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Paul McCartney signed Off The Ground CD Sleeve disc included. Sir James Paul McCartney CH MBE (born 18 June 1942) is an English singer, songwriter and musician who gained worldwide fame with the Beatles, for whom he played bass guitar and shared primary song writing and lead vocal duties with John Lennon. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

WWII "Fuel of Eagles" 24x21 inches colour print signed by the artist Robert Taylor signed by 46 RAF fighter command veterans and 8 Luftwaffe pilots who flew in combat. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

Kate Mara signed 10x8 inches colour photo. Kate Mara (born February 27, 1983) [2] is an American actress. She is known for work in television, playing reporter Zoe Barnes in the Netflix political drama House of Cards (2013-2014; 2016), computer analyst Shari Rothenberg in the Fox thriller series 24 (2006), wronged mistress Hayden McClaine in the FX miniseries American Horror Story: Murder House (2011), Patty Bowes in the first season of the FX drag ball culture drama series Pose (2018), and a teacher who begins an illicit relationship with an underage student, he FX on Hulu miniseries A Teacher (2020). For the latter, she received an Independent Spirit nomination for Best New Scripted Series as an executive producer. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

Football Autographed Adrian Heath 1984 8 X 6 Photo: Col, Depicting Everton Players Converging On Graeme Sharp Who Had Just Scored The Opening Goal In A 2 0 Victory Over Watford In The 1984 Fa Cup Final At Wembley, Signed By Adrian Heath Using A Black Marker. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

Film. The Man Who Knew Too Much Collection of 2 Original Black and White Lobby Cards. Starring James Stewart and Doris Day. 10 x 8 inch. Good Condition. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

Doctor Who signed photo collection four 10 x 8 colour signed by John Leeson as K9 and The Virus, Dan Peacock and Space Cowboy Clive Rowe. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

Lewis Collins (1946 2013) and Martin Shaw, a rare dual signed "The New Avengers" Trading Card (No. 65), produced by Strictly Ink in 2006. The first pairing of the duo who later work together on Brian Clemens "The Professionals". Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

Doctor Who William Hartnell, a BBC Broadcasting History FDC, signed by the first FIVE actors to play the Doctor: William Hartnell (1963 1966), Patrick Troughton (1966 1969), Jon Pertwee (1970 1974), Tom Baker (1974 1981) and Peter Davidson (1981 1984). Please note. There is a small patch of wear to the right edge, but this is mostly covered by the signature of Peter Davidson. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

Lord of the Rings Tolken a FDC signed by Elijah Wood (who played Frodo Baggins), Sean Astin (Samwise "Sam" Gamgee), Billy Boyd (Peregrin "Pippin" Took) and Dominic Monaghan (Meriadoc "Merry" Brandybuck), the four primary hobbit characters. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

Holiday on the Buses, a 10x8 b&w film photo. signed by Michael Robbins and Anna Karen, who played Arthur and Olive Rudge. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

On The Buses, a 10x8 sepia style film photo. Signed by Stephen Lewis who played Inspector Cyril Blakey Blake, who has added Blakey below signature. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

Corgi Toys James Bond 007 boxed model pair comprising No. 811 Diamonds are Forever Moon Buggy comprising blue, white, red and yellow body in the original window box, the box is quite damaged (VG-BP), and No. 269 Lotus Esprit from the film "The Spy Who Loved Me", the box is quite damaged (VG-BP)

A collection of 7" vinyl records consisting of mostly rock, including "Beth" - Kiss promo/demo, Queen, The Who, Free, Canned Heat, Hawkwind, Deep Purple, T. Rex, The Kinks, Thin Lizzy, Blood Sweat and Tears, Edgar Winter Group, Slade, Dire Straits etc.

A collection of 12" and 7" vinyl records including Queen, The Rolling Stones, Led Zeppelin, The Who, David Bowie, ZZ Top, The Stranglers, Motorhead, The Jam, The Knack, Lynyrd Skynyrd, Angelic Upstarts, The Dickies, Bruce Springsteen, U2, Elvis Presley etc.

A quantity of 12" and 7" vinyl records including The Who, The Beatles, The Doors, Elvis Costello and The Attractions, The Walker Brothers, Queen, Dire Straits, The Police, The Kinks, Elton John, Cat Stevens etc.

