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A modern blue and white art glass vase, height 20cm, a blue and yellow hand blow art glass plate, diameter 20cm, a wooden bowl, diameter 20cm, a modern glass decanter, height 25cm, two ashtrays, an art glass bowl and a paperweight (8).

A group of Scandinavian art glass including Kosta Boda bowl, diameter 15.5cm, white Kosta Boda ashtray, diameter 11cm, Iittala pot, diameter 12cm, Orrefors candle holder etc, also a modern Horse of the Year Show 1997 cut glass pedestal bowl trophy, height 18.5cm (13).

A group of mixed collectables comprising a Royal Doulton Lambeth jardinière of Art Nouveau style, on a mottled green base, height 7cm, diameter 23.5cm, a pair of heavily cut glass trumpet vases, height 20cm, a modern cloisonné vase, height 19cm, a set of six sherry/liqueur glasses, a cut glass crystal basket, jar and cover, a horn handled fish knife, fork, carving knife, meat fork and steel, and a Royal Vienna wall charger, with classical decoration and 'Honig Edward I England' written verso, diameter 34.5cm.Condition Report: Repair to rim of the jardinière. The wall charger has been heavily repaired, visible from the front but obvious from the back.

RONSON; a 1930s Art Deco chrome plated and black painted table lighter, height 5.5cm, width 8cm, also a Art Deco style chrome plated rectangular cigarette case, with engine turned decoration, 8.5 x 11cm, two further lighters and a modern cased Chinese mahjong set (5).

OKRA; a modern contemporary art glass bowl, diameter 12.5cm, boxed, a pink art glass paperweight, an Okra glass vase, height 11.5cm, two Kosta Boda art glass ashtrays, both diameter 11cm, Jalanshi style art glass abstract paperweight, with indistinct signature to the base, height 15cm, and a Sally Tuffin for Dennis Chinaworks vase decorated with elephants, height 9cm, and another Dennis Chinaworks vase (8).

A collection of assorted 20th century sundry ceramics and glass, comprising a large twin handled stoneware vase, height 36cm, a large green glazed studio ceramic type jug, height to top of handle 35cm, further treacle glazed earthenware jug, height 21cm, modern studio ceramic plate, decorated with fruit, diameter 31.5cm, Silver Crane Company lidded ceramic model of a fountain pen, length 35cm, set of twelve Royal Crown Derby type Imari decorated knife handles, with separate blades, and a contemporary swirled blue and green art glass vase, height 20cm, diameter 21cm (8).

A modern brown leather upholstered Art Deco style armchair, width 91cm, depth 75cm.

Seven pieces of 20th century art glass and pottery comprising a Holmegaard Cascade Grey glass vase, 'Gulvvase', height 30.5cm, and matching smaller example, height 25.5cm, a pink to black gradient art glass vase, possibly Scandinavian, height 12cm, an orange art glass volcano vase, inscribed to the base 'Plus BM Norway', diameter 13cm, a Holmegaard 'Atlantis' art glass vase, height 14cm, a Lineasette clay face, head of Moai, height 32cm, and a modern white glazed ceramic vase, height 14.5cm (7).

A small group of metalware - including an Art Nouveau style brass floral dish, 14cm long; an antique copper and brass lota vessel, 7.8cm high; a modern Chinese cloisonne small vase and napkin ring; an Indian brass and enamel vase, 21cm high; a 19th century planished copper pounce pot, 6.8cm high; a brass inkwell; etc.

Fourteen gun and shooting related books including three volumes of The Modern Shotgun by Major Sir Gerald Burrard Bt. D.S.O., The Art of Shooting, 8 Bore Guns and their Cartridges, More 8 Bore Loads, Muzzle Loading Today, High Birds and Low, The Shotgun, Gough Thomas's Gun Book, The British Shotgun 1850-1870, Grey Goose etc. 

