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AFTER WILLIAM RUSSELL FLINT (1880-1969) *ARR Provencal Caprice, print, signed in pencil in the margin, blind stamp, 45 x 57cm.

AFTER LAURENCE STEPHEN LOWRY (British, 1887-1976) *ARR Huddersfield, coloured print, signed in pencil lower right margin, blind stamp for Fine Art Trade Guild, 47.5 x 58cm lot 1273; good strong colours, mount is rather discoloured, otherwise good condition.

AFTER LAURENCE STEPHEN LOWRY (British, 1887-1976) *ARR Industrial Panorama, coloured print, signed in pencil lower right margin, blind stamp for Fine Art Trade Guild, 63.5 x 80cm.Lot 1295 - slight fading but colour still fairly strong.

AFTER JOE SCARBOROUGH (Sheffield Artist, b.1938) *ARR End of an Era, tribute to John Banner Ltd, a hand coloured signed limited edition print, number 25/50, C.G. blind stamp, 47 x 37cm.

A unbranded child's turntable, needles, together with eight Kiddietunes 78rpm records and other 78rpm records Kidditunes including - John Peel / Yankee DoodlePolly Wolly Doodle / Early one MorningAway in a Manager / Good King WenceslasJimmy Crack Corn / Oh SuzannaWhile Shepherds / Silent NightYoung Charms / Jack and JillShenandoah / Little Bo PeepCharlie is my Darling / Ding Dong BellAlso including :Songs About Little Boys / Song About Little GirlsThree Blind Mice / London Bridge Tubby the TubaWe're Off to See the WizardSilly Songs / Musical ChairsThe Lost Sheep / Pussy Cat SongsThe Little Shoemaker / The Happy Wanderer

Brookshaw, George. The Horticultural Repository, 2 volumes, first edition, 98 hand-coloured engraved plates, 7 folding, slightly shaved, occasionally affecting numeration or edge of image, one folding plate with tear along fold, light spotting, contemporary green crushed morocco, borders in gilt and blind, all edges gilt, 8vo, London: Sherwood, Jones and Co., 1823

Hope, Thomas. Costume of the Ancients, 2 volumes bound in one, half-title, 200 engraved plates, fore-edge shaved, occasionally affecting imprints, and the image on plate 189, inscribed 'Given me by Mr Hope. 1809', contemporary diced calf, blocked in blind, raised bands, bookplate of Merthyr Guest, 4to, London: William Miller, 1809

Walsh, Robert and Thomas Allom. Constantinople and the Scenery of the Seven Churches of Asia Minor, 2 volumes, first edition, additional engraved titles, 2 engraved frontispieces and 92 engraved plates, tissue guards, 2 engraved maps, one double-page, occasional light spotting, publisher's original full morocco, tooled in gilt and blind, all edges gilt, bookplate of Merthyr Guest, 4to, London: Fisher & Son, [c.1839] A FINE COPY.

Bartlett, William. Jerusalem Revisited, engraved additional title, frontispiece, 19 engraved plates, tissue guards, folding panorama, light spotting, original blind-stamped decorative full morocco, all edges gilt, 8vo, London: T. Nelson and Sons, [n.d.]

