style is my signature”, believing the pieces spoke for themselves. Many clients appreciated this unconventional method, knowing each design was unique, with few repeats and even fewer exact copies. Juliette Moutard dedicated her entire career to Maison Boivin, remaining at the firm even after Madame Boivin retired in 1954 and passed away five years later, leaving Germaine in charge. Together, Moutard and Germaine maintained the firm’s creative integrity and commitment to originality. Moutard retired in 1970 but stayed connected to the firm until her death in 1990. The family sold the jewellery house to their diamond supplier Mr. Perrier, and in 1967 Jacques Bernard took over, with a former Cartier workshop manager later assuming ownership. The 1980s brought revived interest in the Boivin Maison, first led by Marie-Caroline de Brosses and subsequently by Sylvie Vilein. The introduction of fresh, new creations that remained true to the Boivin style, attracting clients such as Hélène Rochas and the Aga Khan. The Asprey Group, acquired the firm before Nathalie Choay purchased it in 1999 to preserve its heritage and archives. Now overseen by Thomas Torroni-Levene, these documents will form the basis of a definitive book scheduled for publication this year, one that aims to record the complete history of René Boivin and highlight the contributions of each designer along the way.  Condition Report: Pearls: of cream/white body colour, with pink and green overtones, some pearls with presence of growth marks, and some pearls with visible blemishesFrench assay mark: an oval with boar & eagle's head for - Mixed gold and silver - mark introduced in 1905. Mark located on the reverse of the leaf surmount. Eagle's head for 18K gold located on the two pins and indistinct maker's mark also on one pinSignature René Boivin located on the reverse of the leaf surmount.Normal signs of wear, commensurate with age, overall in good conditionTotal gross weight approx. 22.36g

MARINA B: A TOURMALINE 'PATRIZIA' RINGHorizontally set to the bezel, the oval-shaped pink tourmaline, set within a bi-coloured 18K gold hoop, signed Marina B, maker's mark 'MB', numbered, French import mark, ring size OCf: See Vivianne Jutheau de Witt (2003-2011) Marina B: The Art of Jewellery Design. Skira Editori for comparable rings, page 112, no. 214 (dated 1987). In the transformative landscape of the late 20th century, Marina B emerged as a visionary jewellery designer and pioneer, whose creations bridged the worlds of engineering precision and refined artistry.  Born into the illustrious Bulgari family, she was part of the third generation of this renowned jewellery house. Following the death of her father in 1973, Marina assumed a central role in the family business until 1976 and in 1978, she established Marina B, opening her first showroom on Geneva’s Place du Molard and quickly expanding to the fashionable hubs of London, Milan, Monte Carlo, Paris, and New York. Marina B’s designs are characterised by splendid, heavy gold pieces set with intensely coloured gemstones. Instead of the conventional method of stringing pearls and beads, which she found mundane, she pioneered innovative assembly techniques that revealed the hidden beauty of each gemstone. By creating deliberate “belly buttons” in round, colourful stones and embracing interchangeable design elements, she crafted jewellery that was both dynamic and adaptable. A defining chapter in her colourful career was her collaboration with the highly skilled Parisian workshop of JeanPierre Brun. Introduced to her by her trusted draughtsman, JeanPierre Varin, Brun’s workshop became her principal partner. Brun’s jewellery workshop was established in Paris in 1936, and quickly became a cornerstone of ‘haute joaillerie’, renowned for its exceptional craftsmanship and collaborations with prestigious design houses.  Initially led by Pierre G. Brun until his retirement in 1975. Under his sons’ Jean-Pierre and Etienne stewardship, the workshop solidified its reputation, working with esteemed brands such as Asprey, Boucheron, Bulgari, Cartier, Chaumet, and Van Cleef & Arpels. JeanPierre Brun himself described Marina B’s creations as highly structured, architectural, and meticulously constructed, comparing her uncompromising attention to detail to that of Suzanne Belperron. This collaboration not only underscored her commitment to precision but also played a crucial role in realising her inventive designs, including complex mechanisms for chokers and necklaces. Perhaps one of her most celebrated masterpieces is the Najwa sautoir necklace, introduced in 1982. Designed originally for a princess. Comprising a seamless strand of 1,800 nearly invisible pearls interwoven with subtle yet striking motifs in gold and diamond pavé, this necklace defied conventional aesthetics. The Najwa sautoir quickly evolving into a symbol of Marina B’s creative genius and remains an enduring icon of her prestige. Marina B’s work has always been more than mere ornamentation. It tells a story of a woman who dared to break with tradition, blending her heritage with her own inventive vision. Her jewellery, whether it be a transformative piece with reversible earrings, interchangeable gemstones, or a meticulously engineered choker, continues to capture the imagination of those who appreciate the fusion of technical mastery and artistic flair. Marina B changed ownership multiple times after Marina Bulgari stepped away from the brand in 1996.  Drawing inspiration from its remarkable archive of over 12,000 sketches, in 2017 the brand has entered an exciting new chapter under the leadership of renowned jewellery designer Guy Bedarida. Known for his influential roles at Boucheron, Van Cleef & Arpels, John Hardy, took the helm at Marina B by acquiring a majority stake in the band and becoming its creative director. In February last year, Marina Bulgari passed away in her Roman house on Valentine’s Day, at the age of 93. Her lasting impact on the jewellery world is evident in every beautiful piece she created, reflecting her timeless style and spirit.  Condition Report: Tourmaline: of purplish-pink hue, medium tone, good transparency, facets are smoothNumbered C1510Normal signs of wear, overall in good conditionTotal gross weight approx. 12.1g