Robert Sgarra (French, 1959 -)'Black Dollar'2021Acrylic, spray paint & resin mixed mediaLimited edition 1 of 7 Signed & numbered to frontFirst NFT model77 x 181 cm (30" x 71")Robert Sgarra was born n Grenoble in 1959. He lives and works in the South of France. Robert Sgarra is a self-taught artist who started painting at the age of thirteen and has been exploring many artistic fields ever since. He is the son of an Italian immigrant father. An artist fascinated by all forms of art, his paintings are inspired by Picasso, Nicolas de Stael, Braque and Matisse. The influence of Léonardo da Vinci can be seen in his sculptures. A wizard of materials and an artist difficult to label, Robert Sgarra revisits pop art as a dedicated colorist in innovative and inventive works, sometimes also daring to use extreme colors. He varies his shapes and colors, in tune with his humor and moods, always spurred and driven to create. In the 1990's he used collage and acrylic on stone to portray celebrities such as Zidane, Luis Fernandez, Patrick Viera, Baresi, Karpov and Pinna.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Adam Koukoudakis (British b. 1976)The Right To Remain Silent 20065 Colour screen printSigned, dated and numbered 53/70 in pencil42 x 29 cm (16.5" x 11.5")Adam is a father, painter, illustrator and collagist who studied Fine Art at Chelsea and Berlin Institutes of Art before graduating with BA (Hons) Fine Art from Central Saint Martins in 2006. In the same year he was invited to participate in his first post - graduate show with Banksy at Greek Street's infamous Lazarides Gallery, at a time when it was inspiring a broader movement of artists whose work blurred the lines between fine art, street art, illustration and graphics. In 2007 he accepted a further invitation to participate in Santa’s Ghetto in Bethlehem, before embarking on a busy International circuit of shows, projects, collaborations and private commissions which kept him out of trouble until 2010, when he took a short hiatus to enjoy the rewards of fatherhood. Always a painter and lover of collage, Adam found a way to combine the two through his early exposure to screen printing by hijacking the pulling of ink & screen, and instead projecting his screens onto canvas and painstakingly hand painting every benday himself. His paintings and prints have always depicted subjects and topics close to his heart, from early political angst to the unapologetic love of his family.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Rich Simmons (British b. 1986)Hula Hoops To Hand Guns 2013Mixed media and spray paint on boardAccompanied with certificate of authenticity200 x 122 cm (78.5" x 48")Rich Simmons is a Contemporary Urban Pop Artist who has exhibited all over the world. Simmons work explores the intersections of visual culture, spanning pop art, comic books, the Renaissance, contemporary fashion, sexuality and beyond. London-based Rich Simmons has a global reach and celebrity following, having exhibited in some of the world’s most prestigious galleries in London, New York, LA, Tampa, Miami, Montreal, Toronto, Seoul and Geneva. Simmons work has now made it into Museum collections with the Men Of Steel, Women Of Wonder exhibition debuting at the Crystal Bridges Museum of American Art in 2019. In 2018, a painting created for Gracious Hearts Charity for children with cerebral palsy sold for £52,000 at a Christie’s charity auction. 2022 saw the launch of Simmons NFT debut, with Reflections selling out the 3,333 mint in under an hour and going on to generate $1.8 million in sales on Opensea in the first month. The collection debuted in the top 10 Art NFTs on Opensea and earned finalist spots in the NFT NYC Awards as Best NFT Artist and Best Emerging NFT Artist.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Jeremy Deller (British, b.1966)Bless This Acid HouseGiclee printSigned verso, unnumbered edition of 200043 x 60 cm (17" x 23")Candy neon gradient and a message to stir the soul of many a hedonist of a certain age. Bless this Acid House by Jeremy Deller. A British conceptual, video and installation artist who won the Turner Prize in 2004. Deller is perhaps most famous for his re-enactment of a battle between police and miners… the performance was referred to as the second most important work of art in the 21st century by The Guardian newspaper.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Jim Starr (British b. 1976)Retropop Triptych2011Mixed media and screen print on woodSigned in black marker to the versoAccompanied with certificate of authenticity74 x 174 cm (29" x 68.5")Jim Starr has been screen-printing for 15 years and has exhibited in upwards of 70 group shows and 7 solo shows. His work has gone under the hammer alongside some of the world’s most celebrated contemporary artists at auctioneers Dreweatts’s Urban Art Sales (at Paintworks, Bristol, and Selfridges, London), and has been exhibited solo at London’s Dalston Superstore. He has also shown at The Pall Mall Deposit, London, The Coningsby Gallery, London and at Bristol’s 2 Degrees Gallery, the Wilder Street Gallery and King of Paint. Jim’s use of pop culture and pin-up imagery is guaranteed to inspire anyone who loves the louche and the lowbrow. His work fuels the spirit and strikes a chord in the soul, continuing to resonate long after the first glance. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Frances Bildner 'Forest, Jungle & Jungle 2'Three part acrylic on mirror glass Framed 142cm x 81cm (56" x 32")Described by Impressions Magazine as a passionate and seductive painter, Frances Bildner's riotous use of colour affirms this view. The paintings are in definite, almost aggressively joyous, dialogue with the viewer and their presence is hard to ignore. New York's Village Voice declared Bildner's work to be "Varied and vital enough to renew a jaded spirit". Frances Bildner is represented in collections throughout Europe and America. Frances Bildner is a professional painter who has exhibited widely in both Europe and the United States. She is also the founder of Creative Wiz Kids. It is a children's playgroup that she started in New York City in 1990 and is now based in London.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Danny O'Connor (British, b. 1981)Exhaustion2008Mixed media on canvas Signed in black pen to the verso and initialled in white to the front101 x 76 cm (40" x 30")Danny O’Connor is an artist based in Liverpool, he graduated from Liverpool John Moores Art School where he studied graphic arts. Predominately a figurative and portrait artist who has a strong graphic element in his work.  His expressive mixed media works incorporate; acrylics, spray paint, ink, paint markers and household gloss and emulsions.  This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Jim Starr (British b.1976)Medusa2010Screen printSigned, titled, dated and numbered 6/10Framed and glazed100 x 60 cm (39.5" x 23.5")Jim Starr has been screen-printing for 15 years and has exhibited in upwards of 70 group shows and 7 solo shows. His work has gone under the hammer alongside some of the world’s most celebrated contemporary artists at auctioneers Dreweatt’s Urban Art Sales (at Paintworks, Bristol, and Selfridges, London), and has been exhibited solo at London’s Dalston Superstore. He has also shown at The Pall Mall Deposit, London, The Coningsby Gallery, London and at Bristol’s 2 Degrees Gallery, the Wilder Street Gallery and King of Paint. Jim’s use of pop culture and pin-up imagery is guaranteed to inspire anyone who loves the louche and the lowbrow. His work fuels the spirit and strikes a chord in the soul, continuing to resonate long after the first glance.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Master of Antwerp (1485-1491) - Plucking of Corn on Sabbath / Description: The disciples pluck and eat ears of corn on the Sabbath. Discussion with Pharisees about the plucking of corn This is an old colored incunabula woodcut from an early edition of Ludolphus de Saxonia, "Dat Boeck vanden leven ons lief heeren Ihesu Christi". The first edition was published in 1487 in Antwerp, followed by the 1488 edition in Delft, 1495 and 1499 in Zwolle and again in Antwerp in 1510. Amongst the earliest artist who worked at the project we mention: The Master of Haarlem, The second Gouda woodcutter and The first Antwerp woodcutter. The woodcut here on auction is attributed by the Rijksmuseum to The First Antwerp Master and dated 1485-1491 / Dimensions: 9,80 x 12,80 / Condition: Excellent impression with unbroken woodcut lines. Nice period hand colouring. Gothic Dutch letterpress on the backside in two columns. / Literature: Conway (1884) and in "The guilder compass" (1951). Botke, K. --- Prof. Henri Defoer, history of the woodcuts from the Ludolphus editions. ( Jaarboek voor Nederlandse boekgeschiedenis 24/2017) / Medium: Woodcut /Circa: 1485-1491

Raphael's Raising of Brazen Serpent, by Caietanus le Poer / Description: A spectacular rare and large engraving showing the tapestry of The Raising of the Brazen Serpent from the Story of Moses. With 'Raph. de Urb. In.' in lower left corner and with name and titles of Guglielmo Gonzaga, Duke of Mantua (r.1550-87). This print is from a series generally dated 1728, reproducing seven tapestries from a series designed for Ferrante Gonzaga on the life of Moses, kept in Mantua after Ferrante's death in 1557.Scholars have generally assumed that the set of the Story of Moses was woven in the workshop of Nicolas Karcher in Mantua, after designs showing stylistic relation to Giulio Romano, who has often been credited as the designer of these. All the extant tapestries - now in the Museo del Duomo, Milan - carry the arms of Guglielmo Gonzaga, the exact identity of the set's commissioner and its execution date remain controversial. So the tapestry was designed by probably by Raphael, probably influenced by Guilio Romano, and the engraving executed by Italian engraver Caietanus le Poer. / Dimensions: 38,60 x 40,60 cm / Condition: This print, on a dense laid paper is in excellent condition. Complete with the image borderline all around. No folds, tears ort stains. / Literature: Ruland p.259 D.II.5 ----- Catalogue of the Department of Prints and Drawings in the British Museum. v. P. Pouncey and J.A.Gere, Raphael and His Circle (1962); p.85, under no.152 ----- Tapestry in the Renaissance 2002 : Tapestry in the Renaissance. Art and Magnificence, ed. Thomas P. Campbell, The Metropolitan Museum of Art 2002 pp.488-93 / Medium: Engraving /Circa: Ca. 1728

Guiseppe Salviati (1520-1570) - Disciples of Astronomy - Fortune telling / Description: The Disciples of Astronomy and the Mathematics of Chance. A rare woodcut by Porta published in Venice 1540.The subject based on an earlier engraving by Marco Dente is here altered with the open book showing two pages from Marcolini's Le Sorti and a adding of a pack of playing cards shifting the subject from a gathering of scientists to a group of fortune-telling enthusiasts. Woodcut by Guiseppe Della Porta (1520-1570) called Guiseppe Salviati, as a painter he was a pupil of Salviati and worked in Venice and Rome as one of the great masters of his time. He also engraved a couple of pieces but his engraved work is extremely rare. Signed on the tablet bottom right corner. / Dimensions: 24,30 x 19,80 cm / Condition: Impression from a woodblock with already some cracks in it. On a bit used sheet of paper with restorations to the margins and especially top left corner. / Literature: Guiseppe Della Porta or Joseph Porta, also named Salviati the younger. Painter and engraver fromCastel-Novo di Garfagnana who died in Venice. Trained in Rome in the painters studio of Francesco Salviati. He called himself Salviati the younger and followed his master to Venice and made some marvelous wall paintings combining the Florentine style with the Venetian colourit.He was called to Rome by Pope Pius IV to decorate the royal room at the Vatican. He had to go trough the competition with Taddeo and Federico Zuccarro who where preferred by Vasari but at some point it was considered to wipe their work out and to let Porta repaint the complete room. At his time Porta got the highest recommendations by Titian and Veronese. He has engraved a couple of pieces but his engraved work is extremely rare. / Medium: Woodcut /Circa: 1540

