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LEWIS, C. S. (1898-1963). The Horse and His Boy, London, 1954, 8vo, frontispiece and illustrations by Pauline Baynes, original grey cloth, red dust-jacket (a few short tears). THE FIRST EDITION OF THE FIFTH "NARNIA" NOVEL. RARE.LEWIS, C. S. (1898-1963).  The Horse and His Boy. London: Geoffrey Bles, 1954. 8vo (198 x 135mm). Half title, monochrome frontispiece and illustrations by Pauline Baynes (some very light staining to the title). Original grey cloth, the spine lettered in silk, map endpapers (front free endpaper with lightly browned strip, as usual), red dust-jacket with the price of 10s. 6d. unclipped and with the rear turn-in blank except for the tiny printed code "APT/B875" at the foot, with an oval illustration on the upper wrapper by Pauline Baynes and a smaller illustration on the backstrip (a few short tears without loss, backstrip very slightly faded, corners a little frayed). THE FIRST EDITION OF THE FIFTH OF THE SEVEN "CHRONICLES OF NARNIA" NOVELS. Internally, the book is in remarkably clean and fresh condition (apart from the very light staining to the title), as are the cloth binding and dust-jacket. RARE.

LEWIS, C. S. (1898-1963). The Lion, The Witch and the Wardrobe, London, 1950, 8vo, coloured frontispiece and illustrations by Pauline Baynes, original cloth, grey dust-jacket (torn with some loss). THE FIRST EDITION OF THE FIRST "NARNIA" NOVEL. RARE.LEWIS, C. S. (1898-1963).  The Lion, The Witch and the Wardrobe. A Story for Children. London: Geoffrey Bles, 1950. 8vo (198 x 135mm). Half title, coloured frontispiece and monochrome illustrations, some full-page, by Pauline Baynes. Original turquoise cloth, the spine lettered in silver (corners lightly bumped, some patches of discolouration to spine and corners), grey dust-jacket with an oval coloured illustration on the upper wrapper by Pauline Baynes and a smaller illustration on the backstrip with the price of 8s.6d. unclipped and with the other turn-in blank except for the tiny printed code "APT/S573" at the foot (the dust-jacket torn with several small sections lacking, but only affecting letters at the foot of the backstrip with the loss of "B" and "L" of Bles, a hole at the centre of the backstrip, a few short tears, some very light staining). Provenance: "Spark" (juvenile pencil signature at head of front free endpaper). THE FIRST EDITION OF THE FIRST OF THE SEVEN "CHRONICLES OF NARNIA" NOVELS, AND ARGUABLY THE AUTHOR'S MOST FAMOUS WORK. Internally, this copy is in remarkably clean and fresh condition. "In all other fields of writing [i.e. apart from his works of Christian apologetics] [C. S. Lewis] established classics, too - literary criticism, science fiction, philosophy and children's books. Certainly, if all the children of my acquaintance are anything to go by, The Lion, The Witch, and the Wardrobe will be around for ever" (Joseph Connolly, Modern First Editions). "With The Lion, the Witch, and the Wardrobe (1950) [Lewis] began a series of seven 'Narnia' stories for children ..." (The Oxford Companion to English Literature (ed. Drabble, 1985)). RARE. Grolier One Hundred Books Famous in Children's Literature 90; Cotsen Children's Library 6446.