Art Deco and mid century modern ceramics including Gray's Pottery floral charger, Midwinter Homemaker tea ware, Carltonware etc., largest diameter 30cm

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

MARCHISIO: A LAPIS LAZULI AND DIAMOND BANGLE, CIRCA 1968The hinged bangle centring a lapis lazuli baton, between single-cut diamond borders and reeded shoulders, mounted in bi-coloured 18K gold, signed Max, Italian registry mark '1TO' for Marchisio between 1944-1968, numbered, inner length approximately 17.5cmThe story of the Marchisio family in the world of jewellery begins as early as 1649, when the Marchisio name first appeared in Turin’s goldsmith industry records. Nearly two centuries later, in 1846, Felice Marchisio was born and at just 13 years of age, he started working in his older brother Antonio’s workshop to help support his family. After Italy’s capital moved from Turin to Florence, economic challenges forced Felice to move to Paris, where he learned modern processing techniques and refined his manual skills. During his time in Paris, Felice was caught up in the Siege of Paris before escaping back to Turin, bringing with him some of highly capable laboratory workers from France. Back home, he and his brother founded their own workshop, which rapidly grew into Turin’s largest goldsmith company by the 1880s, employing over 100 workers. One of their early and notable projects was the creation of a 14 kg gold jewellery box, which was presented by the City of Turin to the future Queen Margherita, wife of Umberto I of Savoy. In the early 1900s, Felice’s three sons Francesco, Napoleone and Giuseppe began contributing to the company’s success. In 1903, Felice co-founded the Turin Goldsmith’s Art School with Sir Ghirardi. His son Francesco was one of its first students. However, World War I brought hardships, forcing a reduction in the workforce and claiming the lives of two of his sons, Francesco and Giuseppe. After Felice’s death in 1926, his only remaining son Napoleone took over, but political unrest and World War II forced the factory to close. After the war, Napoleone and his son Giovanni reopened the business as “Napoleone Marchisio”, achieving immediate commercial success. In 1968, the company became Giovanni Marchisio & Co, re-establishing the brand’s prestigious reputation. Since the 1990s the company has been led by the Mattioli family, under whose guidance it maintained a strong position in the industry. In 2013, the historic Antica Ditta Marchisio was acquired by the Richemont Group, continuing production and remaining a key supplier for major international brands such as Cartier, Piaget, Buccellati and Van Cleef & Arpels.  Condition Report: Clasp closes securely and with safety catchNumbered C473Signed Max, Italian registry mark '1TO' for Marchisio between 1944-1968 - stamped 750 for 18K goldTotal gross weight approx. 52.2g

JAR: A PAIR OF RESIN 'TICKLE ME FEATHER' EARCLIPSOf stylised feather design, in purple resin and 18K gold, signed JAR, numbered, with maker's mark, French assay mark, with maker's pouch, length 6cmJoel Arthur Rosenthal is one of the most exclusive and sought-after jewellery designers in the world, and yet, he remains a mystery to many. Founder of JAR, Rosenthal is known for his reclusive nature and limited production, making his creations highly coveted. His boutique in Paris's prestigious Place Vendôme doesn't advertise its presence with flashy signage or displays. Instead, the doors open only to a select few, such as Princess Caroline of Monaco, Ann Getty, Marella Agnelli and Princess Firyal of Jordan, ensuring that his work stays reserved for an elite clientele. A New York City native, Rosenthal never intended to enter the world of jewellery. After graduating from Harvard with a degree in art history and philosophy, he moved to Paris and opened a needlepoint shop. Though his business began slowly, his experiments with unusual colours of yarn attracted the custom of designers for Hermès and Valentino. It was through one of these clients, who asked him to design a mount for a gemstone, that Rosenthal's path toward jewellery design was set in motion. His growing fascination with fashion led him back to New York, where he worked at Bulgari's Fifth Avenue store. However, it was his love for gemstones that eventually drew him back to Paris in 1977, where he and his partner, Swiss psychiatrist Pierre Jeannet, opened an exclusive boutique. While JAR's name remained relatively unknown outside of Paris for years, his 2002 exhibition at London's Somerset House showcasing 400 of his pieces brought his work to global attention. A perfectionist, JAR shuns mass production and commercial trends, opting instead for an almost secretive, highly selective approach. This dedication to artistry and exclusivity culminated in a major retrospective at the Metropolitan Museum of Art in 2013, making him the first living jeweller to be honoured with a solo exhibition there. JAR's designs are celebrated for their daring use of unconventional gemstones, materials and striking colour combinations. His jewellery, often inspired by nature, transforms ordinary elements such as flowers, butterflies, and wildlife into intricate works of art. His mastery of materials like titanium and aluminium, paired with his innovative ombré colour schemes, adds a modern, sculptural quality to his pieces. Each piece is meticulously handcrafted, with only 70 to 80 jewels created annually, ensuring both exclusivity and a sense of personal connection with each client. One of her notable clients is Ellen Barkin, who in December 2006, after Revlon mogul Ronald Perelman blindsided her with divorce papers, turned the tables by selling her world-class jewellery collection at a Christie's auction in New York. The jewels, all gifts from her ex, included pieces once owned by the Duchess of Windsor and Doris Duke, but it was her 17 JAR pieces that stole the show. Highlights included a 22.76-carat thread ring and her favourite topaz, ruby, and diamond earrings, which she wore to the 2005 Vanity Fair Oscars. The auction reached $20 million, with JAR pieces such as diamond bangles and a diamond ring each surpassing $1 million. Ellen didn't just sell jewellery but a story of revenge and unapologetic glamour. JAR's influence on the jewellery world is profound. His work, blending antique techniques with modern sensibilities, has inspired a new generation of jewellers and helped re-establish high jewellery as a true art form. For nearly half a century, Joel Arthur Rosenthal has remained an elusive figure in luxury jewellery, letting his creations speak for themselves with unmatched artistry and vision.  Condition Report: For non pierced ears - with good tensionBoth numbered 29Minor signs of wear, overall in good conditionTotal gross weight approx. 17.9g

