Japan, late 20th–early 21st century

Split, woven and twisted bamboo, 29 × 21 × 15 cm

Immaculate condition. 

A striking Japanese bamboo basket, or Hanakago, combining traditional craft with a distinctly sculptural sensibility. Broad ribbons of bamboo sweep through a more structured framework, interwoven with dark, tightly twisted strands, creating a dynamic and expressive, almost calligraphic, composition.

Rich tones of oxblood, aubergine and near black emphasise the contrasting widths and textures of the bamboo. Despite its apparent spontaneity, the construction is carefully controlled, balancing an architectural underlying structure with a looser, more gestural surface.

Low and unusually broad in form, with an inner, bamboo water container (for floral arrangements), the basket has a compelling presence from every angle. This is an expressive exploration of rhythm and movement, articulated through a fascinating material.

Burkina Faso, 20th century

Bronze, lost wax technique, 25 x 12 x 3.5 cm

Excellent condition.

A characterful bronze chameleon from Burkina Faso, cast using the lost-wax process and distinguished by its highly stylised, almost graphic treatment.

The animal is reduced to a series of strongly articulated forms: an arched, cross-hatched body edged by a serrated spine, attenuated legs, prominent circular eye and open mouth. Its tightly coiled tail provides the defining gesture, a sequence of concentric rings introducing an unexpectedly precise geometry to the otherwise irregular surface.

Chameleons recur within the visual and symbolic traditions of several peoples of Burkina Faso, where they appear in cast bronze in a variety of forms. Here, the immediacy of the animal is matched by the individuality of the casting, with subtle irregularities, wear and a warm, varied patina giving the surface considerable depth.

At once abstracted but also recognisable, the piece has a particularly strong silhouette and an engaging, slightly enigmatic presence.

France, c. 1950–60

Brass and painted steel, 32 x 23.5 cm

Very good condition. In working order, with e14 fitting.

A quietly expressive example of French modernist lighting - sculptural, balanced and enduringly contemporary.

It is a disciplined, ingenious and deliberate composition: the slender brass stem rises from a sharply articulated tripod base to support a thin red reflector, which appears almost to float above the exposed bulb.

The construction is simple, with striking graphic restraint. Light is directed upwards onto the underside of the disc, creating a soft, indirect illumination. The fine stem, conical bulb holder and splayed base establish a precise interplay of line and plane, while the red lacquered reflector provides a bold counterpoint to the warmth of the brass.

Unrestored and retaining its original twisted electrical cord and brass fittings, this refined mid-century lamp combines structural clarity with a distinctly playful modernist character.

Mozambique, c. 1970s

Ebony wood, 27 × 14 × 8 cm

Excellent condition.

A carved ebony “Tree of life” sculpture in the Makonde tradition, formed from interwoven human figures rising around a vertical core. Limbs and bodies overlap, connecting in a densely worked composition that give the relatively compact sculpture an unexpected sense of movement and complexity.

Carved from dark, lustrous ebony, polished surfaces alternate with light and shadow, articulating the individual figures through deeply worked recesses. From every angle, the composition continually shifts as bodies emerge from and disappear into the overall structure.

The Makonde “Tree of life” form traditionally evokes lineage, community and interconnection. Here, those ideas are expressed through the sculpture’s physical construction: individual figures supporting, enclosing and connecting with one another to form a fascinating, coherent whole.

Ethiopia, first half to mid-20th century

Cast brass, 77 x 62 cm

Very good condition.

A finely cast Ethiopian Orthodox processional cross distinguished by its remarkable intricacy and commanding architectural presence. Rising to nearly 80 cm, a network of openwork geometry, interlaced forms and finely engraved decoration create a structure that appears simultaneously delicate and monumental.

The cross derives its strength from rhythm, proportion and repetition, instead of mass. Interwoven latticework, geometric borders and stylised floral and animal motifs dissolve solid metal into light and shadow, while the tapering shaft provides a quiet anchor. Throughout, the craftsmanship demonstrates balance, with extraordinary complexity establishing a coherent whole.

The softly worn surface and gentle patination lend warmth to the brass, enriching the finely articulated details without obscuring them. Both devotional object and sculpture, the piece possesses a quiet authority that extends beyond its religious origins, standing comfortably as a work of exceptional metalwork and enduring design.

