A few examples of appraisal values for
INSPIRATION WHITE

• RARE VENETIAN ENAMEL AND PARCEL
  RARE VENETIAN ENAMEL AND PARCEL GILT DECORATED COPPER CHARGER LATE 15TH/ EARLY 16TH CENTURY the well centred by a green and white armorial, enlcosed by a raised boss with an inner gadrooned border and an outer gadrooned border in white in opposing directions of rotation, against a cobalt ground highlighted with gilt oak leaves, stars and acanthus, the reverse in cobalt blue enamel with gilt stars 28cm diameterProvenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L.Note:Venice in 1500 was enjoying a golden age as one of the richest and most powerful trade and cultural centres in Europe, trading extensively with the Byzantine Empire, the Muslim world, and beyond. Its strategic position as the nexus of the lucrative trade routes to the East and Africa enabled it to secure a monopoly on rare and exotic goods and materials, and the city grew rich. Its overseas empire spanned across the Mediterranean, to include territories from Friuli all the way to Cyprus. The production of luxury goods flourished, as producers could source the best materials, and wealthy merchant and aristocratic clients fuelled demand.The Venetian enamel wares represent a beautiful amalgamation of different influences and illustrate how well-connected Venice was in the Renaissance. They are generally of exceptional quality and have a very unique, easily distinguishable style. Many of the surviving examples were clearly for use in a religious context, however the present example with its central silver and green armorial indicates it must have been commissioned by an aristocratic family.Italian nobility in the Renaissance used a variety of elaborate and precious vessels for formal dining, but the most splendid tableware was displayed on sideboards or credenze around the sides of the room as a show of wealth. The shapes with their raised gadrooning are inspired by silver and other metal wares, which also inspired glass produced in the same region. Another source of inspiration may be the famous deep blue Lajvardina ceramics produced in Persia. This would not be unlikely, as Venice had been a crossroads for trade between Africa, Asia and Europe since medieval times.The technique is related to early Netherlandish examples. The objects were hammered from copper sheets, then fused with a thin layer of powdered glass using high heat with the main colours being cobalt blue, dark green, white and more rarely turquoise, red and black. The first layer of opaque white is the key to making the colours applied over it look luminous. Pieces were decorated with further enamels of different colours fixed with subsequent firings. Finally, patterns of gold foil were applied and fused to the enamel surface using lower, but still elevated, temperatures. These were applied to the surface of the enamel to create repeating patterns and were likely stamped with small tools used to apply fine metallic foil, called paillon, yielding a textured surface. Although the gold foil is very rubbed in most examples due to not having been fired, a few areas still show these original textures. Some of the stars on the present chargers still have their raised centres.The uniform style and the relatively short period in which all of the known Venetian enamel wares were produced date them almost exclusively from the late 15th century to the mid-16th century. Although Venice was well renowned as a centre of glass it remains largely unrecognised as a major centre for the production of enamels. Surviving pieces like the present two lots are rare, with only a few hundred known in private collections and museums.
• GREEK CANOSAN FEMALE VOTIVE FIGURE,
  GREEK CANOSAN FEMALE VOTIVE FIGURE, TL TESTED**Originally Listed At $1200** Ancient Greece, Tanagra, Hellenistic Period, ca. 3rd century BCE. A charming pottery figure of a female draped in flowing robes and standing contrapposto with one hand on her chest and the other arm at her side. Her sweet visage is sensitively rendered with a fine brow line above almond-shaped eyes, a round nose, and bowed lips. Luscious locks of wavy hair are piled atop her head as the billowing folds of a himation drape her sloped shoulders and a long chiton falls to her feet. Note the impressive remains of creamy white pigment that adorns her robes and skin, as well as the vibrant auburn paint enveloping her coiffure. Size: 2" W x 6.4" H (5.1 cm x 16.3 cm); 7.4" H (18.8 cm) on included custom stand. Inspired by historical knowledge like that collected at the Library of Alexandria, prominent Hellenistic art collectors commissioned large pieces based on public statues from the earlier Classical Period. More available art forms like this one echoed the naturalistic, detailed classical style that reached a pinnacle in small statuary during the Hellenistic period. Artisans looked for inspiration not only from the past but also from what they observed around them - usually women. Terracotta figures like this example have been uncovered in private dwellings where they may have had a religious purpose or been part of a shrine. Other figures decorate tombs and sanctuaries - in Tanagra, the site that this style of figural artwork is named for, some of the over 10,000 discovered graves have up to a dozen of these statuettes. Perhaps they represented mourners, dressed in finery to attend a funeral. This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full printed and bound report will accompany the item upon purchase. Provenance: private Vero Beach, Florida, USA collection, acquired before 2003 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #177660 Condition: Professionally repaired and restored with repainting over break lines. Expected nicks and abrasion, commensurate with age. Otherwise, very nice presentation with liberal remaining pigments. TL holes to base and verso of figure.