An Ercol four piece living room suite, including a ‘Windsor Jubilee’ 766 pattern settee, two matching 766  armchairs and a footstool, circa 2000, with spindle back and arms, bentwood frames, and all with crimson cushions. 1988 fire label compliant, settee 90cm high. 190cm wide (4) A classic Ercol design, in excellent overall condition, and ready for a sunny conservatory or drawing room.

Oscar COLBRANDT (1879-1959), charcoal drawing Christ on the Cross, monogrammedOscar COLBRANDT (1879-1959), houtskooltekening Christus aan het kruis, gemonogrammeerd79 x 67 cm

Hubert MALFAIT (1898-1971), charcoal drawing The Harvest, signedHubert MALFAIT (1898-1971), houtskooltekening De oogst, getekend36.5 x 47.5 cm

Hubert MALFAIT (1898-1971), charcoal drawing The Harvest, signedHubert MALFAIT (1898-1971), houtskooltekening De oogst, getekend34.5 x 53 cm

Renaissance drawing in red chalk (sanguine) of figures around a lectern in classical drapery, School of Raphael, Italian High Renaissance, 16th–17th Century, with watermarkRenaissance tekening in rood krijt (sanguine) van figuren rond een lessenaar in klassieke draperie, School van Raphael, Italiaanse Hoogrenaissance, 16e–17e Eeuw, met watermerk28 x 19 cm

MANÉ-KATZ (1894-1962), watercolor/drawing Étude de rabbins et d'étudiants, signedMANÉ-KATZ (1894-1962), aquarel/tekening Étude de rabbins et d'étudiants, getekend25 x 34.5 cm

Willem DE FAMARS TESTAS (1834-1896), set of 3 watercolours of young girls and one pencil drawing of a reclining male nude, monogrammed and datedWillem DE FAMARS TESTAS (1834-1896), set van 3 aquarellen van jonge meisjes en één potloodtekening van een liggend mannelijk naakt, gemonogrammeerd en gedateerd9 x 18, 17 x 19.5, 16.5 x 20.5 & 15.5 x 19.5 cm

Franz VON STUCK (1863-1928), pencil/chalk drawing Mythical scene with Amazons, signedFranz VON STUCK (1863-1928), potlood/krijttekening Mytisch tafereel met Amazones, getekend34.5 x 63 cm

Oscar JESPERS (1887-1970), charcoal drawing Seated nude, signedOscar JESPERS (1887-1970), houtskooltekening Zittend naakt, getekend60.5 x 43.5 cm

George MINNE (1866-1941), drawing Christ figure, monogrammedGeorge MINNE (1866-1941), tekening Christusfiguur, monogram14.5 x 12 cm

Johan VAN VLAENDEREN (1952), pencil drawing Standing pregnant woman, signed and dated '98Johan VAN VLAENDEREN (1952), potloodtekening Staande zwangere vrouw, getekend en gedateerd '9845 x 52.5 cm

Jakob SMITS (1855/56-1928), pencil drawing Josine, his wife, not signed and etching Landscape with large white clouds, signed in pencilJakob SMITS (1855/56-1928), potloodtekening Josine, zijn vrouw, niet getekend en ets Landschap met grote witte wolken, getekend in potlood15 x 18 & 15 x 12.5 cm

Hubert MALFAIT (1898-1971), charcoal drawing Farmer, signedHubert MALFAIT (1898-1971), houtskooltekening Boer, getekend49.5 x 39 cm

Ernest VAN DEN DRIESSCHE (1894-1985), pastel drawing Carnival, signedErnest VAN DEN DRIESSCHE (1894-1985), pasteltekening Carnaval, getekend52 x 64.5 cm

A 1950s tinplate clockwork Training Plane, together with a 1940s children's 'Television Viewer' (boxed) and a 1950s boxed drawing set by Bell. (3)

Byron Howard, signed pencil drawing of "Louisa", signed halfway down on some steps, 80 x 37.