Anon. DIARY OF AROUND THE WORLD CRUISE. 1903, February 23rd, one Volume manuscript, "Fay, George and Myself start on our tour.....", approximately 300 pages closely written ink, unfortunately finishing in Toronto on July 18th. Included is a 'Candian Pacific Royal Mail Steamship Line Passenger List' for the voyage from Yokahama for Vancouver. Quarter leather bound, quite worn and chipped, but contents clean, with a 'Colombo Apothecaries' label on the front endpaper.They first travel to London for a couple of days where they leave "baby very well" with Mrs Wright, "an excellent nurse", who is relieved to see them go- apparently Fay had been very ill. The author shows some concern about leaving the baby for such a very long time, but soon shrugs the feeling off. They take the train from Victoria to Dover, then on to Calais and Paris, where they take a bus to the hotel with their hand lug-luggage having booked the heavy stuff through to Marseilles. An early morning train sees them in Marseilles that night in a noisy hotel. In the morning they go to P. and O. dock to board the SS Chin, under the command of Captain Angus, with 150 first class passengers, some headed for India via Aden, many for Cairo.March 3rd, they arrive at port Sais and remain for the night; the SS Isis pulls alongside in the morning to transfer post etc. They hear from respective Mothers, and "had a good account of baby", and they go ashore for some shopping. Next they pass through the Suez canal and dock at Aden on March 8th, where there are more mail transfers, and passengers for Bombay leave the ship."Left Aden at 10.45. A lot of natives with ostrich feathers came on board who seemed to do a fair trade....Lady McKenzie Capt Beresford and about 30 people got off, she is going with him to Somaliland to shoot lions".Then we get a real sense of the cruise atmosphere, with much description of the weather, the distance travelled, various deck games and evening entertainments.March 14th they are in Colombo shopping; 17th on the train to Kandy, where they take a hotel and go sightseeing (and shopping). The 29th they are at sea again on the Coromandel, arriving on April 2nd at Penang, and the 4th at Singapore, where they take an excursion a "giniricksha"April 9th sees them arrive at Hong Kong (shopping).April 11th, "Spent most of the morning in the shop of Chang Woo Queen St. where we bought a set of 5 red lacquer tea tables, a roll of 20 yds crepe silk, green embroidered and ditto plain light blue silk, a box of ivory chess men, carved ivory balls with seven inside and a dozen grass cloth handkerchiefs. Table was 35$ the embroidered silk 40$ the plain 32$ ball 7.50$. Handkerchiefs 4$ & chess men 14$ for which we paid 126$ including packing, I think they are good value"."....afterwards went to the theatre a fine building inside and out and saw the Geisha by Pollards Lilliputian Opera Coy of Australia. Most of the actors are quite midgets they were certainly very fairly good but the singing which was rattled through at top speed and in squeaky voices however we enjoyed it but did not stay to the end".April 13th they sail on a "little screw steamer", reaching Canton at 6.00am the following morning, where they take a number of sightseeing excursions- Wuchow, Samisha, etc with few shopping opportunities!April 8th they are back in Hong Kong, pleased to get rooms at the Hong Kong Hotel. The 19th sees them rushing out shopping again, with only a minor distraction- "Had a telegram today to say Baby all well sent from Bath".April 21st is their last day in Hong Kong, so a quick bit of shopping, before settling up with their shippers, "roughly I think we have spent about 500$ here and at Canton or a little over 40£ and got some very nice things for it". the 22nd they join the CPR ship Empress of India, "every berth taken", and head shopping in Shanghai on the 25th."April 27th. Reached Nagasaki..... there are three Russian men of war in the harbour which I should think rather annoy the japs." The 30th sees them in Yokohama- shopping! They spent several days here, making a number of excursions by carriage and rail, and there are extremely good descriptions of various parts of the interior of Japan. With the aid of Murray's Hand Book and some local guides they visit Kyoto, Osaka, Ikuno, Hiroshima ("...the small steamer touched at several small towns, the largest being Hiroshima"), Kobe, Nagoya etc. By far the most interesting part of the diary.May 20th, "We stopped at 10 oc at a nice little tea house for coolies to have their chow and bought a laquer tray well carved for 2.50 but after we had got it the man said he could not sell at any price as it had belonged to his family for a long time. I packed it in my bag & we all walked on & left Hori to struggle with him he gave him another yen and cam,e away the man he said very angry we had gone in. We amused ourselves on the way killing snakes which were plentiful three or four different sorts the largest crossed the road in front of us measured 5 feet we killed 14."May 27th. "....saw the young Mikado and his suite going to Osaka exhibition long before they came in sight a policeman insisted on my taking off my hat and Fay getting out her rickishas and putting down the parasol the sun being very hot they came past in rickishas and the men in uniform the ladies in Paris dress. The Japs are the opposite to us when royalty comes along they are all quite silent their heads bare and standing up long before the royal party almost have started it is rather trying in the rain...".June 11th. 'Our last day in Japan....settled and paid Arthur and Bond and all our things eight cases are shipped today. they should be at Bessingby in 10 weeks. Also settled up with the Banl. Have spent in Japn £309...."June 12th they sail for Vancouver, and settle into everyday life on the waves again, "Found a rather enthusiastic chess player in Mr E. Hamilton Sharp a professor an old man of about 65 who has lived most of his time in Japan and the rest in Canada I don't know what he is professor of but he lectures to jap students at Tokyo however we had a good game which I eventually won he being very blind is greatly handicapped and is continually mistaking bishops for pawns and queens for bishops...."they arrive in Vancouver on June 23rd, enjoying various excursions and shopping trips, before taking the train to Toronto on July 15th. Only July 18th they leave Totonto on Steamer Kingston, a paddle-boat on Lake Ontario. " Weather very threatening. Blew a gale soon after starting and had a very rough night frightened we would turn over"...which is the last entry.