• § ROBERT ADAMS (BRITISH
  § ROBERT ADAMS (BRITISH 1917-1984) PLATE, CIRCA 1952 signed 'ADAMS' (to reverse), painted earthenware25cm diameter (9.8in diameter)Provenance: In Barns-Graham's notes about her collection she states she purchased a plate by Robert Adams.Literature:Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humphries, London, 1992, cat no. 138c, illus. pg.38 with a paper design.Note: This is possibly from a set of 10 different designs, although Grieve only identifies three.Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
• ASIAN-INSPIRED BLACK LACQUERED
  ASIAN-INSPIRED BLACK LACQUERED DAYBEDAsian-Inspired Black Lacquered Daybed, manufacturer unknown; the loose cushion covered in white rose-motif fabric Dimensions: 26 x 72 x 31 in. (66 x 182.9 x 78.7 cm.), Seat height: 18 in. (45.7 cm.) Provenance: From the Collection of the Mary Pickford Estate, Beverly Hills, California Condition: Faint stains to cushion.
• Vladimir Kagan Modern Design walnut
  Vladimir Kagan Modern Design walnut bar cart, double paneled white laminate top, top lifts on each side with underneath white laminate, tiered laminate interior with brass ice bucket 24"h x 47"w x 21"d, 3 broken feet, laminate unglued, This lot is consigned from the Personal Collection of Vladimir Kagan, 1927-2016. It was removed from his offices in Northern NJ. "Our parents found inspiration everywhere they went, and they collected prodigiously. Art and objects from primitives to Deco to modern ? all of it influenced their work and filled their various homes. The personal collection of Vladimir Kagan and Erica Wilson is so unique because it illustrates the journey from inspiration to the iconic designs that are so well known today. The family lived with all of these pieces ? they became part of the rich fabric of our daily lives and now we are thrilled to share them with the public ensuring that our parent?s legacy will live on beyond them." -Jessica Kagan Cushman
• § ROBERT ADAMS (BRITISH
  § ROBERT ADAMS (BRITISH 1917-1984) MAQUETTE NO. 2 FOR TRIANGULATED STUDY NO. 1, 1960 steel wire painted grey on black base23.5cm high (including base), 13cm wide (9.25in high, 5.1in wide)Provenance: In Barns-Graham's notes about her collection she states she purchased a 'wire sculpture' by Robert Adams.Literature:Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 296.Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
• KAREN LAMONTE, AMERICAN (BORN
  KAREN LAMONTE, AMERICAN (BORN 1967), ETUDE 11, 2015, CAST GLASS, 3/5, SIGNED, DATED AND NUMBERED EDITION, 25 14" X 25 1/4" X 9 1/4"Karen LaMonte, American, (Born 1967) Etude 11, 2015, Cast Glass, 3/5, signed, dated and numbered edition Artist's statement: Since 1990, Karen LaMonte has created sublime and enigmatic works in glass, ceramic, bronze, iron, paper, and marble. Her works range from monotype prints to monumental stone sculptures, and explore themes of beauty, gender, identity, and the natural world. LaMonte received her BFA from the Rhode Island School of Design and explored an early passion for glass sculpture at studios in New York and New Jersey. In 1999, she traveled to Prague on a Fulbright scholarship to work in the glass casting studios of Eastern Bohemia; while there, she created Vestige (2000), a glass sculpture depicting a life-sized dress with the wearer absent. This work garnered international acclaim, thanks in part to an essay about it by renowned art critic Arthur Danto. In the early 2000s, LaMonte established a permanent studio in Prague, where she created her first major body of work: the series Absence Adorned. Like Vestige, these life-sized glass sculptures examine the interplay between public and private identities through garments that are opulently draped on invisible female figures; the works represent a re-invention of the traditional portrayal of the nude. Sculptures from Absence Adorned were first shown in a solo exhibition at the Czech Museum of Fine Arts in Prague, and have been widely exhibited since. Drawing on the classical aesthetics of Absence Adorned, the Chrysler Museum of Art in Virginia displayed works from the series in their 2009 exhibition Contemporary Amongst the Classics. The exhibition combined classical sculpture with contemporary works to highlight continuity of style and creativity across generations. To further explore the nexus of clothing, culture, and identity, LaMonte traveled to Kyoto in 2007; there, she studied the design, construction, symbolism, and significance of the traditional Japanese kimono. Back in Prague, she used biometric data of Japanese women to create dress sculptures in ceramic, cast glass, rusted iron, and bronze. Her selection of materials for the works was inspired by aspects of Buddhist philosophy. She titled the series Floating World, after