Attributed to Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"The Holy Trinity"Oil on canvas. Relined.96 x 70 cm. Without hesitation we can affirm that this painting is by Miguel Cabrera, being very similar, with slight variations in position of persons and color of clothing, to the oval painting of the Trinity in the Soumaya Museum, Carlos Slim Foundation, Mexico City; it also resembles the painting in the parish of Tlaxcala in San Luis de Potosí, Mexico, (today Museo del Virreinato), which is of rectangular format and by the same artist.  These are two similar examples among others. The Holy Trinity is difficult to explain theologically. But Cabrera knew how to express the complexity of the dogma very well in his art, as he demonstrates deep theological knowledge in his religious painting.In 1715, Pope Benedict XIV prohibited images of the Holy Trinity, because such portrayals denied the immaterial essence of the Holy Spirit. Miguel Cabrera got around this by using the same facial anatomy but making a distinction between the colors and the symbolic references on their chests.On the right is God the Father, in a white tunic, a symbol of revelation, with the sun on his chest, the manifest light of God, and a golden scepter as a symbol of power. Jesus Christ, on the left, is dressed in blue, a color that reveals his divine identity: his sacrifice as savior is recalled by the stigmata on his hands and feet, as well as the Mystical Lamb.  The red and pink of the vestments in the center, for the Holy Spirit, represent the Pentecost and the flame of living love.The three figures are on plinths decorated with cherubs and their radiance indicates their divine nature at the same time.The painter captured the Father, the Son, and the Holy Spirit with skill and mastery in this composition.  The luminosity of the colors, the movement within the painting and the sweetness of their faces are remarkable. Cabrera is considered to be the greatest exponent of 18th-century Viceroyalty painting in New Spain, with an output that the Dallas Museum of Art defines as ‘legendary: more than 309 works from his large studio have been documented’.Miguel Mateo Maldonado y Cabrera was born on 27 February 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will from 1768.He was the son of unknown parents and the godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training in the studio of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, in the State of Mexico, in the church of Santa Prisca in Taxco, Guerrero, and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but was also involved in the attempt to found an academy of arts in 1753, and in 1756 he established himself as an intellectual, not only as an artist, as he published an account of the image of the Virgin of Guadalupe in 1756 entitled ‘Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura’, an account of the image of the Virgin Guadalupe published by the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his output includes altarpiece designs, large-format paintings, as well as small ones on copper and nun's shields. Cabrera produced figures of remarkable beauty in his religious painting, a beauty understood through the ideological assumptions of the worship of the period. It is refined art with well-arranged chromatic richness, sustained by great compositional work and, no less important, subtle and expressive drawing.Of all the painters of that period, Cabrera was the one with the greatest personality; the conventional treatment of his figures undoubtedly formed the basis of his style of painting, as he placed in his paintings models that were not ideal, but who were people he knew and dealt with, such as when he incorporated portraits of donors or the so-called ‘prelates’ in some paintings.  He had the need to observe directly and copy from nature. He was appointed chamber painter to Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, an image made from "ayate" - a material made from local plants. Cabrera's version was sent to Pope Benedict XIV, from whom he received the highest recognition as a painter of Guadalupe. Outstanding portraits he painted include the one of Sor JuanaInés de la Cruz, kept in the National Museum of History, and the portrait of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico.He was also a painter for the Society of Jesus, producing numerous artworks for their churches.In 1753 he was appointed president for life of the Academy of San Carlos.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756 for the church of San Francisco Javier, is in the Museo Nacional del Virreinato.The Museum of Art in Dallas has a Saint Gertrude the Great by Miguel Cabrera and another painting of Saint Gertrude, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Also of note is an important series of Caste paintings from 1763 in the collection of the Museo de América in Madrid. These depict families, father, mother and child of the various castes and social strata, in everyday situations.