Pieter Stevens II (1567-1624), Aegidius Sadeler II (1570-1629) - Series of the Months (12) / Description: A series of twelve prints showing the months of the year with their related activities. At the top sign of the zodiac. Each one with the name of the month and two lines of text in three columns. Signed Petrus Stephani inventor on most prints in one of the bottom corners. Complete series of the months but without the title engraving who is usually lacking. The publishers address of Marco Sadeler in text lines. The set offers a quanitity on details about daily life around 1600. Print series like this fitted in with the urge to catalog themes like seasons, months, elements, planets ... during humanism. / Dimensions: 21,20 x 28,80 cm / Condition: Good grey impressions with plate tone on a thicker watermarked laid paper sheet, all with wide margins. Two or three sheets with aclosed tear in the bottom margin, one of them going in the left corner of the image (Aprilis). Overal a very homogeneous set. Hollstein Dutch ,Aegidius Sadeler to Raphael Sadeler II : text, p. 35, cat.nr. 130-141 (II/II) / Medium: 12 Engravings /Circa: 1607

Johannes Wierix (1549-1620) - William I Prince of Orange, Count of Nassau / Description: This delicately refined engraving in a rare first state depicts the portrait of William I, Prince of Orange, Count of Nassau (Dillenburg 1533 - Delft 1584). He was the main leader of the Dutch Revolt against the Spanish Habsburgs that set off the Eighty Years' War (1568–1648) and resulted in the formal independence of the United Provinces in 1648. He was assassinated at the Prinsenhof on 10 July 1584 by the Burgundian Catholic Balthasar Gérard, subject and supporter of Philip II, who regarded William of Orange as a threat to his king and to the Catholic faith. This print is striking in its depiction of the intricate lace and minutiae on his armour. On the ruler's neck we recognize the chain of the Order of the Golden Fleece. Rare in this first state of five before title, cartouche and all later additions. / Dimensions: 19,40 x 13,80 cm - oval 9,50 x 7,40 cm / Condition: Very good early impression of the first state with all detail. On a full sheet of dense laid paper with the plate borders of the square plate and small margins at three sides, narrow just inside plate border at the bottom. Slight paler printed area on the breastplate of the armour. Mauquoy-Hendrickx 1979 / Les Estampes des Wierix ... catalogue raisonné (1899- I/V) First State ——- Alvin 1866 / Catalogue raisonné de l'oeuvre des trois frères Jan, Jérome et Antoine Wierix (1995) / Medium: Engraving /Circa: 1600

Anthony van Dyck, Cornelis Galle, Portrait of Artus Wolfart / Description: From Icones Principum Virorum, after Anthony van Dyck who prepared these prints by making oil sketches and drawings in black chalk, sometimes washed with brown ink. Portrait of the Antwerp painter Artus Wolfaert, half-length turned to right but looking towards the viewer, with short hair, a moustache and beard, wearing a layered ruff and buttoned coat, his right hand holding up the coat at the level of his stomach; seventh state with initials of Gillis Hendricx. / Dimensions: 24,80 x 17,00 cm / Condition: A very fine impression on watermarked laid paper with the guide lines for the text still visible. Watermarked laid paper. New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (103. VIII /IX) ----- Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (283) ---- Mauquoy-Hendrickx 1991 / L'Iconographie d'Antoine Van Dyck, Catalogue raisonné (27VII / VIII) ---- Muller II 1853 / Beschrijvende catalogus van 7000 Portretten, van Nederlanders (6226) / Medium: Engraving /Circa: 1630-1645

Christina Chalon (1748-1808) - Five etchings - Female a arti / Description: Five lovely etchings by this rare female artiste who was strongly influenced by Adriaen van Ostade. She had a fondness for domestic scenes and women raising their little children. Three etchings are in that field. The two others show small portraits very near in style to the ones Van Ostade made. / Dimensions: Largest 9,00 x 6,50 cm / Condition: Good impressions in excellent condition on laid paper. Le Blanc 10 - 4 - 7 - & / Medium: Five etchings /Circa: 1760-1790

Master of Haarlem (1483-1486 Fl.) - Christ chooses his disciples / Description: Christ chooses his disciples. This is an old coloured incunabula woodcut from an early edition of Ludolphus de Saxonia, "Dat Boeck vanden leven ons lief heeren Ihesu Christi". The first edition was published in 1487 in Antwerp, followed by the 1488 edition in Delft, 1495 and 1499 in Zwolle and again in Antwerp in 1510. Amongst the earliest artist who worked at the project we mention: The Master of Haarlem, The second Gouda woodcutter and The first Antwerp woodcutter. The woodcut here on auction is attributed by the Rijksmuseum to The Master of Haarlem and dated 1483-1486. This makes it a real early woodcut in History. / Dimensions: 9,20 x 13,00 cm / Condition: Excellent impression with unbroken woodcut lines. Nice period hand colouring. Gothic Dutch letterpress on the backside in two columns. / Literature: Conway (1884) and in "The guilder compass" (1951). Botke, K. --- Prof. Henri Defoer, history of the woodcuts from the Ludolphus editions. ( Jaarboek voor Nederlandse boekgeschiedenis 24/2017) / Medium: Coloured woodcut /Circa: 1483-1486

Hendrick Goltzius, Jan Saenredam - Venus and Cupid - 1595 / Description: Venus and Cupid; Venus, three-quarter length, sits besides Cupid who fondles her chin and holds a bow; Venus holds some flowers near to two courting doves. Engraving made by: Jan Saenredam (1565-1607) after a drawing by Hendrik Goltzius (1558-1617) whereabouts now unknown (Reznicek 122). With publishers address of Robert de Baudous (1574-1659) / Dimensions: 23,40 x 16,00 / Condition: Very good impression with plate tone, laid paper. Improvement of corners and text line where once tipped on album sheet. Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (73) --- New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (600.II) --- Bartsch / Le Peintre graveur (III.243.68) Engraving /Circa: Ca. 1595

Hendrick Goltzius, Jan Saenredam - Marriage officiated by Satan - 1595 / Description: Marriage for wealth officiated by Satan, from a series of 'Three kinds of marriages' --- Satan stands between a finely attired couple who face each other and hold hands; Engraving made by: Jan Saenredam (1565-1607) after a drawing by Hendrik Goltzius (1558-1617). From a series of three plates showing three different kinds of marriage (Hollstein 107-109) / Dimensions: 22,40 x 15,60 / Condition: Good impression with plate tone, laid paper. A bit irregularly trimmed inside plate border with some small defects near the borderline, flattened middle fold and a closed small hole Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (108.I) --- New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (526) --- Bartsch / Le Peintre graveur (III.246.85) Engraving /Circa: Ca. 1595

Lucas van Leyden (1494-1533) - The Resurrection / Description: Original engraving made by Lucas van Leyden with the publishers address of Martin Petri. Surrounded by a halo of light and clouds, Christ has risen from the grave. With his right hand he makes a blessing gesture, in his left he holds the banner of victory. To the left in the foreground sits a soldier who looks back in surprise. Lower down beside the tomb there are two more soldiers. This print was made by Lucas van Leyden in 1521 and is so dated and monogrammed in the plate. To the right in the foreground is the publisher's address of M Petri (Maarten Peeters, Antwerp print publisher and painter, 1500-1566). / Dimensions: 11,80 x 7,50 cm / Condition: A good inked impression in a full sheet of laid paper with good margins. Condition is excellent with no folds, tears or stains. / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (56)-----Bartsch / Le Peintre graveur (VII.368.56) / Medium: Engraving /Circa: 1521