Cecil Aldin (1870-1935), two prints from the Old English Inns series, comprising a cobbled courtyard 'The New Inn, Gloucestershire' and a street scene 'The George Inn, Salisbury', both blind stamped and signed in pencil, published by Spottiswoode Ltd., 44cm by 36cm (a/f)

Jane Austen, The  Novels Sense and Sensibility, Emma, Mansfield Park,, Northanger Abbey, Persuasion,  and Pride and Prejudice, published by Richard Bentley 1866, new edition, 5 volumes in original blind stamped brown cloth with gilt titles, printed by Spottiswoode and Co., illustrations, title page and frontice piece by Pickering-Greatbach as 1833, published by R Bentley, novels very rare for Austen books to be found in original bindings, very clean and tight no marks or foxing

An early 20th century office stationery cabinet, fitted with two blind panel doors, opening to reveal 24 slide out trays, width 32ins x height 26.5in x depth 16.5ins, together with a small stained two door cabinet, the doors opening to reveal stationery shelves, width 16.5ins x height 12.5ins x depth 12ins, af

A pair of Royal Doulton blue children's vases, with children playing blind man's buff around a tree, height 10ins

A late 19th century mahogany glazed cabinet, having two astragal glazed doors opening to revel adjustable shelves, with two blind panel doors below, raised on bracket feet, width approx 40ins, x depth 13ins x height 79ins

An Edwardian Art Nouveau style bureau bookcase, the upper section having two glazed doors below a blind fret cut frieze, with a similar fall flap and drawer, with open front below, width 29ins x depth 14.5ins x height 68ins

W Russell Flint Signed Print measures 27" x 21", overall size 35" x 29". Pencil signed to bottom right, embossed blind mark to left. Depicts a young girl washing.

A Russell Flint Signed Print 'Group of Idlers' blind embossed stamp and signed. Measures 20'' x 27'', framed, glazed and mounted overall size 27'' x 30''.

An early 20th century mahogany bureau bookcase, the pierced swan neck pediment above overall blind fretwork borders, height 224cm, width 100cm, depth 45cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

'Pure Evil' aka Charles Uzzell Edwards - Pandas Rock!, screen print, signed in pencil and numbered 81/750, bears P.O.W. blind stamp, framed, 54cm x 40cm, frame size 84cm x 70cm.

'Invader' aka Franck Slama - Rubik Kubrick (Alex), screen print, signed in pencil, dated '006, numbered 63/150, bears P.O.W. blind stamp, 45cm x 66cm, frame size 52cm x 72cm.

Brian Pollard, signed poster 'Cornish Harbour' with a blind art seal from an edition of 450, unframed.

contemporary blind panelled sheep, folio, Philadelphia, Samuel Keimer and Dafydd Harry, 1730290 x 180mm.private collection Cardiff, 'John Francis, 1789 / Elizabeth John / Esau Thomas 1789 / Jonah Francis / 1798 / Evan Davies / Dafydd Lloyd' ownership inscriptions on title and inner front cover.Auctioneer's Note: Rare. The second Welsh book printed in America, and the earliest Welsh concordance to the Bible. Abel Morgan emigrated to Philadelphia in 1712 and became a leader of the Baptists of Pennsylvania. He died in 1722 and eight years later his brother Enoch Morgan and and John Cadwalader edited and published his Cyd-Gordiad. Benjamin Franklin was a printer for Keimer and Harry, but unlikey he would have worked on a Welsh language book.Condition report: Comments: browning and staining throughout, first 15 or so leaves frayed at edges, some loss of leather, spine defective

for the Purpose of Forming a Continuation of the Myfyrian Archaiology; and Subsequently Proposed as materials for a New History of Wales. Llandovery William Rees for the Welsh Mss Society. 1st ed, 1848. Small 4to. pp; xi, 712. Engraved frontis & 3 additional illustrations. Bi-lingual text in Welsh and English. Edges of text block soiled, partial separation of front internal hinge. A very good copy in original dark green, blind-stamped cloth, lettered gilt to spine. Mild rubbing and bumping to extremities, An increasingly rare edition of this monumental collection of early Welsh writings,.The Jeff Towns Collection of Welsh related antiquarian books

From the Earliest times to its final incorporation into the Kingdom of England with notices of its Physical Geography, and Mineral wealth, and of the Religion and Literature, Laws, Customs, manners and Arts of the Welsh. London Virtue And Co. [1854]. A large 8vo volume running to 608 pages with 76 fine steel engravings by Barlett (including illustrated title page).An impressive copy in full polished brown calf gilt and blind stamped decoration.The Jeff Towns Collection of Welsh related antiquarian books