LANGI: A FINE DIAMOND SINGLE-STONE RINGOf architectural design, centring a marquise-shaped diamond weighing 2.13cts, to a plain brushed gold mount, mounted in 18K gold, signed Langi, Italian registry mark, ring size MAccompanied by a report from the GIA laboratory in America, stating that the natural diamond is 2.13cts, F colour, VS1 clarity. Report number 6224853215, dated March 23rd 2023.Alessandro Langella's story starts in Rome, a city where art and tradition have always come together. In 2010, he began his journey in the world of vintage designer jewellery. His love for art and design soon led him to create unique notable pieces.Langi Jewels, his signature collection, combines precious metals with modern materials and striking geometric shapes. Each piece reflects a mix of Rome's rich artistic heritage and a touch of futuristic style. Langi Jewels beautifully blends tradition with new ideas, creating jewellery that is both classic and contemporary. Condition Report: Signature and Italian registry mark located inside the hoopDiamond: accompanied by a report from the GIA laboratory in America, stating that the natural diamond is 2.13cts, F colour, VS1 clarity. Report number 6224853215, dated March 23rd 2023.Superficial signs of wear, overall in good conditionTotal gross weight approx. 11.9g

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

CARTIER: A RARE AND COLLECTIBLE LAPIS LAZULI, TURQUOISE AND DIAMOND NOVELTY CLIP BROOCH, CIRCA 1945The stylised scarab, with carved lapis lazuli body, a turquoise cabochon head, highlighted with single-cut diamond eyes and rose-cut feet at the front, mounted in 18K gold and platinum, signed Cartier Paris, with maker's mark, French assay marks, with maker's case, length 2.7cmAn identical brooch is illustrated, page 164, in the catalogue of the Cartier exhibition, L'Art de Cartier at the Musée du Petit Palais between October 1989-January 1990, by Hans Nadelhoffer.The discovery of Tutankhamun’s tomb in 1922 sparked a cultural phenomenon that extended far beyond archaeology. Throughout the 1920s and 1930s, the Egyptian Revival style swept across the decorative arts, leaving its mark on everything from ceramics and prints to furniture and, most strikingly, jewellery. Museums in Cairo and touring exhibitions in London and Paris further solidified the global fascination, showcasing the dynamic dialogue between age-old myths and contemporary design. The era’s fascination with ancient Egypt found a perfect partner in the materials and aesthetics of Art Deco: platinum, diamonds, onyx, and vibrant enamel brought ancient motifs into the modern age. Designers reimagined scarabs, sphinxes, lotuses, and hieroglyphs through the lens of contemporary luxury, resulting in pieces that were at once reverent and boldly forward-looking. Among the jewellers of the time, Cartier distinguished itself not merely by mimicking Egyptian symbols but by engaging directly with history. Louis Cartier developed a personal passion for Egyptian antiquity, travelling and acquiring genuine archaeological objects from dealers who handled finds from ongoing excavations. Rather than replicate ancient designs, Cartier incorporated these authentic artifacts such as scarabs, faience fragments, and deity heads into his own creations, elevating them with platinum and diamonds to craft sophisticated Art Deco jewels that were both historically rooted and stylistically avant-garde. This approach set Cartier apart, offering clients pieces that were not just inspired by the past but