Master Of Delft - Christ preaches from a boat / Description: Christ in boat at sea preaches to crowds on shore. Simon (Petrus), Andreas and a third man in a fishing boat with a net. This is a full page incunabula woodcut, probably used in an early edition of Ludolphus de Saxonia, "Dat Boeck vanden leven ons lief heeren Ihesu Christi". The first edition was published in 1487 in Antwerp, followed by the 1488 edition in Delft, 1495 and 1499 in Zwolle and again in Antwerp in 1510. Amongst the earliest artist who worked at the project we mention: The Master of Haarlem, The second Gouda woodcutter and The first Antwerp woodcutter. The woodcut here on auction is attributed by the Rijksmuseum to a group of three artists (Master of Delft, Master of the Delbecq-Schreiber-Passion, Master of the Virgo inter Virgines) and dated 1480-1500. / Dimensions: 17,57 x 14,70 cm / Condition: Excellent impression with unbroken woodcut borderlines. Nice period hand colouring. Gothic Dutch letterpress on the backside in two columns. / Literature: Conway (1884) and in "The guilder compass" (1951). Botke, K. --- Prof. Henri Defoer, history of the woodcuts from the Ludolphus editions. ( Jaarboek voor Nederlandse boekgeschiedenis 24/2017) / Medium: Coloured woodcut /Circa: 1480-1503

Nuremberg Chronicle - Creation of Eve - Possibly Dürer sketch -1493 / Description: Old coloured woodcut from the first edition of Hartmann Schedel, "Liber Cronicarum", from 12 July 1493. . The wood blocks were designed by Michael Wolgemut and his stepson Wilhelm Pleydenwurff and their assistants, including the young Albrecht Dürer, who was apprenticed to Wolgemut at the time. The printing was carried out under the supervision of the great scholar-printer Anton Koberger, who was Durer's godfather. Wohlgemut was Albrecht Durer's tutor between 1486-90. The young Dürer was working in the workshop in the years 1486-1489 when many of the early designs for the Chronicle were made and he was probably involved in a certain amount of them. In the case of this 'creation of Eve' the sketch (which still exists) is possibly by Albrecht Dürer, this attribution is supported by the striking resemblance between the head of Adam and the figure of the first woodcut of Durer's Apocalypse. (See Adrian Wilson - 1976: The' making of the Nuremberg Chronicle, p.100.). The further woodcut drawing and carving however lost some of the fluidity of the sketch. Here we have a fine oldcoloured example of this impressive woodcut from the old coloured luxury editions of the Cronicarum who were of the most expensive ones. / Dimensions: 25,50 x 22,50 cm / Condition: Excellent condition. / Literature: Liber Chronicarum, here a first edition , printed by Anton Koberger in Nuremberg on 12 July 1493 in old colouring. The luxury editions in old colouring are mentioned in literature and were of the most expensive. --- Adrian Wilson - 1976: The making of the Nuremberg Chronicle. / Medium: Woodcut /Circa: 1493

Nuremberg Chronicle - Creation of Eve - Possibly after Dürer sketch -1493 / Description: Old coloured woodcut from the first edition of Hartmann Schedel, "Liber Cronicarum", from 12 July 1493. Adam works hard as Eve suckles Cain and Abel after the expulsion from Eden. From 'Nuremberg Chronicle' or 'Liber Chronicarum' by Hartmann Schedel (1440-1514). The wood blocks were designed by Michael Wolgemut and his stepson Wilhelm Pleydenwurff and their assistants, including the young Albrecht Dürer, who was apprenticed to Wolgemut at the time. The printing was carried out under the supervision of the great scholar-printer Anton Koberger. Wohlgemut was Albrecht Durer's tutor between 1486-90. Since the young Dürer was working in the workshop in the years 1486-1489 when many of the early designs for the Chronicle were made he might be involved. In the case of Adam and Eve after they left Eden, the preliminary sketch has been preserved. (See Adrian Wilson - 1976: The making of the Nuremberg Chronicle, p.105). The rhythmic flow of the thick and thin lines of this sketch is that of a master hand and the treatment of the facial features suggests Durer's sketch of the Madonna enthrone with Saints, now in Musée Bonnat, Bayonne. The tree of Cain and Abel on the backside is as also based on a preserved sketch (See Adrian Wilson - 1976: The making of the Nuremberg Chronicle, p.105), also one of the few designs possibly made by Dürer. Here in a good impression from the old coloured luxury editions of the Cronicarum who were described as the most expensive ones. / Dimensions: 25,50 x 22,50 cm / Condition: Excellent condition. / Literature: Liber Chronicarum, here a first edition , printed by Anton Koberger in Nuremberg on 12 July 1493 in old colouring. It is one of the best-documented early printed books. It is classified as an incunabulum, a book, pamphlet, or broadside that was printed (not handwritten) before the year 1501 in Europe. The luxury editions in old colouring are mentioned in literature and were of the most expensive. ----- Adrian Wilson - 1976: The making of the Nuremberg Chronicle. / Medium: Woodcut /Circa: 1493

Master Of Delft - The risen Christ appears to his disciples / Description: The resurrected Christ appears to his disciples. This is a full page incunabula woodcut, probably used in an early edition of Ludolphus de Saxonia, "Dat Boeck vanden leven ons lief heeren Ihesu Christi". The first edition was published in 1487 in Antwerp, followed by the 1488 edition in Delft, 1495 and 1499 in Zwolle and again in Antwerp in 1510. Amongst the earliest artist who worked at the project we mention: The Master of Haarlem, The second Gouda woodcutter and The first Antwerp woodcutter. The woodcut here on auction is attributed by the Rijksmuseum to a group of three artists (Master of Delft, Master of the Delbecq-Schreiber-Passion, Master of the Virgo inter Virgines) and dated 1480-1500. / Dimensions: 17,50 x 14,50 cm / Condition: Excellent impression with unbroken woodcut borderlines. Nice period hand colouring. Gothic Dutch letterpress on the backside in two columns. / Literature: Conway (1884) and in "The guilder compass" (1951). Botke, K. --- Prof. Henri Defoer, history of the woodcuts from the Ludolphus editions. ( Jaarboek voor Nederlandse boekgeschiedenis 24/2017) / Medium: Coloured woodcut /Circa: 1480-1503

Albrecht Dürer Attr. - The sorceress and Ulysses - by Michel Wolgemut -1493 / Description: Panofsky attributes the drawing for this work to the Albrecht Dürer, who was working in the workshop of Wohlgemut and Wilhelm Pleydenwurff in the years 1486-1489 when many of the early designs for the Chronicle were made. About the subject: During his Odyssey, Ulysses rmet the golden-haired magician Circe who lived on the Aeaea Island in the Adriatic Sea. She lured the sailors to the island with her singing and gave them wine mixed with a magic potion. She did the same with Ulysses' s companions, transforming them into animals. But she did not manage to cast a spell on Ulysses who had taken an antidote. Then she accomplished his demand and turned his companions into humans again. Ulysses passed a year on Circe's island. Ulysses here referred to as Ulises in the caption above his head. Very sharp printed woodcut from the first German edition of Hartmann Schedel, "Liber Cronicarum", printed by Anton Koberger in Nuremberg in 1493. / Dimensions: 12,30 x 16,80 cm / Condition: Excellent condition. / Literature: The attribution by Panofsky to Dürer was mentioned in the work: ……. Page …… / Medium: Woodcut /Circa: 1493

Albrecht Durer - Ungrateful fools / Description: Von Undanckberkeyt' Der Geprügelter Narr - Of the vyce of vnkyndnes- "Who wants good service every day, / But never 'thank you' wants to say, / His thunder God on him will vent.". Woodcut made by the young Albrecht Durer in 1494 for Sebastian Brant's Stultifera navis - Das Narrenshiff. The Basel humanist Sebastian Brant described the sea journey of fools (representing the follies of human weakness and vice) to "Naragonia" the paradise of fools. The fine woodcut is the one commissioned for the first edition (in German) of 1494. This is one of the 75 of the 112 woodcuts now attributed to Dürer, who resided in Basel for a few months in 1494. "The woodcut illustrations created for the Das Narrenschiff are of immense density and tenseness. Since there was no iconographical tradition for this newly conceived text, the subjects and scenes of the illustrations had to be created entirely new. The images presented are of such convincing force that their equal in design had never before been seen" (A Heavenly Craft, p. 63). The woodcut here on auction from the Latin edition of 1511. / Dimensions: 11,60 x 8,50 cm / Condition: Very good black impression trimmed outside the borderline. Small Latin text letters on the backside. Overall very good condition. / Literature: Schramm 1169 - Rogner & Bernard 1375 / Medium: Woodcut /Circa: 1494