A French drawing room chair in pale blue upholstery within a shaped carved and moulded show wood frame, with painted finish

A 19th century French drawing room chair with carved show wood frame and needlepoint seat and back

An Edwardian mahogany drawing room chair with horseshoe shaped back and fret work frieze upholstered in apricot coloured material

A Victorian open arm drawing room chair, re-upholstered with buttoned finish

Two 20th century artworks to include: Ekaw Bentil (Ghanaian, b.1939) - Village scene (1970), oil on canvas board, signed lower right, 26 x 36 cm, framed; together with a continuous line drawing of two figures, indistinctly signed and dated 1955 lower right (2)

Margaret Hawkes (20th Century) - A folio containing a variety of artworks, to include: watercolours of botanical and animal studies; anatomical studies; life drawing and other figurative drawings, as well as two figurative oil studies, largest sheet approx. 51 x 64 cm

Trevor Willoughby (1926-1995) - Two life drawing nude studies, charcoal on paper, both signed, one dated 1992 with a personal note written to Laurie Lee (1914-1997), largest: 38 x 52 cm, unframed Provenance: consigned for sale directly from the family of Laurie Lee.

A Georgian set of drawing instruments housed within a lizard skin case, the eight instruments in brass and steel including a ruler marked T Heath

NORTH AFRICA -- "ALGIERS 1733". 17??. Drawing (copy of an existing print?) in ink and grey wash depicting the harbour of Algiers, several war ships with full sail on the roadstead, with compass rose and legend in Dutch underneath. (A bit thumbed, margins a bit dam.).

WOLKERS, J. 22 sprookjes, verhalen en fabels. Amst., De Bezige Bij, 1985. 117, (2) pp. W. ill. Sm-4°. Owrps.NOTE: Copy with handwritten dedication on half title in green and pink felt pen: "Voor Eva in vriendschap van Jan Wolkers, De Tille 27 maart 1987" and with a still life drawing by Wolkers in orange felt pen of a fruit bowl and a bust.

GERSTNER, K. Kalte Kunst? - Zum Standort der heutigen Malerei. Teufen, A. Niggli, 1957. (57 unnumb. pp.). W. (fold.) (cold.) ill./plates. Square-8°. Owrps. -- Added: GABRIEL OROZCO. Samurai's Tree Invariant. (2006). Prof. ill. Sm-4°. Owrps. -- (2).NOTE: Josef Albers, Crepuscular, Hommage to the Square - Max Bill, Two colour groups with dark square ex-centre and field with eight groups - Camille Graeser, Energy in the row and rhythmic reduction - Verena Loewenberg, Composition 257 - Richard P. Lohse, 10 equal themes in 5 colours and horizontal divisions - Lanfranco Bombelli, progression - Karl Gerstner, the tangential excentre - Gérard Ifert, composition - Hansjörg Mattmüller, sieve and grid, 4 constellations - Mary Vieira, times of a drawing - Marcel Wyss, progression.

COCTEAU, J. Léone. (Paris, Gallimard), 1945. (4), 120, (2) pp. W. 2 plain lithogr. plates by the author. 8°-obl. Obrds., uncut. (Cover a bit soiled and age-toned, but in v.g. condition).NOTE: Printed in red and black in a limited edition of 400 numb. copies. This copy w. ms. dedication in pencil by the author, dated 1958, to Jean Pierre Coeuriot and w. a nice large 'en profil' drawing in pencil of a face, also by Cocteau, on the half-title.

WATCHES -- PATEK PHILIPPE. Les Maîtres de l'Horlogerie Genevoise. (Geneva, C. Pezotti, c. 1953). 3 lvs. w. introduction. W. 40 b&w and cold. plates, each featuring watches opposite an illustrative line drawing or quote. Photos and design by L. Matthey. Owrps. (Spine ends sl. dam., back cover a bit stained).NOTE: Text in French with beautiful illustrations of dozens of wrist and pocket watch references including the famed reference 1518 chronograph, 1526 triple calendar, 1436 split second chrono and several others. - Inserted is a pricelist (dated 1953).

HEMSTERHUIS, Franciscus (Frans/François), (1721-1790). 3 letters in Dutch to Cornelis Nozeman (1720-1786), Leiden 14 December 1742, 6 Jan. 1743 and 4 July 1746. 3 fold. lvs., r°. & v°, all 3 signed. W. 2 loosely inserted lithogr. plates and 1 drawing in ink relating to 2 of the letters.NOTE: Hemsterhuis was the most important Dutch philosopher of the 18th century and an influential thinker in his time. He had a large international network. His work influenced great, especially German philosophers and writers, such as Goethe, Kant, Hegel and Novalis. He also had an interest in natural history as is shown in these letters which refer to a specific type of polyp that he reports to Nozeman. Cornelius Nozeman was a Dutch minister and scholar in the 18th century and author of the monumental work 'Nederlandsche vogelen'.