built from it. Egyptian-inspired jewellery is defined by its rich symbolism and vibrant palette. Gold, regarded as the skin of the gods, and silver, seen as divine bone, were used alongside vivid lapis lazuli, symbolising the intense, sky-like blue hair of the deities. Turquoise and green hues evoked the protective qualities of water and the Mediterranean. Jewellers embraced these colours and symbols, often incorporating amulets like the scarab, which in ancient mythology was observed pushing its ball in the desert, as a metaphor for the sun’s journey at dawn and a symbol of rebirth, cosmic order, good luck, and fortune. With the advent of global conflict, significant material shortages and restrictions rapidly transformed the landscape of jewellery production. The scarcity of platinum and diamonds forced designers to adopt innovative solutions without sacrificing the aesthetic values of their style. In response, jewellers began experimenting with advanced alloys and a wider array of semi-precious stones, reinterpreting traditional motifs with alternative materials that mimicked the allure of their predecessors. These necessary adaptations led to creative breakthroughs, ensuring that the symbolic richness and visual impact of their creations endured even in times of adversity. Even after the height of its popularity at the beginning of the 19th century, Egyptomania continued to resonate through popular culture. The mid-to-late 20th century saw waves of renewed interest thanks to cinema, particularly Hollywood films of the 1960s through the 1980s featuring mummies, curses, and pharaohs. These narratives reignited public fascination with Egypt’s mystique, sustaining its influence in both fashion and fine jewellery. From screen to studio, the mythos of ancient Egypt remained a rich source of inspiration and proving that, even decades later, its magic still had the power to captivate and create.  Condition Report: Normal wear, overall in good conditionMaker's mark located on the reverse of the scarab and one of the two pin (horizontal lozenge with what I think is 'P(symbol)M'Double pin clip system - signature located on the reverse of the broochFrench assay marks for platinum and 18K gold located on the reverse of one feet and another eagle's head located on the pinCloses securelyTotal gross weight approx. 16.7g

LANGI: A DIAMOND 'ADAM'S' SINGLE-STONE RINGThe circular-shaped mount applied with a brushed finish, collet-set with an old European-cut diamond weighing 4.58cts, within an asymmetrical zircon surround, mounted in 18K gold and zircon, signed Langi, Italian registry mark, ring size M   Alessandro Langella's story starts in Rome, a city where art and tradition have always come together. In 2010, he began his journey in the world of vintage designer jewellery. His love for art and design soon led him to create unique notable pieces.Langi Jewels, his signature collection, combines precious metals with modern materials and striking geometric shapes. Each piece reflects a mix of Rome's rich artistic heritage and a touch of futuristic style. Langi Jewels beautifully blends tradition with new ideas, creating jewellery that is both classic and contemporary. Condition Report: Diamond: weight provided by the vendor to be 4.58cts - estimated colour (difficult to gauge with mount) M/N and loupe clean within settingSigned Langi, stamped with Italian registry mark ‘*1425RM’, Zr, Au 750 and struck 4.58ctsSuperficial signs of wear, overall in good conditionTotal gross weight approx. 16.0g