CHARLES DICKENS: 4 Christmas book titles: THE CHIMES, A GOBLIN STORY, London, Chapman & Hall, 1845, [1844], 1st edition, 2nd state, added engraved title and frontis, lacks ffep, original blind stamped cloth gilt, aeg, small part losses and splits to backstrip; THE CRICKET ON THE HEARTH, A FAIRY TALE OF HOME, London, for the author by Bradbury & Evans, 1846, [1845], 1st edition, 2nd state, added engraved title and frontis, 2pp adverts at end, original blind stamped red cloth gilt rubbed, aeg, re-backed preserving large part original spine; THE BATTLE OF LIFE, A LOVE STORY, London, Bradbury & Evans, 1846, 1st edition, 4th state, added engraved title and frontis, 2pp adverts at end, original blind stamped cloth gilt, aeg, splits at spine and part losses; THE HAUNTED MAN AND THE GHOSTS BARGAIN, London, Bradbury & Evans, 1848, 1st edition, added engraved title and frontis, 2pp adverts at front, original blind stamped cloth gilt worn, aeg, (4)

CHARLES DICKENS (ED): ALL THE YEAR ROUND, London, 1859-61, vols 1-5, original blind stamped cloth, spines gilt lettered (5)

GEORGE E BOLTON: A SPECIALIST IN CRIME, London, Grant Richards, 1904, 1st edition, original pictorial cloth worn + EDGAR WALLACE: THE FIGHTING SCOUTS, London, C Arthur Pearson, 1919, 1st edition, 3pp adverts at end, leaves browned, original blind stamped cloth + H H MUNRO ('SAKI'): THE TOYS OF PEACE AND OTHER PAPERS, London, John Lane, 1919, 1st edition, portfrontis, secondary issue binding, light blue black letter cloth with some fading and foxing to spine + R C SHERRIFF: THE HOPKINS MANUSCRIPT, London, Victor Gollancz, 1939, 1st edition, original cloth (4)

SIR DAVID WILKIE: THE WILKIE GALLERY, A SELECTION OF THE BEST PICTURES OF THE LATE SIR DAVID WILKIE, RA INCLUDING HIS SPANISH AND ORIENTAL SKETCHES, London, Virtue & Co, circa 1845, 4 divisions complete, engraved port added engraved vignette title, 17 engraved plates as list, division 1 a few plates with marginal water staining, large 4to, original blind stamped green cloth gilt, gutta percha perished, contents loose, (4)

ROBERT CHIGNELL: THE LIFE AND PAINTINGS OF VICAT COLE, RA, London, Cassell & Co, 1898, 3 vols in one, portfrontis and 60 plates as lists, 4to, original decorative blind stamped cloth, vgc

SIR WINSTON LEONARD SPENCER CHURCHILL: 5 titles: THE WORLD CRISIS 1915, Toronto, The MacMillan Company, 1923, 1st edition, original cloth gilt; THE WORLD CRISIS 1916-1918, London, Thornton Butterworth, 1927, 1st edition, 2 vols, parts 1 and 2, original blind stamped cloth gilt; MARLBOROUGH, HIS LIFE AND TIMES, London, George G Harrap, 1933-34, reprints, vols 1 and 2, original cloth gilt, vol 2 d/w; THE AFTERMATH BEING A SEQUEL TO THE WORLD CRISIS, London, MacMillan, 1944, reprint, original cloth, d/w; THE SINEWS OF PEACE, POST-WAR SPEECHES, ed Randolph S Churchill, London, Cassell, 1948, 1st edition, original cloth, d/w (7)

ABRAHAM COWLEY: THE WORKS...CONSISTING OF THOSE WHICH WERE FORMERLY PRINTED AND THOSE WHICH HE DESIGN'D FOR THE PRESS NOW PUBLISHED OUT OF THE AUTHOR'S ORIGINAL COPIES, London, printed by J M for Henry Herringman, 1668, 1st collected edition, 3rd state, engraved portfrontis, fo, contemporary blind stamped calf, morocco gilt spine label, armorial bookplate of Sir Edward Synge

Victorian occasional table, hexagonal walnut veneered top with two drawers and four blind drawers, on three carved columns, carved pedestal base on three shaped, splayed legs 72cm h