scenes in Ukiyo-e woodblock prints. These sculptures have been featured in exhibitions at museums including the Chazen Museum of Art and the Hunter Museum of American Art. They are also included in permanent collections at the Museum of Fine Arts, Boston; the Montgomery Museum of Fine Arts; and elsewhere. LaMonte next found inspiration in the music of John Field and Frederic Chopin, as well as the paintings of James Abbott McNeill Whistler. She channeled their atmospheric, night-themed compositions through her Nocturnes series of dress sculptures, for which she designed and sewed evening dresses to "wrap the female body in night" with white bronze, blue glass, and rusted iron. Some of these figures are modeled in reclining positions, a subtle subversion of the traditional odalisque through the removal of the nude body itself. Within her Nocturnes series, LaMonte created Etudes, one-third-scale works that reference the historic Parisian project Théâtre de la Mode. During World War II, artists, dancers, and fashion designers created touring exhibits of small fashion mannequins installed in scaled theater sets, in hopes of helping the country move beyond the horrors of war. LaMonte's Etudes–which echo that resilient wartime artistry–have been displayed with the larger-scale Nocturnes in exhibitions including Embodied Beauty at the Hunter Museum of American Art. In 2017 and 2019, LaMonte displayed her Nocturnes at Glasstress, an exhibition mounted concurrently with the Venice Biennale. Recent works by LaMonte focus on clouds and climate change, reflecting her long standing fascination with themes of common and interlaced humanity. Her monumental 2017 marble sculpture Cumulus, also shown at Glasstress in Venice, was modeled from real-life weather data in collaboration with climatologists from the California Institute of Technology. LaMonte's newest body of work uses biomimetic materials to reinvent historic Venus figurines for the 21st century. Cast Glass, 3/5, signed, dated and numbered edition Dimensions: 25 14" x 25 1/4" x 9 1/4"
• SUPERB CHANCAY FIGURAL VESSEL -
  SUPERB CHANCAY FIGURAL VESSEL - MOTHER & CHILDPre-Columbian, Central Coast Peru, Chancay, ca. 900 to 1250 CE. A very large bi-chrome earthenware egg-shape bodied effigy vessel with a single strap handle on the back of the neck, the figure's head depicted on the front of the generally cylindrical neck, her visage comprised of bulging, wide open eyes, a protruding straight nose, cup-shaped ears, and tattoo marks on the cheeks, all detailing in chocolate brown over a white ground - all beneath the tumpline around her forehead (connected to a bag hung over her back) and delineated with fine line geometric, textile-inspired patterns. The figure holds a child in both hands which extend from applied slab-made arms, close to her chest as if about to nurse. She dons a belt presenting intricate stylized geometric motifs inspired by Andean textile designs that match those of the tumpline, all in rich chocolate brown pigment on a creamy white ground to enhance the already delightful piece. Size: 10" in diameter x 18" H (25.4 cm x 45.7 cm) Provenance: private Quincy, Illinois, USA collection; ex-Dr. George Wald, Cambridge Massachusetts, USA, acquired in 1960s; Dr. Wald was a recipient of the 1967 Nobel Prize in Physiology or Medicine for his work on the retina. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #178874 Condition: Small chips to rim. Normal surface wear with minor pigment losses and fading. Overall excellent! Old newspaper inside to protect interior.
• § ROBERT ADAMS (BRITISH
  § ROBERT ADAMS (BRITISH 1917-1984) RECTANGULAR BRONZE FORM NO.2., 1953 from an edition of 6, bronze15.5cm high, 10.2cm wide (6.1in high, 4in wide)Provenance: In Barns-Graham's notes she refers to owning two sculptures by Robert Adams, one ‘gold’ purchased and one given.Literature:Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 157.Note: This sculpture inspired Wilhelmina Barns-Grahams painting Ultramarine II, 2000 (Lynne Green, 2011, p.276).Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
• § ROBERT ADAMS (BRITISH
  § ROBERT ADAMS (BRITISH 1917-1984) SPHERE, 1980 signed, numbered and dated 'ADAMS OO/ 1980' (to base), bronze9cm high, 7cm wide (3.5in high, 2.75in iwde)Provenance: In Barns-Graham's notes she refers to owning two sculptures by Robert Adams, one ‘gold’ purchased and one given.Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 680.Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
• ART DECO INSPIRED 14K GOLD BRACELET
  ART DECO INSPIRED 14K GOLD BRACELET & EARRINGS China,20th CenturyArt deco inspired filigree bracelet and earrings suite with blue spinel princess cut stones flanked by round cut diamonds in 14K white gold. Weight as seen for the group 19.5 grams.