TIRAQUELLUS, A. De jure constituti possessorii Tractatus. Primus editus anno. 1549. nunc autem ab ipso authore castigatus & auctus. Cum summariis et amplissimo repertorio. Venice, F. Bindoni, 1555. (23), (2), 3-131 lvs. W. printer's device several historiated initials. Cont. limp vellum w. overlapping sides. (Binding w. title & drawing of an amphora(?) in ink, ties fail, upper joint broken, slight waterdam. & wormholes in the first part of the book, a few neat underscores & annots. in ink in an old hand, former owner's autograph 'Fran(cesc)i Vanutij' on title-p.).NOTE: Andreas Tiraquellus (André Tiraqueau) (1480-1558), French humanist jurist, counsellor to the Parlement of Paris. - Walker, 1220. Not in Adams.

LUCEBERT. (Abstract drawing). 1986. Or. drawing in water colour, chalk, pencil and gouache. Signed and dated in pencil in left lower corner. 320 x 230 mm (paper size). (Traces of former mounting, a bit browned, espec. along extremities). -- Added: Id. (Abstract drawing). 1986. Or. drawing in water colour, chalk and gouache. Signed and dated in pencil in right lower corner (same day as previous drawing!). 320 x 230 mm (paper size). Between cardboard mounts. -- (2).

STREUVELS -- FONTEYNE, Jules (1878-1964). (In profile portrait of Stijn Streuvels). N.d. Lithogr./photogr. of a drawing (?). 140 x 110 mm. Framed, glazed and under passepartout. (Uninspected out of frame).NOTE: Signed by Streuvels in blue ink and w. annotation "aan Mr. Ed. Verbeek" in lower left corner.

JAPAN -- SHUNGA -- ANONYMOUS. Erotic album of 10 double-p. paintings (each 270 x 280 mm) on paper, mounted as a leporello, w. a sequence of close-up views of a woman in ecstasy, of her vagina and finally a drawing of her having sexual intercourse. Unsigned, undated, c. 1870's/1880's, probably of the region Osaka-Kyoto. 4°. Cont. silk covered binding. (Silk a bit worn along edges of covers, but in very good condition).

SHIPPING -- KLINCKERT, H(endrik), (????-17??, in the service of the Amsterdam VOC Chamber Jan. 2 1718). "Afbeelding van't wonderlijke Schip gemaackt Tot Rotterdam in den Iaere 1653. De Inventeur van dit Schip Nam aen In Een Dag van Rotterdam na Vranckrijk te connen Vaeren en weder om: & in Ses weeken naer Oostindien". Dated: Amsterdam 1 Febr. 1743. Drawing in brown ink and greyish wash, signed lower right corner in the image. 292 x 400 mm. Hinged to mount, under passepartout. (Surface a bit soiled, ink slightly ran out in places).NOTE: Superimposed model of a paddle boat - a 'hatch' can be opened to reveal the 'engine' of this 'ship' - of an alledgedly fast ship. With legend in the left lower corner.

SOUTH AFRICA -- HOWEN, O.Chr. v.d. & J. SMIES. Zuidafrikaansche gezichten. Amst., Maaskamp, n.d. (1811). 1 letterpress leaf w. descriptions and 4 (of 4) large aquatint views by L. Portman w. letterpress captions underneath, all cold. by hand, each 350 x 440 mm (image size). Fol.-obl. Loose in mod. hcf. box. -- Added: an original watercolour drawing which is either an original by Von der Howen & Smies after which the print was made, or it is a meticulously executed copy of the print; it has exactly the same size, but differs from the print in some details.NOTE: Very rare set of the so-called 'Alberti prints', originally intended as an accompaniment to Lodewijk Alberti's 'De Kaffers aan de Zuidkust van Afrika' (i.e. the first ethnographic monograph which appeared in the Netherlands!). The original drawings were apparently made on the spot by Baron de Howen, worked up by Smies in Amsterdam and then engraved and aquatinted by Portman. Otto, Baron de Howen (1774-1848) was a Russian-born artillery officer (Kurland), while Jacob Smies, known chiefly as a caricaturist, was a professional artist. Von der Howen became adjutant to King Louis Napoleon of Holland and was in Spain between 1811 and 1814. During the Belgian rising of 1830, he defended the city of Mons, but was defeated and became a prisoner. In the Netherlands he was appointed lieutenant-general of the Dutch army and in 1831 city commander of Nijmegen (Netherlands) which he remained until his death.

Life Drawing Class with accomplished local artist Su Campbell - For the budding artist this is a not to be missed opportunity to develop your artistic techniques. Session for 8 people for 1 hour.