Albrecht Durer - A brawl of fools / Description: "Narrenprügelei'. Of Enuyous Folys - Of envy and hatred. Woodcut made by the young Albrecht Durer in 1494 for Sebastian Brant's Stultifera navis - Das Narrenshiff. The Basel humanist Sebastian Brant described the sea journey of fools (representing the follies of human weakness and vice) to "Naragonia" the paradise of fools. The fine woodcut is the one commissioned for the first edition (in German) of 1494. This is one of the 75 of the 112 woodcuts now attributed to Dürer, who resided in Basel for a few months in 1494. "The woodcut illustrations created for the Das Narrenschiff are of immense density and tenseness. Since there was no iconographical tradition for this newly conceived text, the subjects and scenes of the illustrations had to be created entirely new. The images presented are of such convincing force that their equal in design had never before been seen" (A Heavenly Craft, p. 63). The woodcut here on auction from the Latin edition of 1511. / Dimensions: 11,60 x 8,50 cm / Condition: Very good black impression trimmed outside the borderline. Small Latin text letters on the backside. Overall very good condition. / Literature: Schramm 1164 - Rogner & Bernard 1370 / Medium: Woodcut /Circa: 1494

Albrecht Durer - Beggar's Family / Description: Bettlernarr und Familie'. Woodcut made by the young Albrecht Durer in 1494 for Sebastian Brant's Stultifera navis - Das Narrenshiff. The Basel humanist Sebastian Brant described the sea journey of fools (representing the follies of human weakness and vice) to "Naragonia" the paradise of fools. The fine woodcut is the one commissioned for the first edition (in German) of 1494. This is one of the 75 of the 112 woodcuts now attributed to Dürer, who resided in Basel for a few months in 1494. "The woodcut illustrations created for the Das Narrenschiff are of immense density and tenseness. Since there was no iconographical tradition for this newly conceived text, the subjects and scenes of the illustrations had to be created entirely new. The images presented are of such convincing force that their equal in design had never before been seen" (A Heavenly Craft, p. 63). The woodcut here on auction from the Latin edition of 1511. / Dimensions: 11,70 x 8,50 cm / Condition: Very good intense black impression trimmed just outside the borderline. Small Latin text letters on the backside. Small chip missing of the bottom left corner. / Literature: Schramm 1173 - Winkler 26 - Rogner & Bernard 1378 / Medium: Woodcut /Circa: 1494

Pieter van der Heyden Attr - Story of Solomon, 1st state by Cock - 1554 / Description: A first state of this set rare in any state, here complete in six prints. The Story of Solomon. With the publishers address in the first state of H. Cock on the third plate with "Martinus Hemskerck inventor, H. Cock excud. 1554". Only one other set, a second state with the publishers address of Julius Goltzius, found in the Rijksmuseum. A complete and in this state extremely rare state. Scenes: 1. Solomon is anointed king by Zadok. 2. King Solomon prays to God for wisdom. 3. The Judgment of Solomon. 4. Solomon builds his temple. 5. Solomon thanks God for the temple for a sacrificial altar. 6. The king of Sheba offers flowers and gifts to Solomon. / Dimensions: Each 25,20 x 19,50 cm / Condition: A Very good printed homogeneous set in excellent condition with no folds, tears or stains inside plate border. The wide margins a bit defrayed. Some prints remarginned on top or at the left side. One print (plate 5) pasted on the support sheet. / Literature: New Hollstein Dutch 117- 122, State I / II ------- The earlies engravings made of Heemskerck's work are often made in portrait format, this format was skipped in the later work. These prints in portrait format are all very rare compared to the later series. This series of Solomon is one of the rarest, especially in the first editions published in Antwerp by Hieronymus Cock ------ Pieter van der Heyden (1530-1584) is a Flemish engraver who worked for Hieronymus Cock in Antwerp between 1551-1571. Many prints by Bruegel the elder published by Cock were by his hand. / Medium: Engraving /Circa: 1554

Pieter van der Borcht (1535-1608) - Abraham with Angels - Rare large format / Description: Abraham feeding the three angels, New Hollstein 3. An exceptional large plate signed and dated 'Fecit Pe. V. Borcht 1586'. The subject with Abraham bringing a plate of food to the three angels siting on a hill below a hughe tree, overlooking a vaste Flemish style world landscape with villages and wind-mills. The landscape with the round city gate, round temple and dolomite like mountains in the back, a fortress on a kliff seems to connect with dozens of other landscapes by Bril and Breughel who always repeat the same group of elements. This is a rare print. Only one other found online (Museum Boymans van Beuningen) / Dimensions: 27,00 x 35,40 cm / Condition: Outstanding sharp impression on a dense laid paper trimmed to the borderline. / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (3) / Medium: Etching /Circa: 1586

Etienne Delaune (?) - The Labours of July / Description: Extremely rare and very interesting print from a series of The Labours of The Month. It is a variant, or other state (?), or very close copy, of the series made in 1561 by Etienne Delaune (Robert-Dumesnil -IX.73.225-236). Image and border decoration are exactly the same but instead of a double text line in the cartouche, it has the name of the month and one line of text. The impression looks superior and quality of engraving equals or surpasses the quality of the images by Delaune I have found. / Dimensions: 17,50 x 23,50 cm / Condition: Good inked black contrasted impression with good plate tone on early watermarked laid paper. Early impression, guide lines for text still visible. / Literature: Robert-Dumesnil 1835-71 / Le Peintre-Graveur Français (IX.73.225-236) --- Robert-Dumesnil also records a series of copies by Johann Bussemacher. There exists indeed a series with exact title and one text line as described for owner print, and it bears the added text 'Coloniae Agrippinae excudit Jan Buchsmachr' but in my opinion that is probably a publishers address and gives no indication on the actual engraver who made the print. / Medium: Engraving /Circa: 1561-1600

Etienne Delaune (?) - The Labours of March / Description: Extremely rare and very interesting print from a series of The Labours of The Month. It is a variant, or other state (?), or very close copy, of the series made in 1561 by Etienne Delaune (Robert-Dumesnil -IX.73.225-236). Image and border decoration are exactly the same but instead of a double text line in the cartouche, it has the name of the month and one line of text. The impression looks superior and quality of engraving equals or surpasses the quality of the images by Delaune I have found. / Dimensions: 17,50 x 23,50 cm / Condition: Good inked black contrasted impression with good plate tone on early watermarked laid paper. Early impression, guide lines for text still visible. / Literature: Robert-Dumesnil 1835-71 / Le Peintre-Graveur Français (IX.73.225-236) --- Robert-Dumesnil also records a series of copies by Johann Bussemacher. There exists indeed a series with exact title and one text line as described for owner print, and it bears the added text 'Coloniae Agrippinae excudit Jan Buchsmachr' but in my opinion that is probably a publishers address and gives no indication on the actual engraver who made the print. / Medium: Engraving /Circa: 1561-1600