A Gordon King signed limited edition print - Between Rehearsals - signed, titled and numbered in pencil to lower margin 505/600, 36.5cm x 55cm, mounted in glazed gilt frame, and Charles Willmott - Miyako Yoshida I and II, two singed limited edition prints of a ballerina, signed and numbered 7/500 to lower margin, blind stamp to centre of margin, 52cm x 37cm, mounted in glazed gilt frame, with certificates of authenticityLocation: LWF

JEREMY TAYLOR: ANTIQUITATES CHRISTIANAE OR THE HISTORY OF THE LIFE AND DEATH OF THE HOLY JESUS AS ALSO THE LIES, ACTS AND MARTYDOMS OF HIS APOSTLES..., London, printed by RN for Luke Meredith, 1694, 8th edition, added engraved title, 20 plates including 2 folding, fo, old blind stamped calf rebacked ( not recent) preserving original spine gilt in compartments, later end papers

[WILLIAM OSBURN]: THE ANTIQUITIES OF EGYPT, London, The Religious Tract Society, 1841, 1st edition, 7 engraved plates including 4 folding, original blind stamped cloth gilt worn, near disbound + WILLIAM MATTHEW FLINDERS PETRIE: A HISTORY OF EGYPT, London, Methuen, 1894, 1st edition, vol 1 only, (dynasties I - XVI), 32pp adverts at end dated October 1894, original cloth gilt + DOUGLAS SLADEN: QUEER THINGS ABOUT EGYPT, London, Hurst & Blackett, 1910, 2nd edition, original cloth worn + GEORGE RAWLINSON: ANCIENT EGYPT, London, T Fisher Unwin, 1897, contemporary half morocco marbled boards, spine gilt in compartments, School prize label on front paste down (4)

THEODORE HENRY ADOLPHUS FIELDING: A PICTURESQUE DESCRIPTION OF THE RIVER WYE FROM THE SOURCE TO ITS JUNCTION WITH THE SEVERN, London, Ackermann, 1841, 1st edition, 12 hand coloured aquatint plates as list, 4to, original blind stamped cloth gilt worn

Box: assorted items re Robert Charles Dudley (1826-1909), watercolourist, lithographer, book cover designer, illustrator of the 1866 book 'The Atlantic Telegraph' etc, together with assorted related family items comprising [FRANCIS DAVIS]: THE FAIR ONE WITH THE GOLDEN LOCKS, ill [Robert Dudley] Edinburgh, William P Nimmo, [1872], 1st edition, Marcus Ward's Royal Illuminated Legends Series, 12 coloured lithoplates, oblong 4to, original decorative wraps disbound, 2 copies on COPAC; ROBERT DUDLEY: KING FO, THE LORD OF MISRULE, London, Thos de la Rue [1844] 1st edition, 6 full page coloured ills, 2 copies, both signed and inscribed by the author's son Ambrose + 3 calendar cards and one duplicate illustrated by Robert Dudley, a set of 48 Happy Family cards designed by Robert Dudley with his manuscript captions + one odd card, a small lot of Victorian postally used envelopes to Robert Dudley, a barnacle, later label with non-contemporary inscription 'From the bottom of the sea on the Great Eastern 1864 or 1868, given to R Dudley by Sir John Anderson' [Commander of the Great Eastern] + a Victorian unused album, large fo, half calf gilt, aeg, the top board stamped 'GD' [Guildford Dudley] + JOHN BUNYAN: THE PILGRIM'S PROGRESS, ill Ambrose Dudley, London, H R Allenson, 1904, 1st edition, original blind stamped cloth gilt + JANE SHAW: 2 titles: SUFFER LITTLE CHILDREN, ill Ambrose Dudley, London, John F Shaw, [1910], 1st edition, 4to, original pictorial cloth; LONG AGO IN BIBLE LANDS, ill Ambrose Dudley, London, John F Shaw, [1911], 1st edition, 4to, original pictorial cloth gilt + a pen, ink and watercolour map on paper 'Hardanger to Molde' date unknown, approx 330 x 220mm, backed onto linen + a manuscript travelogue of a 1934 voyage on Blue Stars SS 'Arandora Star' with mounted photos etc together with a typescript transciprt and photocopies of the manuscript, the manuscript stated to be by Ambrose Dudley accompanied by his brother Guildford + a folder containing Hunt/Frost-Dudley family tree and various photocopies re history of the Atlantic Cable and undersea communications etc