Reuben Powell Departure Oil, graphite and rust on tin-plate Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Reuben Powell's discipline focuses on paintings on tin-plate steel with a strong relationship to drawing. The themes explored in his work are industrial and maritime. These themes explore his own family history and a broader history. Figures rarely appear in his landscapes and seascapes. People are significant by their absence. Reuben has in the past and still does make many figurative works and this seeming contradiction in his work underlies much of Reuben as an artist. Reuben has been working on tin-plate for many years. The surface allowing for a greater depth to the picture plane and by scribing and burning the opportunity to reduce the painting back to the drawing stage is established throughout it's making. Lines are cut back through the paint and tin layer and allowed to rust and then reworked. This process repeated until resolution. It is perhaps impossible to reinvent painting though it is certainly worth. Education Born 1966 England 1982-1984. Foundation Course Bournemouth and Poole college of Art and Design Shelley Park. 1984-1987. Degree in Illustration. Harrow College of Higher Education Select Exhibitions/Awards Solo Exhibitions. The Morley Gallery London APT Gallery London Hotel Elephant Gallery London Beaux Arts Bath Royal Society of Marine Artists The London Group. Menier Gallery Hunting Art Prize London Festival of Architecture 120 Bermondsey Street. Etched stainless steel gates. Permanent installation Southwark Art Collection commission. Ariel View of Elephant and Castle. 4m x2m painting on tin-plate Statement about AOAP Submitted Artworks These are four are all very recent, made specifically for the exhibition, taken from research conducted around the Solent from Reuben's 101-year-old yacht Charm which is depicted in the picture made up of rust and tin only. Here she is cutting through the choppy sea of the Solent. The coloured oil painting of Gins Farm slipway where Charm is moored on the peaceful Beulieu River is a scene that has little changed since wooden sailing warships were built on the river many years ago. The raw reflective surface of the tin sheet breaking through in places. In contrast to this, only a short distance away is Fawley oil refinery on Southampton Water. Here we can see a gas carrier loading. The ship underlines the current reliance on oil and gas and the great lengths taken to transport the fuel. In the other picture from Southampton Water an oil tanker is docking to unload crude oil for the refinery as a huge rusting container ship leaves the river heavily loaded. The water between the two ships is heavily churned up. Fawley and other sites on Southampton Water will soon become free ports again underlining the reliance on the trade and the sea, both alien environments little understood by the vast majority of people.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Reuben Powell Loading Gas Southampton Water Oil, graphite and rust on tin-plate Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Reuben Powell's discipline focuses on paintings on tin-plate steel with a strong relationship to drawing. The themes explored in his work are industrial and maritime. These themes explore his own family history and a broader history. Figures rarely appear in his landscapes and seascapes. People are significant by their absence. Reuben has in the past and still does make many figurative works and this seeming contradiction in his work underlies much of Reuben as an artist. Reuben has been working on tin-plate for many years. The surface allowing for a greater depth to the picture plane and by scribing and burning the opportunity to reduce the painting back to the drawing stage is established throughout it's making. Lines are cut back through the paint and tin layer and allowed to rust and then reworked. This process repeated until resolution. It is perhaps impossible to reinvent painting though it is certainly worth. Education Born 1966 England 1982-1984. Foundation Course Bournemouth and Poole college of Art and Design Shelley Park. 1984-1987. Degree in Illustration. Harrow College of Higher Education Select Exhibitions/Awards Solo Exhibitions. The Morley Gallery London APT Gallery London Hotel Elephant Gallery London Beaux Arts Bath Royal Society of Marine Artists The London Group. Menier Gallery Hunting Art Prize London Festival of Architecture 120 Bermondsey Street. Etched stainless steel gates. Permanent installation Southwark Art Collection commission. Ariel View of Elephant and Castle. 4m x2m painting on tin-plate Statement about AOAP Submitted Artworks These are four are all very recent, made specifically for the exhibition, taken from research conducted around the Solent from Reuben's 101-year-old yacht Charm which is depicted in the picture made up of rust and tin only. Here she is cutting through the choppy sea of the Solent. The coloured oil painting of Gins Farm slipway where Charm is moored on the peaceful Beulieu River is a scene that has little changed since wooden sailing warships were built on the river many years ago. The raw reflective surface of the tin sheet breaking through in places. In contrast to this, only a short distance away is Fawley oil refinery on Southampton Water. Here we can see a gas carrier loading. The ship underlines the current reliance on oil and gas and the great lengths taken to transport the fuel. In the other picture from Southampton Water an oil tanker is docking to unload crude oil for the refinery as a huge rusting container ship leaves the river heavily loaded. The water between the two ships is heavily churned up. Fawley and other sites on Southampton Water will soon become free ports again underlining the reliance on the trade and the sea, both alien environments little understood by the vast majority of people.