Etienne Delaune (?) - The Labours of September / Description: Extremely rare and very interesting print from a series of The Labours of The Month. It is a variant, or other state (?), or very close copy, of the series made in 1561 by Etienne Delaune (Robert-Dumesnil -IX.73.225-236). Image and border decoration are exactly the same but instead of a double text line in the cartouche, it has the name of the month and one line of text. The impression looks superior and quality of engraving equals or surpasses the quality of the images by Delaune I have found. / Dimensions: 17,50 x 23,50 cm / Condition: Good inked black contrasted impression with good plate tone on early watermarked laid paper. Early impression, guide lines for text still visible. / Literature: Robert-Dumesnil 1835-71 / Le Peintre-Graveur Français (IX.73.225-236) --- Robert-Dumesnil also records a series of copies by Johann Bussemacher. There exists indeed a series with exact title and one text line as described for ower print, and it bears the added text 'Coloniae Agrippinae excudit Jan Buchsmachr' but in my opinion that is probably a publishers address and gives no indication on the actual engraver who made the print. / Medium: Engraving /Circa: 1561-1600

Etienne Delaune (?) - The Labours of November / Description: Extremely rare and very interesting print from a series of The Labours of The Month. It is a variant, or other state (?), or very close copy, of the series made in 1561 by Etienne Delaune (Robert-Dumesnil -IX.73.225-236). Image and border decoration are exactly the same but instead of a double text line in the cartouche, it has the name of the month and one line of text. The impression looks superior and quality of engraving equals or surpasses the quality of the images by Delaune I have found. / Dimensions: 17,50 x 23,50 cm / Condition: Good inked black contrasted impression with good plate tone on early watermarked laid paper. Small crack in the bottom margin with no paper loss. / Literature: Robert-Dumesnil 1835-71 / Le Peintre-Graveur Français (IX.73.225-236) --- Robert-Dumesnil also records a series of copies by Johann Bussemacher. There exists indeed a series with exact title and one text line as described for ower print, and it bears the added text 'Coloniae Agrippinae excudit Jan Buchsmachr' but in my opinion that is probably a publishers address and gives no indication on the actual engraver who made the print. / Medium: Engraving /Circa: 1561-1600

◆ Jankel Adler (Polish 1895-1949) Mädchen mit Katze (Girl with Cat), 1942 signed (lower left)oil on canvasDimensions:81cm x 91cm (32in x 35 3/4in)Provenance:ProvenancePeter Watson, London (by 1948)Private collection, LondonLiteratureStanley William Hayter, Jankel Adler, Nicholson & Watson, London, 1948, p.viii, illustrated in black & white, pl.17, as 'Girl with Cat (1942) Private collection Peter Watson, Esq. London'Annemarie Heibel, Jankel Adler (1895-1949): Band II: Werkverzeichnis der Gemälde, Westfälische Wilhelms-Universität, Munster, 2016, no. WV 217, repr. p.301.Note: Born in Poland into an Orthodox Jewish family, Jankel Adler trained in engraving in Belgrade and the applied arts in Barmen (now Wuppertal) before enrolling at the Düsseldorf Akademie der Künste. Based in Düsseldorf between 1922 and 1933, he became steeped in progressive art circles, associating with Lyonel Feininger and Wassily Kandinsky amongst others, and teaching alongside Paul Klee at his alma mater. After the Nazi’s declaration that his work was ‘degenerate’, Adler moved to Paris in 1933, where he worked with Stanley William Hayter at the experimental Atelier 17 and met Pablo Picasso - a rite of passage for any artist with serious aspirations to belong to the avant-garde. Following the outbreak of World War Two, Adler joined the Polish army, with whom he was evacuated to Scotland in 1940. Demobilisation in 1941 was followed by a move to London in 1943. He thus personified the European avant-garde in Britain whilst becoming a central figure in the art worlds of Glasgow and then London. Solo exhibitions were held at T&R Annans & Sons in the former, and at the Redfern Gallery, Lefevre Gallery and at Gimpel Fils in the latter; he was to have a tremendous impact on British artists, in particular Robert Colquhoun and Robert MacBryde, who shared a studio with John Minton two floors beneath that of Adler in Kensington.Mädchen mit Katze (Girl with Cat) is thus a major example of continental Modernism, painted in Britain. It is one of his most sophisticated and poetic images: a contemplative seated woman in the right foreground holds an enigmatic object to her chest. A companion cat lying on a table to the left directly confronts the viewer, its startling eyes penetrating our souls, whilst the distinctly modernist sculptures to the rear – an homage perhaps to fellow émigré Naum Gabo – introduce a sense of time and place to this potentially timeless domestic scene. Adler’s post-Cubist approach to form is arguably seen to best effect in the sensitively rendered facial features of the female protagonist, although his technique across the canvas surface is as varied as the range of muted and bold tones and colours used to realise volume, perspective and mass.This work exemplifies Philip Vann’s declaration that ‘finding refuge in Britain in 1941, the forty-six-year-old Jankel Adler embarked afresh on a richly distinctive journey as an artist. The powerful, often stark monumentality characterising his earlier continental period gave way to vibrant new works of most subtle intricacy and compassionate poignancy. All that he had learned and absorbed from the great Modernists he had known in the 1920s and ‘30s – notably Klee, [Max] Ernst and Picasso – was now assimilated and integrated with apparently spontaneous ease into radically original, humane pictures.’ (quoted in Richard Cork, Jankel Adler: The British Years 1941-49, Goldmark Gallery, Uppingham, 2014, unpaginated).Such is Mädchen mit Katze’s significance within Adler’s oeuvre that it was selected for reproduction in Stanley William Hayter’s 1948 monograph on the artist, by which time it had been acquired by the legendary British art collector Peter Watson. He and Adler are believed to have met for the first time in Glasgow, with their mutual acquaintance Colquhoun reporting that Watson ‘believes Adler to be quite exceptional.’ (Undated letter from Colquhoun to Ian Fleming, quoted in Patrick Elliott et al, The Two Roberts: Robert Colquhoun & Robert MacBryde, National Galleries of Scotland, Edinburgh, 2014, p.29). The millionaire Watson was without doubt the eminence grise of the London contemporary art world during the 1940s, when many artists struggled to make ends meet: Watson funded the arts journal Horizon, which was launched in 1940; was a co-founder of the Institute of Contemporary Art in 1946; lived in a Wells Coates-designed flat in London surrounded by works including by Christopher Wood, Graham Sutherland, Henry Moore, Ben Nicholson, Pierre-Auguste Renoir, Joan Miró, Chaïm Soutine and John Tunnard; and counted Sutherland, Nicholson, Augustus John, Lucian Freud and John Craxton amongst his artist friends. Mädchen mit Katze thus joined one of the most remarkable collections of modern and contemporary art in Britain at the time.The related painting, Woman with a Cat (formerly known as Girl with Cat) of 1944, was presented by the Contemporary Art Society to Aberdeen Art Gallery in 1952 (ABDAG002283).