ANON: GRAPHIC ILLUSTRATIONS OF ANIMALS SHOWING THEIR SERVICES DURING LIFE AND USES AFTER DEATH, ill Benjamin Waterhouse Hawkins, London, Thomas Vardy, Book Print and Map seller at his depository for works of education [1854?], 21 hand coloured litho double page plates, a quantity with splits at centrefolds, plate 17 'the silk-worm' with closed tear and some marginal chipping, fo, original blind stamped calf gilt, teg, scarce, not in Freeman, one printed copy on COPAC held at The British Library

BEATRIX POTTER: THE TALE OF JEMIMA PUDDLE-DUCK, London and New York, 1908, 1st edition, 27 coloured plates as called for, contemporary inscription on half title, Jarrolds blind stamp on pictorial ffep, original pencil 1/- price verso, inner joints split, a few early leaves detached or loose, original green boards, pictorial paper label, lacks backstrip

A SET OF DOMINOES FOR THE BLIND

Laurence Stephen Lowry, "The Football Match", 36cm x 25cm, monochrome print, limited edition no. 316/850, Henry Donn blind stamp lower left, signed in pencil lower right, glazed and framed 71cm x 61cm. Condition - recently re-framed with 99% UV protection glass and good quality frame, print generally in good order, general slight discolouration and crease in margin middle left, otherwise fine.

Reproduction mahogany serpentine two door blind panel sideboard with dummy drawer, on bracket feet.(B.P. 21% + VAT)

Early 20th century oak chest/sideboard with an arrangement of four straight front drawers flanked by two blind panelled doors with brass turned handles on a platform base. 124 x 60 x 100cm approx.(B.P. 21% + VAT)

Mid century walnut two-stage blind paneled cocktail cabinet with shaped and carved frieze on cabriole legs and pad feet.(B.P. 21% + VAT)

Rustic pine two-door blind panel free standing cupboard, the interior revealing fitted shelves on a projecting base.(B.P. 21% + VAT)

Mid century walnut blind panel two-door cocktail cabinet with carved frieze and cabriole legs.(B.P. 21% + VAT)

A GEORGIAN MAHOGANY BOWED CORNER CUPBOARD, third quarter 18th century, the dentil moulded cornice and blind fret frieze over two doors enclosing shelving and three small drawers, and flanked by stop fluted pilasters, brass hinges and escutcheons, on moulded base, 29 1/2" x 19 1/2" x 44 1/2" (Est. plus 21% premium inc. VAT)Lovely colour, losses to dentil cornice, lower shelf missing

A LATE VICTORIAN MAHOGANY WRITING DESK, the moulded edged top inset with tooled red leather, and with scrolled blind fret surmount, conforming fascia with frieze drawer flanked on either side by two small drawers, pierced corner brackets, turned brass handles, on fluted square tapering legs and spade feet, 42" x 22" x 36 1/4" (Est. plus 21% premium inc. VAT)Good, replaced leather - good, corner brackets to kneehole missing, very minor repair front right corner of top

Diana Copperwhite Laura in Framing The Light Oil on Card Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Diana Copperwhite (b. 1969, Ireland) lives and works in Dublin and New York. Recent solo exhibitions include Driven by Distraction, Royal Hibernian Academy, Dublin (2016), Depend on the Morning Sun, Thomas Jaeckal Gallery, New York (2016) and A Million and One Things Under the Sun, Kevin Kavanagh, Dublin (2015). Selected group exhibitions include Last Picture Show w/Mary Heilmann, Chris Ofili, Danny Rolph, Vanessa Jackson, Elio Rodriguez, Jill Levine, Rebecca Smith, Thomas Jaeckel Gallery, New York (2017) and Virtú, inc. Picasso, Giacometti, Henry Moore, Elizabeth Magill and Sean Scully at the Hunt Museum, Limerick, Ireland (2017). Copperwhite's work is held in numerous public and private collections including: the Irish Museum of Modern Art, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Highlanes Municipal Art Gallery, Mariehamn Stadbiblioteque, Aland (Finland), Dublin Institute of Technology and The President of Ireland.   Education 1999-2000 Winchester School of Art and Design, Barcelona, MA European Fine Art 1992-94 National College of Art & Design, BA Hons painting 1987-92 Limerick School of Art & Design, NCEA Diploma Painting   Select Exhibitions/Awards Solo Exhibition 2021/22 Upcoming, Limerick City Gallery of Art and touring show 2020 Lock Down Series, works on paper, Kevin Kavanagh Gallery, Dublin 2019 Proto Fiction and the Sleep of Reason, Kevin Kavanagh Gallery, Dublin 2019 The Clock Struck between time, Thomas Jaeckel New York 2017 Crooked Orbit, Kevin Kavanagh Gallery, Dublin 2016 Depend on the morning sun, Thomas Jaeckel gallery, New York Driven by Distraction, RHA gallery Dublin. 2015 A Million and One Things Under the Sun, Kevin Kavanagh, Dublin. 2014 Shadowland, Thomas Jaeckel Gallery, New York. Solo presentation, Pulse, Thomas Jaeckel Gallery, New York 2013 Loose Ends, 532 Gallery Thomas Jaeckel, New York Solo presentation at VOLTANY, Kevin Kavanagh, New York 2011 An Island from the day before, Kevin Kavanagh, Dublin 2009 perfect near miss, Kevin Kavanagh, Dublin eclipse of a title, Highlanes Municipal Art Gallery, Drogheda eclipse of a title, Centre Culturel Irlandais, Paris * 2008 eclipse of a title, West Cork Arts Centre * 2007 BLIND SPOT, Limerick City Art Gallery *   Gallery Representation Kevin Kavanagh, Dublin. 532 Gallery Thomas Jaeckel, New York