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Reuben Powell Gins Farm Summer '23, 2023 Oil on tin plate Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Reuben Powell's discipline focuses on paintings on tin-plate steel with a strong relationship to drawing. The themes explored in his work are industrial and maritime. These themes explore his own family history and a broader history. Figures rarely appear in his landscapes and seascapes. People are significant by their absence. Reuben has in the past and still does make many figurative works and this seeming contradiction in his work underlies much of Reuben as an artist. Reuben has been working on tin-plate for many years. The surface allowing for a greater depth to the picture plane and by scribing and burning the opportunity to reduce the painting back to the drawing stage is established throughout it's making. Lines are cut back through the paint and tin layer and allowed to rust and then reworked. This process repeated until resolution. It is perhaps impossible to reinvent painting though it is certainly worth. Education Born 1966 England 1982-1984. Foundation Course Bournemouth and Poole college of Art and Design Shelley Park. 1984-1987. Degree in Illustration. Harrow College of Higher Education Select Exhibitions/Awards Solo Exhibitions. The Morley Gallery London APT Gallery London Hotel Elephant Gallery London Beaux Arts Bath Royal Society of Marine Artists The London Group. Menier Gallery Hunting Art Prize London Festival of Architecture 120 Bermondsey Street. Etched stainless steel gates. Permanent installation Southwark Art Collection commission. Ariel View of Elephant and Castle. 4m x2m painting on tin-plate Statement about AOAP Submitted Artworks These are four are all very recent, made specifically for the exhibition, taken from research conducted around the Solent from Reuben's 101-year-old yacht Charm which is depicted in the picture made up of rust and tin only. Here she is cutting through the choppy sea of the Solent. The coloured oil painting of Gins Farm slipway where Charm is moored on the peaceful Beulieu River is a scene that has little changed since wooden sailing warships were built on the river many years ago. The raw reflective surface of the tin sheet breaking through in places. In contrast to this, only a short distance away is Fawley oil refinery on Southampton Water. Here we can see a gas carrier loading. The ship underlines the current reliance on oil and gas and the great lengths taken to transport the fuel. In the other picture from Southampton Water an oil tanker is docking to unload crude oil for the refinery as a huge rusting container ship leaves the river heavily loaded. The water between the two ships is heavily churned up. Fawley and other sites on Southampton Water will soon become free ports again underlining the reliance on the trade and the sea, both alien environments little understood by the vast majority of people.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Reuben Powell Charm 1922 Tin plate steel | Oxide Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ed Cross About Reuben Powell's discipline focuses on paintings on tin-plate steel with a strong relationship to drawing. The themes explored in his work are industrial and maritime. These themes explore his own family history and a broader history. Figures rarely appear in his landscapes and seascapes. People are significant by their absence. Reuben has in the past and still does make many figurative works and this seeming contradiction in his work underlies much of Reuben as an artist. Reuben has been working on tin-plate for many years. The surface allowing for a greater depth to the picture plane and by scribing and burning the opportunity to reduce the painting back to the drawing stage is established throughout it's making. Lines are cut back through the paint and tin layer and allowed to rust and then reworked. This process repeated until resolution. It is perhaps impossible to reinvent painting though it is certainly worth. Education Born 1966 England 1982-1984. Foundation Course Bournemouth and Poole college of Art and Design Shelley Park. 1984-1987. Degree in Illustration. Harrow College of Higher Education Select Exhibitions/Awards Solo Exhibitions. The Morley Gallery London APT Gallery London Hotel Elephant Gallery London Beaux Arts Bath Royal Society of Marine Artists The London Group. Menier Gallery Hunting Art Prize London Festival of Architecture 120 Bermondsey Street. Etched stainless steel gates. Permanent installation Southwark Art Collection commission. Ariel View of Elephant and Castle. 4m x2m painting on tin-plate Statement about AOAP Submitted Artworks These are four are all very recent, made specifically for the exhibition, taken from research conducted around the Solent from Reuben's 101-year-old yacht Charm which is depicted in the picture made up of rust and tin only. Here she is cutting through the choppy sea of the Solent. The coloured oil painting of Gins Farm slipway where Charm is moored on the peaceful Beulieu River is a scene that has little changed since wooden sailing warships were built on the river many years ago. The raw reflective surface of the tin sheet breaking through in places. In contrast to this, only a short distance away is Fawley oil refinery on Southampton Water. Here we can see a gas carrier loading. The ship underlines the current reliance on oil and gas and the great lengths taken to transport the fuel. In the other picture from Southampton Water an oil tanker is docking to unload crude oil for the refinery as a huge rusting container ship leaves the river heavily loaded. The water between the two ships is heavily churned up. Fawley and other sites on Southampton Water will soon become free ports again underlining the reliance on the trade and the sea, both alien environments little understood by the vast majority of people.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Hornby  OO group of unboxed Loco's & Coaches. Comprising R791 LMS Passenger Set 4-6-2 LMS Maroon 6233 "Duchess Of Sutherland" + 4x coaches; R789 BR Blue HST Inter-City 125 Set - Power & Dummy cars + 2x coaches; R R543 BR Grey InterCity APT - 2x DVT, 2x coaches & centre power car (overhead pantograph missing). Conditions: Excellent to Excellent Plus. (14)