MARCHISIO: A LAPIS LAZULI AND DIAMOND RING, CIRCA 1968Centring a lapis lazuli baton, between single-cut diamond borders, to reeded and domed shoulders, mounted in bi-coloured 18K gold, signed Max, Italian registry mark '1TO' for Marchisio between 1944-1968, numbered, ring size L The story of the Marchisio family in the world of jewellery begins as early as 1649, when the Marchisio name first appeared in Turin’s goldsmith industry records. Nearly two centuries later, in 1846, Felice Marchisio was born and at just 13 years of age, he started working in his older brother Antonio’s workshop to help support his family. After Italy’s capital moved from Turin to Florence, economic challenges forced Felice to move to Paris, where he learned modern processing techniques and refined his manual skills. During his time in Paris, Felice was caught up in the Siege of Paris before escaping back to Turin, bringing with him some of highly capable laboratory workers from France. Back home, he and his brother founded their own workshop, which rapidly grew into Turin’s largest goldsmith company by the 1880s, employing over 100 workers. One of their early and notable projects was the creation of a 14 kg gold jewellery box, which was presented by the City of Turin to the future Queen Margherita, wife of Umberto I of Savoy. In the early 1900s, Felice’s three sons Francesco, Napoleone and Giuseppe began contributing to the company’s success. In 1903, Felice co-founded the Turin Goldsmith’s Art School with Sir Ghirardi. His son Francesco was one of its first students. However, World War I brought hardships, forcing a reduction in the workforce and claiming the lives of two of his sons, Francesco and Giuseppe. After Felice’s death in 1926, his only remaining son Napoleone took over, but political unrest and World War II forced the factory to close. After the war, Napoleone and his son Giovanni reopened the business as “Napoleone Marchisio”, achieving immediate commercial success. In 1968, the company became Giovanni Marchisio & Co, re-establishing the brand’s prestigious reputation. Since the 1990s the company has been led by the Mattioli family, under whose guidance it maintained a strong position in the industry. In 2013, the historic Antica Ditta Marchisio was acquired by the Richemont Group, continuing production and remaining a key supplier for major international brands such as Cartier, Piaget, Buccellati and Van Cleef & Arpels.  Condition Report: Diamonds: bright and livelyOne screw could be tighten to the ring mountSigned Max, Italian registry mark '1TO' for Marchisio between 1944-1968, numbered C1563Normal signs of wear, overall in good conditionTotal gross weight approx. 11.1g

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

Sam Haskins (British, 1929 - 2009), modern art poster with a face emerging from a clockwork apple, 46.5 x 33cm, framed and glazed

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

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

A collection of Asian Art reference worksIncluding: HO, The Chinese Calligraphy Bible, 2007; SULLIVAN, Modern Chinese Artists, 2006; Chinese Paintings from the Shanghai Museum 1851-1911 (ex.cat.), 2000; GENG, Ancient China's Genre Painting Featuring Children, 2009; VAINKER, Chinese Paintings in the Ashmolean Museum Oxford, 2000; SHIJIA (ed.), Shen Shijia's Landscape, Bamboo and Rock Techniques, 1995; XIXIANG, Bamboo Manual of the Lofty Pine, 1962; FANG, Fang Zhaoling Painting and Calligraphy, (ex.cat.), 1981; RUSSELL and COHN, Wang Hui (Qing Dynasty), 2012; Selected Works of Cheng Cheng's Paintings, 2002; WANG, Oriental Brushwork, 1964; ZHANG, Zhang Daqian's Painting Album (2 vols. in slipcase), 2005; Yuan (ed.) Selection of Chinese Flowers and Bird Paintings from Past Dynasties, 1986; The Paintings of P'u Hsin-Yu (in slipcase), 1965; Ling-nian School Painting, 1986; Liu Zhijiu, 1965; Famous Paintings in Shanghai (ex.cat.); with four further volumes on Chinese painting and six Asian arts auction catalogues from Christie's, Sotheby's and Bonhams.

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

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

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

Modern Gaming Books, Guides and Games, Battlefield 3 Collectors Edition, Call of Duty Black Ops II, Call of Duty Modern Warfare Edition Prestige Edition, Red Dead Redemption Game of the Year Edition Guide, The Art of Bioshock Infinite, Bioshock Infinite Limited Edition Strategy Guide, Guides, Battlefield 2, Call of Duty MW3, Max Payne 3, Cyberpunk 2077, Mass Effect, Call of Duty Black Ops, Grand Theft Auto V, Dying Light, Battlefield 4, Mass Effect 2, Dishonored and Kill Zone 3, all in good condition, Console Games, Play Station 2 Ace Combat, Play Station 3 Call of Duty Ghosts, Call of Duty Modern Warfare 2, Call of Duty World at War, Call of Duty MW3 x2, Uncharted Among Thieves 2, Familt Guy back to the Multiverse, Skyrim the Elder Scrolls V, Resident Evil, Grand Theft Auto IV without instruction booklet, PS4 Home Front the Revolution without instruction booklet, Wolfenstein II and F1 2016, Wii Just Dance and TV Show King Party both without instructions (16)