• MARCO BICEGO INSPIRED 18K
  MARCO BICEGO INSPIRED 18K TRI-GOLD BEADED NECKLACE Marco Bicego (Italian, XX-XXI) inspired 18K tri-gold (yellow, white and rose gold) brush textured finish beaded necklace strung on gold chain. Marked: "750" with maker's mark. Necklace measures: 33.75"L x 0.25"W. Approx: 43.9 dwt. inclusive.
• RARE VENETIAN ENAMEL AND PARCEL
  RARE VENETIAN ENAMEL AND PARCEL GILT DECORATED COPPER CHARGER LATE 15TH/ EARLY 16TH CENTURY the well centred by a raised boss with white gadrooned border and green band enclosed by an outer gadrooned border in cobalt blue in opposing directions of rotation, on a white ground highlighted with gilt oak leaves, stars and acanthus, the reverse in cobalt blue enamel with gilt stars29.5cm diameterProvenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L.Note:Venice in 1500 was enjoying a golden age as one of the richest and most powerful trade and cultural centres in Europe, trading extensively with the Byzantine Empire, the Muslim world, and beyond. Its strategic position as the nexus of the lucrative trade routes to the East and Africa enabled it to secure a monopoly on rare and exotic goods and materials, and the city grew rich. Its overseas empire spanned across the Mediterranean, to include territories from Friuli all the way to Cyprus. The production of luxury goods flourished, as producers could source the best materials, and wealthy merchant and aristocratic clients fuelled demand.The Venetian enamel wares represent a beautiful amalgamation of different influences and illustrate how well-connected Venice was in the Renaissance. They are generally of exceptional quality and have a very unique, easily distinguishable style. Many of the surviving examples were clearly for use in a religious context, however the present example with its central silver and green armorial indicates it must have been commissioned by an aristocratic family.Italian nobility in the Renaissance used a variety of elaborate and precious vessels for formal dining, but the most splendid tableware was displayed on sideboards or credenze around the sides of the room as a show of wealth. The shapes with their raised gadrooning are inspired by silver and other metal wares, which also inspired glass produced in the same region. Another source of inspiration may be the famous deep blue Lajvardina ceramics produced in Persia. This would not be unlikely, as Venice had been a crossroads for trade between Africa, Asia and Europe since medieval times.The technique is related to early Netherlandish examples. The objects were hammered from copper sheets, then fused with a thin layer of powdered glass using high heat with the main colours being cobalt blue, dark green, white and more rarely turquoise, red and black. The first layer of opaque white is the key to making the colours applied over it look luminous. Pieces were decorated with further enamels of different colours fixed with subsequent firings. Finally, patterns of gold foil were applied and fused to the enamel surface using lower, but still elevated, temperatures. These were applied to the surface of the enamel to create repeating patterns and were likely stamped with small tools used to apply fine metallic foil, called paillon, yielding a textured surface. Although the gold foil is very rubbed in most examples due to not having been fired, a few areas still show these original textures. Some of the stars on the present chargers still have their raised centres.The uniform style and the relatively short period in which all of the known Venetian enamel wares were produced date them almost exclusively from the late 15th century to the mid-16th century. Although Venice was well renowned as a centre of glass it remains largely unrecognised as a major centre for the production of enamels. Surviving pieces like the present two lots are rare, with only a few hundred known in private collections and museums.