* Jenner (Edward, 1749-1823). English surgeon and pioneer of smallpox vaccination. A series of 14 Autograph Letters Signed, ‘Edw. Jenner’, three as ‘E. Jenner’ and one as ‘E.J.’, Cheltenham & Berkeley, Gloucestershire, 18 April 1811 to 1 November 1822 & 3 undated, addressed to Edward Davies [his nephew], variously at Eastington, Ryeford, Stanley House and Ebley House, all near Stroud, and one sent to Edward in London, and one undated letter to his sister [Ann], the subjects largely concerning family matters, arrangements for meetings, the poor health of Edward’s mother [Jenner’s sister Ann] and that of his own wife Catherine, with some recommendations for treatments and diet, discussions of his own work and how challenging he finds it, with one direct reference to vaccination (24 October 1811), plus other references to his work and its reception in the wider world, all written on entire letters with integral address panels, many written on all four sides including folds adjacent to address panel, some age wear with many small fold splits and seal tears (one with loss to subscription but not affecting signatures), a total of 43pp., 4to, together with related correspondence and ephemera comprising: Three Autograph Letters Signed from Jenner’s wife Catherine to Edward and Mrs Davies, one dated from New Bond Street, [London], 23 January 1801, two with signatures torn with loss and one with cover worn with loss; Autograph poem by Ann Davies, signed and dated 23 December 1789 (separated along two folds), autograph letter from Ann to her son Edward (torn with loss), a short autograph account of a friend’s illness dated 26 January 1802; two autograph items from ‘W.D’ [William Davies], one a letter to his aunt (torn on folds) and one a copy of a memorandum; an undated letter to Mrs Davies from ‘M. Berkeley’ at Berkeley Castle; plus 2 printed items, a printed list of subscribers for a statue of Edward Jenner in Gloucester Cathedral, and a pamphlet titled Health Heroes: Edward Jenner, Metropolitan Life Insurance Company, 1926QTY: (approx. 20)NOTE:Provenance: By family descent from the family of Edward Davies.An important unpublished archive of letters from Edward Jenner giving a good deal of insight into his family life and work matters. Jenner was one of nine children, six surviving into adulthood. Of these three sisters and two brothers, only Mary (1730-1810) and Ann (1740-1812) survived into the 19th century. By the time the first of these letters was written by Jenner to his nephew Edward, (also a doctor), only Ann was still living. Unsurprisingly, therefore, Jenner shows a great deal of concern for his sister’s health and diet while taking a keen interest in the health of Edward and his family too. Extracts from the letters are given below, further images available on request.Cheltenham, Thursday night, 18 April 1811: ‘… how much I lament the sad account you give me of your poor father's health, and to request in case the haemorrhage returns again, that Mr Darke will inspect the part. By so doing, he will probably discover the bleeding vessel, and by means of a ligature, prevent the further effusion of blood ... ‘.‘You must avoid everything that tends to weaken and employ every means of strengthening your constitution – the sea and its breezes will do great things for you, and I hope take off the susceptibility for cold, which Mrs Davies's nieces are so much acquainted with. As for myself, it is not from the cause you suspect that my tremors have arisen. The long continued, and at times, highly alarming state of Mrs Jenner's health, succeeded by so much attendance on her poor brother, whose disease I felt confident would prove (as it has done fatal), has been as great a load as I could well carry, to say nothing of other professional weights. I am now getting up to my usual pitch of health again. We have had a curious domestic occurrence. Hystericks are as contagious as the plague among young females. Several fell sick – we were obliged to import fresh ones to wait on them. Our new importation became infected and others were necessary to wait on them; so that we got three deep at last. I shall be glad to see William and Mr Lewis on the day you mention …’.Cheltenham, Wednesday night, 23 October 1811: ‘I want much to see you and converse with you about the state of your health and many other things. On Saturday next I propose being at the inn at Painswick at 12 o'clock to meet Mr Darke ... I wish it were in my power to go on to Eastington and stay the night. What a pleasure it would afford me, as I want a long conversation with my friends there … Indeed, I ought to tear myself away from this place, where I am quite overwhelm'd with the incessant variety of my occupations. My lot is harder than that of the medical world in general, as the toils of vaccination are superadded to my ordinary labors. However, things go on smoothly now. Some reports I have lately had from abroad cheer me much and the long expected tangible compliment from Madras is at length arrived. This I had given up for lost. Mrs Jenner is better than I have known her for a long time past. This again is cheering; and as for myself, I have nothing to complain of on the sense of health – so I will grumble as little as possible. The worst of it is my commonly having fifty letters before me unanswered, and no aid from a secretary ... Can you procure me some more health bags? The large sort – the small ones are of no use... ‘.No place or date, postmarked Cheltenham, 6 January 1812: ‘Still, the old story goes forward "no good without an evil tacked onto it". The gratification Mrs Davies must feel in being herself the supporter of her little girl meets with a sad interruption. As the application you have been using so seldom fails when fresh and good, I have been thinking it possible that what you procured may have been readied ineffectual by overkeeping. If the remedy should still exist, pray try the following. Some skins we know will not bear an oily application of any sort without its exciting inflammation; a wash may therefore do better. Take twenty grains of the sugar of lead and dissolve it in two ounces of water. Let the parts affected be washed frequently, or rather sopp'd, with a bit of soft sponge – previously to the child's sucking it may be wash'd off with a little warm water ...‘... It is astonishing to observe how a deviation apparently trifle from the rigid rules I lay down with regard to diet in such cases will turn the balance, and change comfortable health into sickness. Your mother is apt to pick, and just taste, and have the smallest relish of this or that which may be on the table and fancy from the morsels she has taken no harm can ensue. This is all error and must be corrected. Let me entreat you in the gentlest manner, to go and talk to her on a subject, that is not only interesting to her and her family, but to me and mine ... ‘.No place (Dursley Penny Post), Tuesday night, 5 May 1812: ‘I have just received your doleful letter. Your mother still becoming more feeble, your boy ill and your wife out of health. This is a lamentable account indeed. From your description of Edward's case, I see nothing more likely to restore him than the means Mr Darke has pointed out. Before the present week ends I will if possible contrive to see him ... Have you a shower bath? It is what I may probably direct for Mrs Davies. Mrs Jenner has undergone the painful process of an abscess in the ear, but is now convalescent... ‘..........For the rest of the description, please visit our website www.dominicwinter.co.uk