Katarina Ranković Personal Fleet Pen Drawing on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Katarina Rankovic (b.1994) is a video, drawing and text-based artist exploring the extent to which personhood is encoded in character, and whether fictional characters can be reverse engineered into something approximating persons; a kind of literary prototype of general artificial intelligence. Current projects include 'Empathy Drawings', a means of becoming other through the body of line; 'Anomaline', a novel about an anti-person; 'Vernacular Spectacular', a one-woman empathy circus, and 'Scripting for Agency', a PhD project at Goldsmiths College. As a Serb born in Yorkshire, raised in Norway and working in London, both the theory and practice of Katarina's work originates from the daily necessity of inhabiting and switching between many selves.   Education PhD Art - Goldsmiths College, 2019-2022 MA Fine Art - Central Saint Martins, 2016-2018 BA Fine Art (Painting) - Wimbledon College of Arts, 2013-2016   Select Exhibitions/Awards New Writing with New Contemporaries, South London Gallery, 19 February 2022 Bloomberg New Contemporaries 2021, South London Gallery, 10 Dec 2021 - 20 Feb 2022 Bloomberg New Contemporaries 2021, Firstsite Gallery, Colchester, 25 Sept - 28 Nov 2021 Ridiculous! Elephant West, London, 9 Jan - 2 Feb 2020 Pseudo, Perfomistanbul Performance Research Archive, 2020 Vernacular Spectacular, solo exhibition, Tension Fine Art, 9 Aug - 7 Sept 2019 Winner of the Golden Aesop Grand Prix in Contemporary Art at the 24th Biennial of Humour and Satire, Gabrovo, Bulgaria, 2019 TBCTV, Somerset House, London, 3 - 7 Oct 2018 Xhibit 2018, Art Bermondsey Project Space, 19 Apr - 12 May 2018 NOVA Awards; Aberystwyth Arts Center, Royal Cambrian Society, Arcade Cardiff, 26 Jan - 1 Apr 2018 Art to Artillery, short film commissioned by NOWNESS and Louis Vuitton Moët Hennessy, 2017 Winner of Refinery29 Artist Vision Award, 2017 Altered Realities, Lethaby Gallery, London, 22 Feb - 15 Mar 2017 Blind Scripting, Tate Exchange, Tate Modern, 13 Jan, 2017 Blind Scripting, Nottingham Contemporary, 1 - 2 Dec 2016 Crypt Residency, Crypt Gallery, London, Oct 2016 A Ritual Resuscitation of Eternal Lovers, The Cockpit Theatre, London, 21 Dec 2015 The Doctor, Artists' Locomotion Moving Image Festival, London, 2 - 4 May 2014   Statement about AOAP Submitted Artwork These improvised ink drawings are part of a strand of my practice called 'Empathy Drawings'. The drawings grow out of an initial appreciation of the medium itself; the body of the line. I then imagine the line that comes out of my pen to be an enviable body, something which I desire to wriggle into like a second skin. The line is a perfectly impressionable being which yields to the vibrations of my fledgling intent. I discover myself in them. By empathising with the line I create for myself a spiritual prosthesis through which I can temporarily become other, like a dancer slipping into character.