This limited edition hardcover art book, Deste 33 Years, celebrates the rich history of the Deste Foundation for Contemporary Art and its influential exhibitions. Featuring bold imagery and thought-provoking contemporary artworks, the book provides an in-depth look at Deste’s impact on modern art. The book measures 8.5"L x 11.5"H x 2.5"H, while the accompanying marble-patterned slipcase measures 9.25"L x 2.75"W x 14"H, offering a sleek and protective presentation. A must-have collector’s item for art enthusiasts, contemporary art historians, and fans of avant-garde visual culture.Issued: 20th century Dimensions: See DescriptionCondition: New in box.

Reclining female nude figure cast in spelter with a smooth green enamel coated finish, in the style of Art Deco decorative sculpture. The figure is portrayed lounging gracefully with one arm behind her head, exuding relaxed elegance and subtle sensuality. The streamlined form and stylized facial features evoke the influence of early to mid 20th century design, reminiscent of both Art Deco and mid century modern aesthetics. The vivid green enamel adds a bold, graphic element, accentuating the smooth contours and lending a visually striking appearance. The figure is hollow and heavy.Issued: 20th centuryDimensions: 11.5"L x 3.5"HCondition: Age related wear. As is. Chipped in some areas.

An Art Deco style striking figural sculpture titled Sultry Awakening by artist Klara Sever, produced by Austin Productions in 1979. This expressive piece portrays a nude female figure stretching in an arched pose, with elongated hair flowing to the base in a dynamic, tree-like form. Crafted in cast resin with a faux bronze finish, the sculpture is signed Sever on the top of the base. A captivating representation of feminine grace and sensuality, this piece is emblematic of Sever's modern, emotive style.Artist: Klara Sever (American b. 1935)Issued: 1979Dimensions: Approximately 18"L x 8"W x 22"HCountry of Origin: USACondition: Age related wear. Two small chipped areas on the right of the figure's back.

A masterfully designed Baccarat console table featuring two gracefully arched supports composed of ribbed clear crystal. These sculptural elements rise in a sweeping motion from a thick, stepped crystal base with fluted, beveled detailing that catches and reflects light with dramatic effect. The base structure echoes the bold geometric elegance of Art Deco design while maintaining a sleek, modern edge. The table is topped with a demi-lune glass surface resting securely on the crystal arms. Etched with the Baccarat France stamps on the lower side of the base and the circular crystal top, attesting to its French luxury origin. This piece exemplifies Baccarat's enduring legacy of crystal artistry since 1764 and stands as both a functional console and a statement of refined taste and high design.Issued: 20th centuryDimensions: 60"L x 22"W x 35"HCountry of Origin: FranceCondition: Age related wear. Minor chips on the inside corners of the crystal base.

Vintage art glass pendant lamp in the style of Massimo Vignelli, showcasing bold horizontal bands in vivid shades of white, red, green, blue, and brown. The glass shade is formed in a tapered cylindrical shape, with concentric swirl detailing visible on the underside. When illuminated, the opaline glass emits a soft, diffused light that highlights the colorful stripes. When illuminated, the opaline glass emits a soft, diffused light that highlights the colorful stripes. Executed in the style of Murano glassmaking, this mid-century modern hanging fixture features a brass tone mounting collar and retains its original wiring.Issued: 20th centuryDimensions: 14.5"HCondition: Age related wear.

This striking color lithograph on Japon nacre paper by Salvador Dali, titled Chevalier Surrealist Hommage a Velazquez, is an interpretation inspired by the works of the Spanish master Diego Velazquez. Numbered 51/300, the print is hand-signed by Dali in pencil, confirming its authenticity. The composition features a dramatic equestrian figure with a translucent torso, revealing an interior scene reminiscent of Velazquez's court paintings, enveloped in Dali's signature dreamlike aesthetic. Rich in symbolism, the piece merges historical reference with modern surrealist expression, employing a palette of warm golds, deep shadows, and a surreal blue sky with bold red drapery. The embossed publisher's stamp further validates the work. Dali, a leading figure in the Surrealist movement, was known for his fantastical imagery and technical precision. His ability to blend classical influences with psychological depth is evident in this lithograph, making it a compelling addition to any collection of 20th-century art. On verso: Authentic Salvador Dali Archives Ltd 9 Oct 2010. Embossed stamps for Atelier Dumas, New York on lower left and published by Bowles/Hopkins, New York. Artist: Salvador Dali (Spanish, 1904-1989)Issued: 1980Dimensions: 31.50"L x 39"HCountry of Origin: SpainCondition: Age related wear.