JEF VERHEYEN (1932 Itegem / Belgien - 1984 Apt / Frankreich) Grand Oeuvre1 Bl. Titel, 1 Bl. Impressum, 10 Bl. Text und 10 Lithographien auf BFK Rives-Bütten. Lose in Orig.-Kartonmappe. 1981Je 36 x 36 cm (65,5 x 50cm).Alle Lithographien signiert "Jef Verheyen", das Impressum von Jef Verheyen und Ivo Michiels signiert. Auflage 82 num. Ex.Die Gesamtauflage betrug 92 Exemplare, wovon 10 römisch nummerierte Exemplare nicht für den Handel bestimmt waren. Jef Verheyen zeichnete die Lithographien im Sommer 1981 in der Erker-Presse, St. Gallen, direkt auf Stein, die Texte wurden von Ivo Michiels ebenfalls auf Stein geschrieben. Alle Blätter bis auf Titel und Impressum mit dem Trockenstempel "Erker-Presse St. Gallen". Durchweg sehr schön nuancierte Drucke auf den vollen Bögen, jeweils rechts und links mit dem Schöpfrand.

A Kashan underglaze-painted pottery bowl Persia, 12th-13th Centuryof deep rounded form on a long foot, decorated in cobalt-blue, manganese and black on a white ground with a central rosette to the well surrounded by bands of fish interspersed by dot motifs, the exterior with repeated linear strokes, accompanied by a photograph from M. Aaron 20.1 cm. diam. max.Footnotes:ProvenancePrivate UK collection, acquired from M. Aaron in Tehran in the 1970s.Designs featuring a multitude of fish swarming towards a central motif were popular during this period, not only featuring on pottery but also commonly found on metalwork. As Caiger-Smith notes, this design has been assigned multiple meanings, including its interpretation as a sun-symbol as well as simply an apt design for a water vessel (A. Caiger-Smith, Lustre Pottery, Faber & Faber, 1985, p. 78). For further discussion, see E. J. Grube, Islamic Pottery of the Eighth to the Fifteenth Century in the Keir Collection, London, 1976, pp. 228-234. An example of a pottery bowl featuring a fish design dated to the 14th/ 15th Century is in the Art Gallery of South Australia, Adelaide (Accession Number 20035C20).Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

Jef Verheyen (Itegem/Antwerpen 1932 – 1984 Apt/Provence)Studie Plage(?)Aquarell. 1961. 29,5 x 37,8 cm. Signiert, datiert und betitelt. (20)Farblich ungewöhnlich kräftige und in den Verläufen reizvolle Studie aus der Reihe der Landschaftsaquarelle. – Auf Aquarellpapier. – Rückseitig mit leichten Atelierspuren und sehr gut erhalten.