Katarina Ranković Stage Moose Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Katarina Rankovic (b.1994) is a video, drawing and text-based artist exploring the extent to which personhood is encoded in character, and whether fictional characters can be reverse engineered into something approximating persons; a kind of literary prototype of general artificial intelligence. Current projects include 'Empathy Drawings', a means of becoming other through the body of line; 'Anomaline', a novel about an anti-person; 'Vernacular Spectacular', a one-woman empathy circus, and 'Scripting for Agency', a PhD project at Goldsmiths College. As a Serb born in Yorkshire, raised in Norway and working in London, both the theory and practice of Katarina's work originates from the daily necessity of inhabiting and switching between many selves.   Education PhD Art - Goldsmiths College, 2019-2022 MA Fine Art - Central Saint Martins, 2016-2018 BA Fine Art (Painting) - Wimbledon College of Arts, 2013-2016   Select Exhibitions/Awards New Writing with New Contemporaries, South London Gallery, 19 February 2022 Bloomberg New Contemporaries 2021, South London Gallery, 10 Dec 2021 - 20 Feb 2022 Bloomberg New Contemporaries 2021, Firstsite Gallery, Colchester, 25 Sept - 28 Nov 2021 Ridiculous! Elephant West, London, 9 Jan - 2 Feb 2020 Pseudo, Perfomistanbul Performance Research Archive, 2020 Vernacular Spectacular, solo exhibition, Tension Fine Art, 9 Aug - 7 Sept 2019 Winner of the Golden Aesop Grand Prix in Contemporary Art at the 24th Biennial of Humour and Satire, Gabrovo, Bulgaria, 2019 TBCTV, Somerset House, London, 3 - 7 Oct 2018 Xhibit 2018, Art Bermondsey Project Space, 19 Apr - 12 May 2018 NOVA Awards; Aberystwyth Arts Center, Royal Cambrian Society, Arcade Cardiff, 26 Jan - 1 Apr 2018 Art to Artillery, short film commissioned by NOWNESS and Louis Vuitton Moët Hennessy, 2017 Winner of Refinery29 Artist Vision Award, 2017 Altered Realities, Lethaby Gallery, London, 22 Feb - 15 Mar 2017 Blind Scripting, Tate Exchange, Tate Modern, 13 Jan, 2017 Blind Scripting, Nottingham Contemporary, 1 - 2 Dec 2016 Crypt Residency, Crypt Gallery, London, Oct 2016 A Ritual Resuscitation of Eternal Lovers, The Cockpit Theatre, London, 21 Dec 2015 The Doctor, Artists' Locomotion Moving Image Festival, London, 2 - 4 May 2014   Statement about AOAP Submitted Artwork These improvised ink drawings are part of a strand of my practice called 'Empathy Drawings'. The drawings grow out of an initial appreciation of the medium itself; the body of the line. I then imagine the line that comes out of my pen to be an enviable body, something which I desire to wriggle into like a second skin. The line is a perfectly impressionable being which yields to the vibrations of my fledgling intent. I discover myself in them. By empathising with the line I create for myself a spiritual prosthesis through which I can temporarily become other, like a dancer slipping into character.

A late 18th century longcase clock in figured mahogany case with boxwood line and Sheraton motif inlay, the hood with blind swan neck pediment, brass finials and patera, turned and reeded side columns, the trunk with full length figured door and quarter turned reeded columns, arched painted dial with moon phase and 8 day double weight driven movement, by Geo Monks, Prescot, height 215 cm  

Georgian mahogany chest of drawers, three short and three long drawers, blind fret frieze, bracket feet, adapted, width 95cm, depth 49cm, height 105cm.

FP Barraud after Axel Tallberg Eton cricket match Signed in pencil FP Barraud and A Tallberg with blind stamp to lower left, 37cm x 58cm; also another print, 'The Executive'.  (2)

Sir William Russell Flint, coloured print, semi nude reclining female, No. 608 of 850, bearing blind stamp, gilt framed, 11.25ins x 19ins, gilt framed and another of a seated female figure in a peach dress, No. 85 of 753, bearing blind stamp, 10.75ins x 16ins, gilt framed

Late 19th / early 20th Century rectangular giltwood stand with blind fretwork decoration, 26ins x 19ins approximately

Good quality Edwardian mahogany hanging corner cabinet, the swan neck pediment above a blind fretwork frieze, two bevelled glass doors and an alcove decorated with fretwork above a small open shelf, 55ins x 20ins approximately

George III mahogany tallboy, the moulded key pattern cornice above a blind fretwork frieze, two short and six long graduated drawers divided by a brushing slide, the upper half with blind fretwork canted corners, the whole with brass swan neck handles and bracket feet, 45ins wide (restorations)

Helen Bradley, group of five various signed coloured printsAll have blind stamps of Fine Art Trade Guild