Italy, late 1970s–early 1980s

Chromed steel and painted metal, 80 × 66 × 25 cm

Very good original condition. Minor mottling to the chrome, consistent with age. Professionally rewired (UK plug).

Designed by Raul Barbieri and Giorgio Marianelli for Tronconi, the Arco table lamp is defined by a single sweeping gesture: a slender chromed steel arc rises from a weighted dark base before terminating in a simple cylindrical lamp head, creating a composition that is both structural and graphic.

The arc functions as both structure and drawing - a decisive line traced through space that creates presence without visual weight. The exposed bulb and restrained detailing allow the geometry to remain the focus, while the substantial base quietly anchors the composition.

Illuminated, the lamp casts a broad pool of light beneath the arc, extending its presence. Precision is tempered by elegance, producing a design whose character emerges through proportion, balance and material honesty rather than embellishment.

More than a functional light source, it is an elegant study in balance, geometry and restraint.

Czechoslovakia, c. 1959.

Hand-shaped crystal, 22 × 13 cm (approx. 2 kg)

Excellent condition.

A substantial mid-century Czech crystal vase, distinguished by its rich amber colour and weight. Attributed to Jan Beránek and produced by the Škrdlovice glassworks, it belongs to the expressive tradition of post-war Czech studio glass.

The irregular, sculptural form combines areas of dense modelling with a highly polished surface, creating remarkable optical depth as light moves through the glass. Amber deepens into tones of burnt orange and red, while the considerable thickness of the crystal gives the relatively compact piece an unexpected physical presence.

Organic and expressive, yet also controlled, the vase demonstrates the material confidence and experimentation characteristic of post-war Czech glass.

Japan, mid 20th century

Turned wood, 28.5 x 10 cm

Excellent condition, with original box. 

A finely proportioned Japanese kokeshi by Akira Kon (Seijū), a leading figure of the sōsaku kokeshi movement. Defined by a pure cylindrical form and restrained hand-painted detail, ornament is reduced to the essential, allowing proportion, grain and balance to take precedence.

Titled Oshinobi Dōchū (Travelling Incognito), the figure is distinguished by its broad travelling hat, a sculptural counterpoint to the slender vertical form. Subtle brushwork and areas of dark pigment further emphasise its elongated geometry.

Quietly expressive and remarkably economical in form, the piece demonstrates the ability of sōsaku kokeshi to move beyond folk tradition towards distinctly modern sculpture.

France c. 1920–30 (signed Ch. Cousin)

Oil on panel, 35 × 27 cm

Some age-related loss and perimeter abrasion. Presented in a contemporary walnut frame.

A striking portrait of a Camargue manadier by French painter Charles Cousin (1904-1972), rendered with an immediacy and expressive economy characteristic of interwar modernism.

The sitter emerges beneath an exaggerated broad-brimmed hat, his face constructed through vigorous passages of ochre, cream and deep umber. A brilliant red neckerchief cuts through the otherwise earthy palette, lending the compact composition graphic intensity. Cousin dispenses with conventional modelling in favour of abbreviated, confident brushwork - capturing with remarkably few gestures character, expression, and the light of this part of France.

A manadier is the keeper of a traditional Camargue herd, closely associated with the equestrian culture of southern France. Here, regional dress becomes the basis for a portrait that feels less documentary than psychological: direct, slightly enigmatic and distinctly modern.

The original painted surface has areas of age-related loss and abrasion, particularly around the perimeter, giving the work a compelling, time-worn character while leaving the strength of the image undiminished.

Italy, c. 1960-70s

Onyx, 84 × 30 × 30 cm (weighing approx. 32 kg)

Excellent condition with no chips or cracks.

A substantial architectural pedestal in richly figured onyx from Italy, combining classical proportions with the stone’s expressive character.

The tall cylindrical column rises from a stepped square base to support a broad, rectilinear top with an opening on one side. The clarity of the form provides a counterpoint to the remarkable natural figuring of the onyx, with layers of ivory, honey, ochre and soft grey moving across the polished surface.

Both dense and translucent, the stone has an extraordinary luminosity, its shifting bands and mineral inclusions revealing depth and variation as the light changes.

At 84 cm high and weighing 32 kg, the pedestal has both physical and sculptural presence. Equally compelling standing alone or supporting sculpture, ceramics or natural objects, it brings material richness and architectural structure to an interior.