Poster BR THE SHAPE OF TRAVEL TO COME INTERCITY APT THE MOST ADVANCED PASSENGER TRAIN. Double Royal 25in x 40in. In excellent condition.

InterCity APT travel agent's display model of three carriages of the APT, on white track base, with label to end for Space Models Ltd of Feltham, length 128cm, in original box

Wedgwood of Etruria & Barlaston moonstone mantle vase (Apt 1)

Mirrored Screen Mindy Wood Frame 3 panels 215cm tall with 3 no. panels at 51cm wide each (Apt 1)

Two Antique Coloured Framed Prints 18 x 21cm  (Apt 16)

2x's custom deco cushions: 50 x 50 custom deco cushions with duck feather pads and piping - Dedar (Celadon) (Apt 16)

Edward Ruscha art print DANCE? 1973 original gallery poster  glazed and framed 137 x 152cm This work highlights Ruscha’s preoccupation with the symbols of American popular culture of the 1960s and 1970s, with the monosyllabic invitation to dance invoking light-hearted entertainment. An unlikely array of materials were used to create it, including coffee, egg white, mustard, chilli sauce, ketchup and cheddar cheese. These edible ingredients suggest the kind of foodstuffs that might be consumed in an American diner, and are in particular the condiments that accompany typically American fast food such as hotdogs and hamburgers. (Apt 1)

Metal Frame Round Wall Mirror 82cm Diameter (Apt 10)

A pair of bespoke bedside cabinets white column design signle door to a fitted interiors 48 x 62cm  (Apt 1)

Shimmer tavoli by Patricia Urquiola for Glas Italia High circular table in laminated and glued glass, characterized by a special iridescent multichromatic finish; the nuance varies according to the angle of the light source and the vantage point. Reflected objects with a magical and ethereal appearance emerge. The high tables bases can be dismantled and are fixed to the top by means of metal plates, concealed by a circular decorated covering. 130cm x 74cm (Apt 10) Patricia Urquiola was born in Oviedo (Spain) in 1961. Lives and works in Milan. She attended the School of Architecture of Madrid Polytechnic and Milan Polytechnic, where she graduated in 1989 with Achille Castiglioni. From 1990-1992 she was assistant lecturer to both Achille Castiglioni and Eugenio Bettinelli in Milan and Paris. From 1990-1996 she was responsible for the new product development office of DePadova, working with Vico Magistretti. In 1996 she became head of Lissoni Associati’s Design Group. In 2001 she opens her own studio working on product design, architecture, installations. Amongst her last projects of architecture: Mandarin Oriental Hotel in Barcelona and W Retreat&Spa a Vieques (Porto Rico); a villa in Udine; scenography of the opera “L’incoronazione di Poppea†by Monteverdi; showroom and installations for Hermès, Gianvito Rossi, Flos, Moroso, H&M and the general concept of Pitti Immagine Firenze. She designs for the most important Italian and international firms as Agape, Alessi, Andreu World, Artelano, Axor, B&B Italia, Bart Design, Bisazza, BMW, Bosa, Budri, Chevalier Edition, Il Coccio, De Padova, De Vecchi, Driade, Emu, Fasem, Salvatore Ferragamo, Flos, Foscarini, Gallotti & Radice, Gandia Blasco, Glas Italia, Kartell, Kettal, Kvadrat, Mixing Media, Maurice Lacroix, Liv’it, Peter Mabeo, MDF Italia, Molteni, Moroso, Mutina, Olivari, Panasonic, Paola Lenti, Rosenthal, Champagne Ruinart, San Lorenzo, Tronconi, Viccarbe. Consulting for Honda and LG. Some of her products are exposed in the permanent collection of MoMA in New York and other international museums. She has won several international prices and awards. Amongst others the Medalla de Oro al Mérito en las Bellas Artes 2010 awarded by the Spanish Government (2011) and the A&W Magazine nomination as Designer of the Year 2012.