◆ Amedeo Modigliani (Italian, 1884-1920) Head of a Girl pencil on papersigned (lower right) Dimensions:43cm x 26.5cm (17in x 10 1/2in)Provenance:Provenance Christopher 'Kit' WoodSold by the above to Lefevre Gallery, 6th March 1930 (stock number 447/29)Acquired from the above by R. K. Blair, 28th January 1932, and thence by family descent to current ownerNote: This delicate, beautiful drawing by Amedeo Modigliani has all the hallmarks of his unique style, with the mask-like face, large but blank almond eyes, the curve of the nose hinting at a Cubist change of viewpoint but not quite, everything described with clarity and a spareness entirely counterpoint to his chaotic, bohemian life. It is perhaps no surprise, then, that it was originally in the collection of another artist: the British painter Christopher ‘Kit’ Wood, who first visited Paris in 1920, just a few months after Modigliani himself had died tragically young, thereby cementing his legend as the enfant terrible of the Parisian avant-garde. Wood himself – tall, handsome, erudite, bisexual – was a perfect fit in bohemian circles and caught the eye of Antonio de Gandarillas, diplomat, patron and friend to many artists, who introduced Wood to everyone who was anyone in the art world.Wood the painter would have found Modigliani’s economy of line and the simplification of form into near abstraction as very close to what he himself was looking for in his art - a ‘modernist primitivism’ that was all the rage in European painting at the time. For Modigliani’s generation, the main inspiration was African art, particularly masks, in which they saw a connection to an underlying visual ‘truth’ that had long been obscured in Europe by technical facility and academic ‘naturalism’. In Modigliani, though, we also see hints of Europe’s oldest art, that fluid, blank quality of Cycladic figures, whose beauty speaks across the ages. In Head of a Girl, Modigliani’s model is both a contemporary Parisian ‘kiki’(with her bobbed hair and androgynous look) and mysterious goddess.Although Kit Wood is in many ways a very English artist – in 1928 he encountered the retired marine scrap merchant-turned-painter Alfred Wallis in the Cornish fishing town of St Ives, adding a layer of English folk vernacular to his ‘modernist primitivist’ style - a good many of his paintings were made in France, in Paris, where he was a regular visitor throughout the 1920s, and in Brittany, where he followed in Gauguin’s footsteps searching for a primitive authenticity a little closer to home. Whilst we don’t know exactly when Wood acquired the Modigliani, we do know that he sold it to his London dealer, Alex. Reid and Lefevre Gallery, in March 1930, less than six months before his own tragic, early death, aged 28, by suicide, whilst withdrawing from the drug habit he had acquired amongst the Parisian beau monde. The Lefevre Gallery was the place in London at the time to go for the latest word in contemporary European art (they had held an exhibition of Modigliani paintings in March 1929 and mounted a memorial exhibition of Wood’s work in 1932). That year they sold the present drawing to a private collector and it has remained in the same family ever since. Now it is once again on a gallery wall for everyone to see, allowing us to imagine what it was - the subtlety of Modigliani’s line, the mystery of his sitter’s expression and the timelessness of it all – that drew Kit Wood to it a century ago.

THE MAN WHO SHOT LIBERTY VALANCE, ORIGINAL CINEMA QUAD POSTER PARAMOUNT, CIRCA 1962 S. & D. S. Ltd. Printed in England, folded, framed and behind glass 81cm x 106.5cm overall

CORGI, COLLECTION OF JAMES BOND DIE-CAST VEHICLES including The Spy who Loved Me, Special Edition Aston Martin, and further similar, including James Bond Collection 007, all boxed

ROCK & ROLL, COLLECTION OF AUTOGRAPHS CIRCA 1965 all on the reverse of dinner menus, comprising The Who, The Hollies, The Kinks and Johnny Kidd & The Pirates (x2)