• TUFENKIAN AVENTINE WHITE
  TUFENKIAN AVENTINE WHITE CARPETTufenkian Aventine White Carpet, from the "Natural Rocks Collection"; Nepal; linen, silk, wool; with label Dimensions: 15'10" x12' Provenance: Property from a Private Residence, Carbon Beach, Malibu, California; Note: "Aventine White is a part of Tufenkian's Nature Rocks collection and is a stunning example of organic design inspired by nature that Tufenkian is known for. Rendered in an ombre palette of undyed wool, silk and linen, the carpet organically transitions from a natural white to a soft brown, with bright linen and shimmering silk accents. The natural colors support a room rather than overwhelming it, and the softness of undyed wool, silk, and linen invite you to linger and enjoy the carpet." -Tufenkian.com Condition: good condition
• BLUE AND WHITE TRANSFERWARE, SIX
  BLUE AND WHITE TRANSFERWARE, SIX PIECES, INCLUDING: LARGE ENGLISH MEAT PLATTER WITH INCISED TREE AND WELL, FLORAL BOUQUET WITH BRANC...Blue and white transferware, six pieces, including: large English meat platter with incised tree and well, floral bouquet with branches at center, multiple borders including largest with hydrangea and Asian-inspired trees, 3/4" w. chip under rim, 20 1/2" l.; four pieces with crescent mark on base, probably Royal Worchester or Lowestoft including footed ovoid blossom vase, small chip under foot, 5 1/2" h.; handle less cup with bird decoration, 2" h.; saucer with two hairlines and flake to rim; leaf-form dish with raised decoration to sides and branch handle, 1 1/4" h.; along with a similar vase with Asian inspired temple decoration at center, shaped rim and raised on square plinth base, repaired chip to rim, 6 1/2" h., all pieces with wear consistent with age and use and may include minor damages, sold as is.
• ARBIT BLATAS, NEW YORK / FRANCE,
  ARBIT BLATAS, NEW YORK / FRANCE, LITHUANIA (1908 - 1999), ZIZI, LITHOGRAPH, 20"H X 8 1/4"W (PLATE)Arbit Blatas, New York / France, Lithuania, (1908 - 1999) Zizi, lithograph Numbered 180/200 lower left and signed lower right. Biography from Papillon Gallery: Arbit Blatas (né Nicolai Arbitblatas) was born in Kaunas, Lithuania on November 19, 1908. He was a precocious talent who began exhibiting in his native country at the age of 15. Soon afterwards, he left for Paris and, at the age of 21, became the youngest member of an illustrious group of artists known as the School of Paris. When Blatas was 24, the Jeu de Paume in Paris acquired its first painting of the young artist, who had already become a colleague and friend of many of the great figures of the Paris art world, such as Vlaminck, Soutine, Picasso, Utrillo, Braque, Zadkine, Léger and Dérain. He was to paint and sculpt them all, as well as Bonnard, Vuillard, Matisse, Dufy, Van Dongen, Cocteau, Marquet and many others. His 30 portraits in oil and bronze are considered a unique document of the painters and sculptors of that dynamic period in 20th-century French painting.. In the 1930s, Blatas exhibited in London and New York, as well as in his adoptive home of Paris. Fleeing Nazi-occupied Europe in 1941 for the United States, Blatas became an American citizen and solidified his reputation among the front ranks of contemporary American painters. After the war, Blatas divided his life between New York and France, where, in 1947, he was elected a life member of the Salon D'Automne. His life-size bronze of his colleague and friend Chaim Soutine, created in 1967, was highly admired by André Malraux. In 1987, the City of Paris installed the statue in Montparnasse in the square of the Gaston Baty and conferred on Blatas the Médaille de Vermeil. A life-size statue of another close friend and colleague, Jacques Lipchitz, now stands in the garden of the Hotel de Ville next to the Museum in Boulogne. In 1978, Arbit Blatas was named Chevalier de la Légion d'Honneur by the French Government for his contribution to French art as an outstanding member of the School of Paris. In 1994 he was promoted to the rank of Officier de la Légion d'Honneur. The Holocaust Blatas' parents were deported from Lithuania in 1941. His mother died in the Studthof concentration camp. His father miraculously survived Dachau; after the war, Blatas returned to France to bring his father with him to the United States. After the death of his mother, Blatas turned his back on the Holocaust until the late 1970s, when it burst forth in the artist's oeuvre and remained a recurring theme in many major works. His black-and-white drawings memorializing the unspeakable events of that time appeared in the 1978 American television series, "Holocaust." The drawings became the basis for four public memorials, consisting of seven powerful bas-reliefs, known as The Monument of the Holocaust, now on permanent display in four countries: Italy, France, The United