Vintage Italian wall mounted console with bronzed mirror 1970s designer piece  80 x 31 x 127cm (Apt 1)

A pair of Italian stools by Pier Luigi Colli, re imagined by Studio Bucchi in iridescent fabric supported on gilt and hammered legs 40 x 39 x 45cm (Apt 10) Pier Luigi Colli (1895-1968) studied at the Paris L'École Des Beaux Arts Decoratifs. He returned to Turin, Italy to lead the Colli family furniture business. Today, Colli is one of the most popular furniture factories in the antique and vintage market …

Robert Sonneman Style 1980s Table Lamp, 61cm including shade A playful table lamp in pastel hues, very much in the manner of Robert Sonneman’s work for George Kovacs, and imported from France in the 1980s. From the base of this lamp - hammered glass moulded into a spiral - protrudes a brass rod, adorned with hand-blown pink glass details. Atop the lamp sits a folded acrylic conical shade, with organic wavy edges. This is held in place by three acrylic ball studs. This Memphis-inspired lamp is currently wired for an EU plug, but we can change this depending on the buyers location. French Period 1980 - 1989 (Apt 10)

The Rug Company Mesa Powder Rug the Mesa studies the delicate and intricate patterns found on the undulating rock formations in the Canyonlands of Southwestern America monochromatic and soft blues: Hand knotted Wool & bamboo silk Knot count: 100 knot Technique: Cut Pile 1.85x 2.72m (Apt 10)

Jonathan Adler Acrylic Ripple Box Medium From New York designer Jonathan Adler, the Ripple Boxes feature generous cracked acrylic lids in deep, dimensional jewel-tones on a polished brass base with his signature ripple edge Cracked acrylic lid in amethyst with polished brass base. (Apt 10)

Jonathan Adler Jacques Round Tray - Nickel/Smoke Featuring a circular acrylic frame, metallic accents and a mirrored tray for extra shine, the Jonathan Adler Round Jacques Tray is perfectly posh on your vanity, console, or cocktail table. Use it to corral equally chic decanters and mixology musts to round out an ultra-glam cocktail hour. Available in luxe in smoke acrylic with polished nickel trimmings. 18"Dia x 3"H  (Apt 10)

Vintage  U Keramik West German Vase Stamped 227-18 18cm tall  (Apt 10)

Wavy Pink Savoy Vase A classic since 1936! The unique shape of Alvar Aalto's vase SAVOY, designed in 1936, is always modern and remains one of the major icons of the Scandinavian glass design (Apt 16)

Pointillist oil painting  Night Sky by Ken Walch (British, born 1927) signed K Walch 1993 framed 140 x 107cmWalch was born in Wimbledon in 1927. After school he moved to Australia in the early 1950’s and won a place at the National Gallery Art School in Melbourne where he studied under Murray Griffin until 1953 when he returned to England. He then enrolled at St Martins School of Art where his principal tutor was the colourist, Fredrick Gore. Gore introduced him to English post impressionism and the use of colour to emphasise the emotional aspects of painting. Walch took a diploma in Art Teaching and taught in various schools until his retirement ARTWORK: Ken Walch "Night Sky" (Apt 10)

A pair of Chrome Table Lamps With Knife Pleat Hardback Shades A unique pair of chrome table lamps with knife-pleat hardback shades. Very modern and elegant design brought from the 1980s glamour, American Period: 1980-1989 With Shade HEIGHT: 71cm | 28in Shade Width: 53cm | 21in Shade Depth: 53cm | 21in (Apt 10)

1 pair Foo Dogs (Apt 10)

Set of 4 Mid Century Monk Chairs by Afra & Tobia Scarpa Leather and walnut frame Dimensions: Height: 74.93 cm (29.5 in)Width: 52.07 cm (20.5 in)Depth: 46.99 cm (18.5 in)Seat Height: 45.09 cm (17.75 in)Tobia Scarpa was born in Venice in 1935, where he graduated in architecture. With his wife Afra Bianchin (1937-2011) he sets up one of the most successful and well-known professional studio; together they sign many innovative projects on the industrial design scene.(Apt 1)

Whistling Copper Kettle (Apt 16)

Jonathan Adler Acrylic Ripple Box Large From New York designer Jonathan Adler, the Ripple Boxes feature generous cracked acrylic lids in deep, dimensional jewel-tones on a polished brass base with his signature ripple edge Cracked acrylic lid in amethyst with polished brass base. Dimensions : 10.16 cm Dia, 8.89 cm H  (Apt 10)