Betty JoelConsole, designed for Marion Brownlie Blackwell, 1937White sycamore, glass.80.2 x 74 x 36.5 cm Produced by Betty Joel, Ltd., Knightsbridge, London.Footnotes:LiteratureRoger Shuff Yatol, 'A Moderne Home for a Modern Woman: Marion Brownlie Blackwell and 1 The Ridings, Ealing', The Decorative Arts Society Journal, 2020, p. 67Bonhams wishes to thank Clive Stewart-Lockhart, Betty Joel's great-nephew, for his assistance with the cataloguing of the present lot. Lizzie BroadbentFounder of the project 'Women Who Meant Business' (www.womenwhomeantbusiness.com)Betty Joel (1894-1985) was one of the foremost designers in the inter-war period. She had a rapid rise to prominence. Self-taught, she began designing furniture for her own home and then for friends, made by her husband, David. In 1921, when she was 27, they set up Betty Joel Ltd. The company's first public outing was at the (Daily Mail) Ideal Home Exhibition in March 1922 where their 'Token' range of furniture, so named because of it was made of teak and oak, was widely praised for its beauty and craftsmanship. Key to the business's ongoing success was Betty's ability to create furniture that was both functional and beautiful.In 1924, Betty and David opened their first London store at 177 Sloane Street and three years later moved to much larger premises at 25 Knightsbridge which revealed a dozen carefully-styled rooms displaying furniture, rugs, lighting and curtains. During the 1930s Betty expanded further into the area of interior design, creating complete show rooms and apartments. Lord Mountbatten and Winston Churchill were just two of her high-profile private clients. Her work could be seen in some of the most iconic buildings of the 1930s: the Daily Express building on Fleet Street; Shell Mex House on the Strand; and Viyella House in Nottingham. Her panelling adorned the walls of Coutts' Bank in Park Lane. Harley Street patients leant on her reception desk. Guests at the Savoy Hotel and transatlantic voyagers on the RMS Queen Mary sat in her armchairs. A radio she designed for Kolster-Brandes Ltd in 1933 was 'one of the sensations' of Radiolympia, with 2,500 sets sold on one day alone. Even HRH The Duchess of York bought one. That year Betty was named alongside Gracie Fields, Madeleine Carroll, Jessie Matthews and Gertrude Lawrence as one of the highest-earning women in the country and a new factory was built in Kingston-upon-Thames to cope with demand. In the spring of 1935, the Royal Academy held its now famed exhibition of British Design in Industry, with work on show by Duncan Grant, Vanessa Bell, Susie Cooper and Oliver Hill. Betty designed a bed on a revolving platform as the controversial centrepiece for a bedroom design. In 1936, a national newspaper described Betty as 'one of Britain's leading designers of furniture and among the few women in the history of furniture designing who have touched anything like eminence in this most specialised craft.' It predicted that in a couple of hundred years, collectors would be running after Joel furniture 'as today they chase Chippendale or search for Sheraton'. However, a year later, Betty's marriage to David unravelled. She left both him and the business and never did any more design work. The company was re-established as David Joel Ltd. and Betty's reputation faded. For many decades it seemed that the forecast of greatness would be remarkably inaccurate. However, since the mid-1980s her profile has started to rise again and now finally her work is attracting the attention it deserves.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Ettore Sottsass, Jr.'Le Strutture Tremano' table, from the 'bau. haus art collection', designed 1979Enamelled metal, glass, plastic laminated-wood.115.5 x 61 x 61 cm Manufactured by Studio Alchymia, Milan, Italy. Underside of base with manufacturer's label printed STUDIO/ALCHYMIA/MILANO.Footnotes:ProvenanceThe Estate of Evelyn FosterThence by descentBonhams, Los Angeles, 'Modern Design | Art', 30 September 2020, lot 240Acquired from the above by the present ownerLiteratureRenato Barilli, 'Arredo Alchemico', Domus, no. 607, June 1980, p. 35Barbara Radice, Memphis, Milan, 1984, p. 15Andrea Branzi, The Hot House: Italian New Wave Design, Cambridge, 1984, p. 136Gilles de Bure, Ettore Sottsass Jr., Collection Rivages/Styles, dirigée par Gilles de Bure, Paris, 1987, p. 61Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, p. 62Kazuko Sato, Contemporary Italian Design, Berlin, 1988, pp. 17, 20Klaus-Jürgen Sembach, Gabrielle Leuthäuser, Peter Gössel, et al, Twentieth-Century Furniture Design, Cologne, 1991, p. 214Barbara Radice, Ettore Sottsass: A Critical Biography, London, 1993, pp. 195, 197Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, Volume II, Turin, 2003, p. 290Glenn Adamson; Jane Pavitt, eds., Style and Subversion, 1970-1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 40Cindi Strauss, Germano Celant, et al., Italian Radical Design: The Dennis Freedman Collection, exh. cat., Museum of Fine Arts, Houston, New Haven, 2020, p. 121The present model is held in the collection of the Victoria and Albert Museum, London.Nick WrightCo-author of Cut and Shut: The History of Creative Salvage, London, 2012Dishonesty of MaterialsCharles Jencks identified the death of Modern architecture as taking place on July 15, 1972. 'At 3,32 (or thereabouts)' the Pruitt-Igoe projects were demolished. Like so many modernist blocks, their architects had promised good housing for all using an economy of design and modern materials impervious to the elements and fashion. In fact, their design was so compromised they were dynamited less than 20 years after construction. In their seminal postmodern text, Learning From Las Vegas, Robert Venturi and Denise Scott-Brown documented the Vegas strip during the fat Elvis era. Succeeding Gio Ponti as Domus' editor in 1979, Alessandro Mendini wrote of the architect's obligation to accommodate the taste, even the bad taste, of the client. The postmodern citizen would be the determinant of design, the historic city not a gaudy maras to be bulldozed and built anew along rational lines, but accommodated by the architect whose obligation was to add to it in sympathy with its citizen's needs AND desires. (Who doesn't love fat Elvis?) This was the intellectual thrust of postmodernism.It was Alessandro Guerrero's supergroup, Alchymia, through which these ideas were first expressed in three dimensions. Designed in 1979 as a series of prototypes by Mendini, Ettore Sottsass and Andrea Branzi, amongst others, the 'Bauhaus One' collection was conceived along the lines of a fashion show. Pieces were to be exhibited for one season only, sold, another collection produced for the next, 'Bauhaus Two'.The star of that first show was Mendini's 'Proust'. The most significant chair since Gerrit Rietveld's 'Red and Blue Chair', it began as a reproduction monster-piece found in a Milan junk shop. Signalling the return to decoration made superfluous by functionalism, a section of a Paul Signac painting was projected onto the whole and copied by artists Pier Antonio Volpini and Prospero Rasulo, the aim to fuse kitsch and high culture. Sottsass' 'Svincolo' lamp in the same 'Bauhaus One' collection went so far as to employ bare neon tube lighting redolent of the Vegas strip. In fact, a take on the Italian autostrada illumination, the surface decoration on the totem featured Sottsass' now famous 'Bacterium' pattern. If stared at too long, the design causes a hallucinatory effect as the bacteria seemingly squirm before the eyes.People are not purely rational. Indeed, much of our behaviour is predicated on emotion, logic being a means of post-rationalisation - the decorative laminate applied to chipboard. Architects must acknowledge this duality. Yes, we want our built environment to provide accommodation, but it should also speak to our emotions. Design can seduce, shock, delight, even delude in its trickery and Alchymia does just this. Revelling in a dishonesty of materials such as decorative laminate and rattle-can paint, the group alchemised base metal into architectural gold. Lappino Binazzi had been a member of the Italian radical UFO group of the late sixties. The big film studios were in financial difficulties, and seeing their discarded props and advertising, he appropriated the signage in a series of lamps. The 'Paramount' lamp was first produced by Groupo UFO in 1970. The PARAsol began the title, the ceramic MOUNTain beneath completed it. Together with the MGM lamp, the 'Paramount' was reissued by Alchymia in 1979 for the 'Bauhaus One' collection, its new context making explicit the postmodern implications. Is there a more alchemical process than actors playing out a scripted fiction which, when projected onto a flat screen, creates a 3D reality that feels as vivid as any lived experience? Sottsass' 'Structure Tremano' in the present sale is also from 'Bauhaus One' collection and distinguished from later Belux and Kumewa editions by the glitter lacquer. Alessandro Mendini estimated that on average about six of each of the 'Bauhaus One' pieces were produced. Perhaps because of his association with the Memphis group, which built on Alchymia's blueprint, Sottsass' pieces are amongst those items made in greater numbers. Nonetheless, an original Alchymia 'Structure Tremano' is rare. Moreover, like all the Bauhaus One collection, it needs to be understood intellectually - 'read' as Mendini put it - to be fully appreciated.The plinth is made of chipboard – base metal - and covered in shinny white laminate – gold - whilst its scale suggests it is designed to bear great weight. In a historical sense it does. The tubular steel legs reference Marcel Breuer's work at the Bauhaus. Revolutionary in the 1920s, tubular steel chairs like the 'Wassily' had, by the late seventies, become as much a cliché as the corporate lobbies they furnished, and this is the 'function' of the 'Structure Tremano'. It is not the wobbly looking tubular legs which tremble in the shock wave from the Pruitt-Igoe's detonation, but Modernism itself. In the vacant lot was built Memphis Milano, Alessandro Mendini's Groningher Museum and Frank Gehry's Guggenheim.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Elizabeth Garouste and Mattia Bonetti'Fourches' low table, designed 1987Patinated wrought iron, glass. 40 x 115.5 x 69.5 cmProduced by Pierre Basse and editioned by Galerie En Attendant les Barbares, Paris, France. Inscribed with artist's monogram and Galerie En Attendant les Barbares' cipher.Footnotes:ProvenanceGalerie En Attendant les Barbares, ParisPrivate collection, LondonAcquired from the above by the present ownerPierre Basse, who was the ironsmith for Diego Giacometti, produced the present lot, and has worked exclusively with Galerie En Attendant les Barbares since the 1980s.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Eric Schmitt'Medusa' mirror, designed 2020Patinated wrought iron, mirrored glass.60.5 x 51 x 3 cmProduced by Pierre Basse and editioned by Galerie En Attendant les Barbares, Paris, France. Number 3 from the edition of 30. Inscribed with artist's monogram, En Attendant les Barbares' cipher and numbered 3/30.Footnotes:ProvenanceGalerie En Attendant les Barbares, ParisPrivate collection, LondonAcquired from the above by the present ownerLiteratureDiego Giacometti Forever, exh. cat., Galerie En Attendant les Barbares, Paris, 2020, fig. 17Anne Bony and Agnès Kentish, En Attendant les Barbares: Quatre décennies de design, Paris, 2022, pp. 54-55The present mirror was designed by Eric Schmitt for the exhibition 'Diego Giacometti Forever' at Galerie En Attendant les Barbares, 1 April-13 June 2020. The exhibition was a tribute to the late artist. Pierre Basse, who was the ironsmith for Diego Giacometti, produced the present lot, and has worked exclusively with Galerie En Attendant les Barbares since the 1980s.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Property of a Lady Strickland Lowry (1737 –c.1785) A trompe-l'oeil of Aeneas carrying his father from Troy Oil on canvas Strickland Lowry was a portrait painter who came from Cumberland, and worked in Ireland. He came to Belfast around 1762. He contributed thirteen engraved views of churches, which appeared in History and Antiquities of Shrewsbury (1779). He was patronised by Sir John Rawdon, 1st Earl of Moira. Aeneas is the son of Venus and one of the greatest heroes of Troy, second only to Prince Hector himself. During the destruction of Troy by the Greeks, he was able to escape with his little son with the help of his mother, the goddess of love. He was able to escape together with many other Trojans and sailed away with them in order to find a new homeland. Dimensions: (Panel) 23.75 in. (H) x 17.75 in. (W) (Frame) 33 in. (H) x 27 in. (W)

Property of a Gentleman of Chelsea An original lithograph of an artist's handprint (Picasso) (1962) Lithograph with gold leaf Jean-Pascal Lorriaux was a passionate collector who had the idea of publishing a collection of lithographs presenting the hands of the great artists of his time. Thus Chagall, Picasso, Fautrier (whose assistant and close friend he was during the last years of his life), Foujita, Cocteau, Lurcat or Mathieu would come to his studio to engrave their hand on lithographic stone. Lorriaux did not have time to finalise his project and only a few tests – including this rare lithograph – were made. Dimensions: (Paper) 20 in. (H) x 12.25 in. (W) (Frame) 23.25 in. (H) x 16.25 in. (W)

Property of the late author and by descent of his family W. Somerset Maugham (1874 - 1965) First Edition Inscribed 'For Enid + Robin/ who helped him out on the way/ W. Somerset Maugham' Ex Libris Enid Mellor The Gentleman in the Parlour (1930) William Heinemann, London Dimensions: 8 in. (H) x 6.5 in. (W)