States and Lithuania. The first edition of this monument was installed in the historic Ghetto of Venice on April 25th, 1980, the National Holiday of Liberation from the Nazis. On that occasion, Mayor Mario Rigo decorated Blatas with the gold medal Venezia Riconoscente. On September 19th, 1993, in the same Historic Ghetto of Venice, President of Italy Oscar Scalfaro honored Blatas by personally dedicating his sculpture The Last Train, a monument honoring the 50th anniversary of the deportation of the Jews from the Venetian Ghetto. The second edition of The Monument of the Holocaust was dedicated at the Shrine of the Unknown Jewish Martyrs in Paris on April 23, 1981. The third edition was placed by the Anti-Defamation League in Hammerskjold Plaza, across from the United Nations in New York on April 25, 1982. In 2009, this edition was installed permanently at the Hebrew Union College-Jewish Institute of Religion in New York City. In 2003, the fourth and final edition of this powerful series of sculptures was donated posthumously by his widow as part of the consecration of the memorial at Fort Nine in Blatas' native Kaunas, Lithuania, the notorious location from which Blatas' parents were deported in 1941. Marcel Marceau and The Threepenny Opera Two other major subjects became leitmotifs in Blatas' work: Marcel Marceau and The Threepenny Opera. Both inspired the artist in paintings, sculpture, and a third medium for which Blatas became widely appreciated: Lithography Beginning in the 1950s, the artist's great friend, Marcel Marceau, appears in all shapes, poses and sizes: from large portraits to small-scale studies, to sculptures, to sets of lithographs that capture the famous mime in mid-air. Through a magical coincidence, Blatas attended the world premiere of The Threepenny Opera in Berlin in 1928; the groundbreaking musical theatre work by Kurt Weill and Berthold Brecht would inspire Blatas for the next 70 years. His canon of work depicting scenes and characters from The Threepenny Opera includes 18 portraits, 10 sculptures, several large canvases and sets of color and black-and-white lithographs. The outstanding preface by the legendary Lotte Lenya, Weill's widow, to the first edition of Threepenny Lithographs, published in 1962, pays tribute to Blatas' profound understanding of the work. In 1984, the Threepenny Opera exhibition was displayed at Venice's Teatro Goldoni; in 1986, at the Museum of the City of New York and the Goethe Institute in Toronto. In May 1994, the Grosvenor Gallery in London presented the exhibition called "Arbit Blatas and his World of Music and Theatre." In 2000 and 2001, respectively, the entire Threepenny Opera collection appeared as part of Kurt Weill Centenary celebrations at Belmont College, Nashville, Tennessee, and the Leubsdorf Gallery, Hunter College, New York. Career as Stage Designer During the 1970s and 1980s, Blatas designed scenery and costumes for nine international opera productions in collaboration with his wife, the renowned mezzo-soprano, Regina Resnik, as stage director. These productions included Elektra (Teatro La Fenice, Venice; Teatro Sao Carlos, Lisbon; Opéra du Rhin, Strasbourg); Carmen (Hamburg State Opera); Salome (Teatro Sao Carlos); Falstaff (Teatre Wielki, Warsaw; Teatro la Fenice; Teatro Sao Carlos; Festival of Madrid); The Queen of Spades (Vancouver Opera Association; Sydney Opera House); and The Bear and The Medium (Teatro Sao Carlos). The 1980s and 1990s saw major exhibitions of Blatas' work, including several devoted to the School of Paris. In Venice, in 1982, the School of Paris portraits became a major exhibition at the Church of San Samuele under the joint auspices of the Mayor of Paris, Jacques Chirac, and the Mayor of Venice, Mario Rigo. Le Musée Bourdelle offered the first major exhibition in Paris of the portrait collection in 1986. In 1990, the entire collection of the School of Paris, portraits, drawings and bronzes, were shown at the Musée des Années Trentes in Boulogne-Billancourt, which subsequently acquired the entire collection now permanently installed in galleries dedicated to Blatas. In 1996, the Eastlake Gallery of New York presented Blatas in an exceptional exhibition entitled "Aspects of Venice." In 1997, the Beacon Hill Gallery, also in New York, presented a landmark exhibition of more than 100 of Blatas' works. From September 2008 through July 2009, the 100th anniversary of the birth of Arbit Blatas was celebrated in "Arbit Blatas: A Centenary Exhibition," at the Hebrew Union College-Jewish Institute of Religion in New York. This exhibition brought together all the major themes and media of Blatas' diverse oeuvre for the first time: French and Venetian landscapes, music and theatre subjects in painting, sculpture and lithographs, the School of Paris in sculpture, and scenic designs. The