This hardcover art book, titled Jack Bush, provides an in-depth exploration of the celebrated Canadian abstract painter Jack Bush (1909-1977). Published by McClelland and Stewart in 1984 in association with Merritt Editions Limited and Karen Wilkin, editor, the book features contributions from notable art historians and critics, offering insights into Bush’s artistic evolution and significance in modern art. Lavishly illustrated with high-quality reproductions of his work, this volume serves as a valuable resource for art collectors, scholars, and admirers of Color Field painting. ISBN 0-7710-5840-3. The book measures 10.5"L x 1.25"W x 13"H.Issued: 1984Dimensions: See DescriptionCondition: Age related wear.

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

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

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

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

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

A group of economy themed RPG Board Games comprising NATIONS (2013) Lautapelit.Fr, LORDS OF THE SIERRA MADRE (1995) Decision Games, MAHARAJA (2004) Phalanx Games, MEDICI (2006) Rio Grande Games, MODERN ART HIGH STAKES BIDDING IN THE GALLERIES (2004) Mayfair Games, POWER GRID (2004) Rio Grande Games, POWER GRID EXPANSION CHINA / KOREA (2008) Rio Grande Games, ROADS AND BOATS THIRD EDITION (2006) Splotter, SANTIAGO (2003) Amigo, appear complete (9) NB: This lot is located in off-site storage facility (WD24) and only available for viewing by appointment with 24 hours notice. It will be available for collection from our main site after 2nd May.

Assorted art reference books, including Art Nouveau Poster, Modern British Posters, etc.

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

A restrung Egyptian bead necklace composed of ancient blue, cream and red faience tubular and disc beads, another of ancient blue and red and tubular beads, interspered with modern squat spherical beads and modern blue faience lotus flowers, and another necklace with ancient green tubular faience beads, interspersed with modern amulets of seated Anubis and a winged scarab; a terracotta bust of Hathor, 6.7cm high, Not Ancient with and oval marble base  (4)Provenance:The Hathor Head with base: Cheffins Fine Art Auction, Cambridge, 27 November 2013, Lot 562 (part), the necklace with Anubis, Lot 561 (part). Check with Cheffins re prior provenance 

An illustrated detached folio : a hero fighting a bear, Qazwin or Shiraz, Safavid Iran, circa 1560, Opaque pigments on paper, under the gaze of others in a rocky landscape and of his groom and horse, 5ll. of elegant black nasta'liq script arranged in two columns within thin black ruled gold margins above, within red, blue and gold rules, the reverse with text similarly written and laid, mounted, pencil inscription below 24 x 15.4cm. Footnotes: Provenance: Sothebys  8/11/1954 Property of Gerald Reittlinger acquired by the vendor's auntGerald Reitlinger was one of the great benefactors to the Ashmolean Museum during the 20th century. His extensive holdings of Islamic, Chinese, Japanese, and European ceramics (and to a much lesser extent paintings) became part of the Museum's collections in 1978. In 1983 the Museum opened the Gerald Reitlinger gallery to display the Islamic art collection. A wide selection of Reitlinger's pieces is now on display in the new galleries opened in November 2009.Condition Report: The corners and edges are in good condition. The folio may have been cropped in the past. it presents as clean overall except for some scattered light staining and water staining. Very light pitting.The mount with modern polychrome rules approximately mirroring the folio's.