A Pair of French mid-century gilt-brass side tables with two tiers and gold eglomise glass tops, attributed to Maison Jansen  (Apt 10)

Vintage oriental floor vase hand painted and glazed porcelain 48cm tall (Apt 10)

A Decorative Four Panel Double Sided Screen Attributed to Maitland Smith 1970s 183cm tall with 4 no panels at 40cm wide each  (Apt 1)

Vaso Short Set 3 x glazed oyster blue pots 44cm 34cm and 27cm tall (Apt 10)

A pair of 42cm Crystal Hurricane vases  (Apt 16)

Bridie Hall Alphabet Brush Pot Bring colour and fun to your workspace or vanity desk with renowned artist Bridie Hall’s stunning alphabet brush pots. Both practical and stylish, these decorative pots can hold all your creative tools such as pens, pencil, markers, paint brushes, makeup brushes and more. The Bridie Hall alphabet brush pot collection is the perfect desk accessory for organisation, stationery, and fashion lovers. (Apt 10)

Laura Leaves Photo Frame, Gold, Leaves and berries weave their way around the edge of the Laura photo frame, which has a gold finish. It suits both landscape and portrait orientations and is freestanding. 4 x 6" (10 x 15cm) (Apt 10)

Jonathan Adler Blue Ripple Lacquer Box Chic, playful, simple. Our two-toned Ripple Boxes feature a luxe lacquer wave, hand-finished and high-gloss. Bring a bright pop of colour to your shelf, mantel, or tablescape while keeping your possessions handy but hidden 12 x 11cn (Apt 10)

Large Floor Vase Green Black, Pharaohs Relief Vase 43cm (Apt 16)

Faux Large  Pale Cream Pink 70cm Dahlia Stems  (Apt 10) 

A  Green Leather upholstered vintage armchair on castor front legs reupholstered in a racing green leather 90 x 74 x 86cm(Apt 1)

Danish teakwood arts and craft movement armchair with needlepoint seat pad cushion 43 x 46 x 85cm (Apt 1)

Cane Holder Stand Umbrella Holder Rack Storage Basket Woven 60cm tall  (Apt 1)

Jonathan Adler Monte Carlo Blue  Stud Box Tough glamor meets gem-toned luxe. Featuring a polished brass baselined in velvet and topped with a stud-shaped acrylic lid, each Monte Carlo Stud Box adds a sculptural glow to any architect's desks cape or diva's dressing table. 15 x 15 x 15cm (Apt 10)

1 x Charlie Rose 300ml pink glass bottles pale pink glass bottles capacity 300ml with a stainless steel pump lid diameter 6.3cm, Height without pump 15.5 cm, with pump 19.7cm (Apt 10)

Oriental Fu Shou design and floral area rug thick wool pile 91 x 152cm (Apt 10)

A pair of Elegant White Porcelain Swan Figurine with Golden Detail - Hollohaza Hungary 60s (Apt 10)

Wavy Slim Edge Photo Frame A rustic, antique-effect design, this freestanding photo frame has a metallic finish and slim profile 16cm (Apt 10)

A set of 2 x XL Pastel Shade Scatter Cushions 57 x 57cm (Apt 1)

Jermaine Gallacher  Zigzag steel drinks table blue powder coated steel  Height 25.2in/64cm  Max width 8.3in/21cm Max depth 7.1in/18cm  (Apt 10)Jermaine Gallacher: is one of London’s rising interior design star, the London-based furniture dealer and homeware designer is revered for his eclectic approach to interiors that's centred around a DIY ethos 

David Marshall Flower Mirror (Scottish  B. 1942). David Marshall has been designing and manufacturing furniture accessories since 1972, specialising  in hand carved and coloured mirrors, the mirror signed and measuring 73cm x 120cm  (Apt 10)

Liberty Blue Clouds Framed Print 30 x 40cm (Apt 10)

English C.19th Century credenza sideboard with ebonised finish and inlay, 152 cm wide, 46 cm deep, 103 cm high (Apt 1)

Artificial Silk Phalaenopsis (Orchid) In A Blue/White China Pot 40cm (Apt 10)

Julian Chichester Nico Cabinet Smoked Oak, Faux Red Gesso With a nod to the wonderful Jacques Adnet, this cabinet has hand-stitched contrasting Red Leather handles. This elegant Dark Smoked Oak sideboard has 3 sliding doors with Faux Red Gesso vertical pulls and feet 200 x 30 x 75cm (Apt 16) (Apt 16)