Holocaust was honored in the fourth edition of Monument of the Holocaust and four towering, major paintings. Blatas was an artist of enormous range. His vivid colors and joie de vivre extend through his entire canon of paintings: landscapes, portraits and still-lifes. The distinguished French art critic, Jean Bouret, summed the artist up this way: "He is color, his palette is color, exuberant and sensual, as is the man." On the other end of Blatas' artistic spectrum, the noted Italian art historian Enzo di Martini wrote of the Monument of the Holocaust: "In complete contrast to his paintings, these bronzes are hammered and chiseled in anger and tragedy." Arbit Blatas passed away on April 27, 1999 at his home in New York City. lithograph Dimensions: 20"H x 8 1/4"W (plate)
• PAIR ASIAN INSPIRED WHITE AND LIGHT
  PAIR ASIAN INSPIRED WHITE AND LIGHT BLUE ENAMEL TWO-DRAWER SIDE TABLE AND TRIPLE DRESSER WITH TWO MIRRORS, H: 32 W: 71 D: 18 INCHESPair Asian Inspired White and Light Blue Enamel Two-Drawer Side Table and Triple Dresser with Two Mirrors, H: 32 W: 71 D: 18 inches
• 18TH C. NEOCLASSICAL GOLD,
  18TH C. NEOCLASSICAL GOLD, DIAMOND & GLASS CAMEO BROOCH...Northern Europe, Neoclassical period, ca. 18th to early 19th century CE. A stunning, hand-carved glass and agate cameo of octagonal form set in a gold brooch surrounded by 12 diamonds, 1 round-cut and 2 princess-cut on each side. Sculpted from creamy white agate that nicely contrasts the rich gray glass, the beautiful cameo displays the image of Cupid - Greek Eros - the Roman god of love riding a biga led by a pair of rearing lions. Facing left, the charming, winged deity grasps the reins of his fierce felines with 1 hand, while raising a crop in the other. The male and female lions lunge forward on their hind legs, driving forth the riding child. Size (brooch): 1.2" L x 1" W (3 cm x 2.5 cm); (cameo): 0.9" L x 0.7" W (2.3 cm x 1.8 cm); gold quality: 73% (equivalent to 17K+); weight: 8.5 grams The Neoclassical period saw immense northern European interest in the Classical world, in part inspired by the budding science of archaeology. Artists looked to the deep past for inspiration but brought an imaginative sensibility to their depictions of it. The motif of Cupid riding, taming, or subduing a lion or lions was popular in both Classical and Neoclassical art as the image of the god of love triumphant over such a ferocious beast was intended as an allegory for the notion that "love conquers all," or in the original words of Virgil "omnia vincit amor." Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #159449 Condition: Inscribed "13258" on verso. One smaller diamond has fallen out of setting and been reattached. Otherwise, excellent and wearable.
• AFTER EMILIO TERRY (FRENCH/CUBAN
  AFTER EMILIO TERRY (FRENCH/CUBAN 1890-1960) A PLASTER A...after EMILIO TERRY (French/Cuban 1890-1960) A PLASTER AND GLASS CONSOLE TABLE BY SIRMOS, CIRCA 1970, with a beveled rectangular glass top on a realistically modeled bone white plaster pedestal simulating stacked jagged quarry rocks, raised on a painted rectangular wood plinth. Height: 31 3/4" Width: 54 1/4" Depth: 19" Note: Parisian born Emilio R. Terry y Sanchez was of distinguished Cuban-Irish ancestry and whose family's great fortune primarily originated in Cuban sugar plantations. His family owned the historic Château de Chenonceau as well as other residences and he himself owned another important home, the historic registered hotel particulier at 2, Place du Palais Bourbon. This was to influence his work which included architecture both interior and exterior, furniture, objets d'art, textiles and landscape architecture. The list of his friends and acquaintances reads like a whose who from the worlds of of noble families, artists, designers, multi millionaires and French society. His living in this rarefied world were an obvious inspiration for his sophisticated designs and led to a style which he called the Louis XVII - a more late 18th century French neoclassical blend with earlier classical Baroque and Palladio successfully brought into 20th century modernism. A perfect example of this is the pair of marble topped plaster rock form console tables he designed for the 18th century foyer of the Château de Clavary in 1927. These consoles are the obvious inspiration for the present lot which was made by Sirmos in the early 1970s. Condition: Good condition for plaster furniture of this age, use and materials including but not limited to some normal marks and scratches, small chips, minor wear, flaking and surface buildup throughout. The thick glass top has some scratches and a sliver loss of underside edge. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
• Embroidered & W/C Mourning Panel,