Hussein Shariffe, Sudanese 1934-2005-Untitled;Oil on canvas, with Gallery One label to reverse Index A284,48.5 x 59.5 cm (64 x 77 cm framed) Note:Hussein Shariffe was a prominent Sudanese filmmaker, painter, poet, and university lecturer at the University of Khartoum. After completing his education in Khartoum and Alexandria, Egypt, he went on to study modern history and fine arts in England, where he held his first exhibition at London’s Gallery One in 1957. Upon returning to Sudan in the 1970s, he contributed his expertise to both the Ministry of Culture and the Faculty of Arts at the University of Khartoum. In 1973, Shariffe began a new artistic venture in filmmaking, creating a series of documentary films and cinematographic essays that explored themes such as Sudanese traditions and history.For a recent sale of Shariffe's work, see Bonhams, 20 March 2025, Modern and Contemporary African Art, Lot 31. Condition Report: Paint flaking in areas; evidence of damp staining to top middle where paint has flaked, unexamined out of frame; dirt residue all over

Ahmad Moualla, Syrian b.1958-Untitled, 1998; oil on canvas, signed and dated 'A.Moualla 98',80 x 80 cmProvenance:Green Art Gallery in Dubai, 1998.Note:Born in Syria in 1958, Moualla is regarded as one of the foremost post-modern artists in Syrian expressionism. He was the first to incorporate performance into his art and held his debut exhibition at Atassi Gallery in 1997, titled A Tribute to Saadallah Wannaous (the late Syrian playwright). Moualla completed his studies at the University of Damascus, Faculty of Fine Arts, followed by the École Nationale Supérieure des Beaux-Arts in Paris. His solo exhibitions include Grey Ash at Green Art Gallery, Dubai, UAE (2011); Word: The Body of the Dialogue at the Municipality of Athens – Centre of the Arts, Athens, Greece (2010); and New Works at Green Art Gallery, Dubai, UAE (2009).

Auto Art Millenium 1/18 scale modern issue diecast model of an MGB GT Coupe MKII 1969 housed in a polystyrene packed pictorial card box (with broken wheel)

A set of three books showcasing the artistry and history of glassmaking and glass sculpture, perfect for collectors and enthusiasts. The first book, 'Artists Confronting the Inconceivable: Award Winning Glass Sculpture', edited by Irwin J. Borowsky. Published by the American Interfaith Institute in 1992, this book features award-winning glass sculptures and the artists behind them. The second book, 'G. Argy-Rousseau: Glassware as Art' by Janine Bloch-Dermant, with a catalogue raisonne of pate de verre. Published by Thames and Hudson in 1991, this comprehensive book highlights the works of G. Argy-Rousseau, an iconic glass artist of the 20th century. Lastly the third book, 'Contemporary Art Glass' by Ray and Lee Grover. Published by Crown Publishers in 1975, this book features 128 color plates and 48 black-and-white illustrations documenting the evolution and artistry of modern glassmaking. Book 1: 12"H; ISBN: 1-881060-00-4. Book 2: 11.25"H; ISBN: 9780500236260. Book 3: 11.25"H; ISBN: 0-517-516284.Artist: Irwin J. Borowsky, Janine Bloch-Dermant, and Ray and Lee GroverIssued: Late 20th centuryDimensions: See DescriptionCondition: Age related wear. As is. Torn cover.

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

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

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

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

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

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

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

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

A pair of Victorian silver Art Nouveau vegetable dishes, mark of the Goldsmiths' & Silversmiths' Company, London 1900, each of oval form, the side pierced with foliate designs and a maiden with stylised wings, two lug handles and glass interior, raised on four bun feet, signed to the underside, 21 x 17cm ex handles, 1021g (33ozt) gross weighable silver (2) Overall in good condition with no obvious signs of damage or repair. Some light surface scratches and very minor dings and dents, as to be expected and commensurate with age and use,The glass inserts are modern Pyrex replacements

Walker (D.) & Heaney (S.) Modern Art in Ireland, 4to, D. (Lilliput Press) 1997, Limited Edn. No. 41 (200), illus., cloth & d.j.; Carrick (D.) Carrick - The Lie of the Land, 4to Cork (Gandon Edn.) 2009, illus., cloth and d.j. Clean copies. (2)

In Art Deco Bindings Sutcliffe (G. Lister) The Modern Carpenter Joiner & Cabinet Maker, 8 vols. (Division) folio Lond. 1903-04. Full page plts. & illus. in orig. Art Deco coloured cloth, designed by Talwin Morris. (8)