  Embroidered & W/C Mourning Panel, depicting a woman and a cherub in prayer, with a ship on the water in background, surrounded by a floral and vine embroidered border, with a crest depicting a crown with "G III R" below, at the bottom "Nemo me impune lacessit", the Latin motto of the Royal Stuart dynasty of Scotland from at least the reign of James VI when it appeared on the reverse side of merk coins minted in 1578 and 1580. Silk on linem, split in silk to left of figures and above crown. George III died in 1820. Overall 19 1/2" x 15 1/4", the panel 16 1/2" x 13 1/2". Overall with the white outside is 13" x 19", print glued to outside, This lot is consigned from the Personal Collection of Vladimir Kagan, 1927-2016. It was removed from his offices in Northern NJ. "Our parents found inspiration everywhere they went, and they collected prodigiously. Art and objects from primitives to Deco to modern – all of it influenced their work and filled their various homes. The personal collection of Vladimir Kagan and Erica Wilson is so unique because it illustrates the journey from inspiration to the iconic designs that are so well known today. The family lived with all of these pieces – they became part of the rich fabric of our daily lives and now we are thrilled to share them with the public ensuring that our parent’s legacy will live on beyond them." -Jessica Kagan Cushman
• A. VAVILINA MIXED MEDIA W/ GOLD
  A. VAVILINA MIXED MEDIA W/ GOLD LEAF - BUBBLES, 2019Alena Vavilina (Russia, b. 1986). "Black Collection: Bubbles" 2019. Mixed Media: Gold leaf, acrylic, and chalk on black paper. Signed "AV" at lower right. A captivating composition by award winning contemporary artist Alena Vavilina, featuring an endearing creature of rich red hues with huge eyes and a royal blue puddle of water below. The wide-eyed creature looks towards a cluster of iridescent bubbles delineated in gold leaf and modeled with white chalk. Nature is Vavilina's greatest muse, and water is oftentimes highlighted in the form of puddles and droplets in her compositions. According to the artist, this composition was also inspired by magical creatures envisioned in her dreams. Size: 39.5" L x 27.5" W (100.3 cm x 69.8 cm) In the Spring 2020 issue of Harper's BAZAAR Art, Vavilina was introduced as follows, "Vavilina’s love for art flourished from a very young age; her first tutor was her father. He was not an artist himself, but he introduced the use of water colour and still life painting techniques very early on in Vavilina’s life. In her adolescent years, she enrolled into an art school in Moscow and never looked back. Vavilina has also been educated in France, England, Malta, China and Dubai – her travels have left a mark on her art pieces in one way or the other. Her adoration for Chinese culture has seen her spend some of her early days studying the language and Chinese diplomacy. So influenced is she by the culture, that she calls herself an 'Orientalist,' and this is evident in the style of her art on canvas, for instance, as seen in Cherry Blossom (2019) and in her Butterflies series." Alena Vavilina's Artist Statement reads as follows, "Alena Vavilina’s art is both a unifying and graceful force as it seamlessly weaves an invisible thread binding countries and cultures. Russian by birth, Alena Vavilina grew up in Moscow. She studied in France, England, Malta, China and UAE. Her experiences in these countries and with these cultures are captured in her artistic creations. Her art is trans dimensional, as she attempts to create a world without territorial or temporal boundaries. Through formal lessons at Academic Art School in Moscow, Alena learned the principles of art, and with this foundation she created her own signature mixed media style by which she can be easily recognised. In Alena Vavilina’s art, there is the mixture of ancient Chinese style, juxtaposed with modern European civilization. It can be described as reunion of styles, time and the unique author personality. A key source of inspiration for Alena is Vincent Van Gogh, and his quote, 'I dream my painting and then I paint my dream…' represents the verbal expression of her work. The paintings of Alena Vavilina are a part of private arts collections around the world. She is curated by Gallery Artistry’s Vienna, Austria ; ART WEME Contemporary Gallery, Kuala Lumpur, Malaysia and IAM Gallery Abu Dhabi, UAE. Alena Vavilina's artworks and sculptures are always exhibited at the main international Art Fairs: Art Basel Miami, Art Expo Malaysia, Asia Contemporary Art Hong Kong, World Art Dubai, Carrousel du Louvre…" Accompanied by artist's certificate of authenticity. Provenance: Collection of the artist, Alena Vavilina, Dubai, United Arab Emirates All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #164820 Condition: Excellent overall. Signed "AV" at lower right. Accompanied by artist's certificate of authenticity.