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Mixed ceramics, comprising an Art Deco Burleigh ware jug with kingfisher handle, height 20cm, a Carlton ware small bachelor teapot decorated with relief flowers, Edward VIII commemorative teapot, a 'Heckmondwike and District Co-Operative Society Ltd 70th Anniversary 1860-1930' dish, an Art Deco floral dish, a Continental porcelain centrepiece with dancing children, height 17cm, a boxed Royal Doulton 'The Speech of Angels' limited edition bell, and a contemporary clock in the form of an embracing couple, on marble-effect plinth, height 23cm (8).

John Emms (184-1912)Lunch in the stableSigned JNO EMMS (lower left)Oil on canvas 43.2 x 56cm; 17 x 22inProvenance:Strauss & Co., South Africa, Modern, Post-War and Contemporary Art, Decorative Arts, Jewellery and Wine, 15-22 February 2021, Lot 26

A collection of contemporary artwork to include the following:  John Loker (b. 1938) Untitled - 1983 Lithograph Signed and dated by the artist. Measures 37cm x 34cm. Framed and glazed. Born in Leeds, Loker has lived and worked throughout his career in London and East Anglia. He studied Graphic Design at Bradford College of Art and Design from 1954-58; and went on to study Painting at the Royal College from 1960-63. With the exception of a brief period spent in Manchester in the mid 1960s, he continued to live and work in London until 2002. He has exhibited widely internationally, and was included in many survey exhibitions of British art of the 1970s. In 1980, a travelling retrospective was curated by Lewis Biggs at the Arnolfini in Bristol. Loker’s work is in the collections of the Arts Council of Great Britain; British Council; CODA Museum Collection in Apeldoorn, Holland; Hunterian Collection, Glasgow;  Power Institute of Fine Art, Sydney; Royal College of Art; Tate; and the Victoria and Albert Museum. Loker is also represented in the corporate collections of Deutsche Bank, ABH Bank Amsterdam, De Beers and Unilever. Linda Eaves (b. 1967) Unspecified Purpose No. 5 Acrylic, Conte, Charcoal on Paper Measures 66cm x 85cm. Framed and glazed. Chitra P Merchant Devakad Bell Jar - Xl Screen-print on paper Signed titled and numbers by the artist. No 6/30. 58cm x 47cm. Framed and glazed. Chitra Parvathy Merchant grew up in India and currently works as an artist in Bristol, U.K. After completing a B.A Degree in Psychology, she left India to work for a year in an artist's studio in West Africa. She came to England in the early nineties and completed a B.A (Hons) Degree in Illustration from U.W.E Bristol ('98) where she was first introduced to printmaking. In 2001 she based herself at Spike Print Studio where she prints, exhibits and works to commission on a regular basis. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

A collection of contemporary artwork to include the following: Gerry Baptist RE (b. 1935) The Iphone Players - After Cezanne Woodblock Print Edition 2/5 Signed and numbered by the artist Measures 38cm x 30cm. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions. Alex Hartley Nowhere Island - 2012 Situations  Nowhereisland certificate of citizenship, 2012, a limited edition 28/100, No Where is Land sample,  Measures 54cm x 46cm. Nowhereisland is an artistic project by British artist Alex Hartley, made in 2012. It was an artwork that grew from the proposition ‘what if an Arctic island travelled south?’1 The fundamental premise of the project was to create the world’s newest nation, a borderless country with citizenship open to all. The project began in 2004 with a Cape Farewell expedition Hartley made to the High Arctic region of Svalbard. There, his quest was to find and claim a new island.2 Calling upon the practices of nineteenth century exploration, particularly of the Arctic, Hartley kept an expedition journal. Under an entry titled SEARCH, he describes his pursuit: I find myself monitoring the coastline, watching and checking it against the latest maps and charts: searching for the possibility of new land that might have been revealed from within a retreating glacier. In many places, the charts do not match what I am seeing. Massive glacial retreat has created a changed landscape. Days are passing. We are over three-quarters of the way through our expedition and as yet there is no sign of the imagined island for which I am searching. It was important to Hartley that the island be the physical product or evidence of a changing climate. Only then could it appear as ‘new’ territory, previously unmapped and unclaimed. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions. Michael Robinson (b. 1991) Axon & Neuron - 1991 Oil on Canvas Measures 41cm x 46cm  With Flowers East Invoice copy. Michael Dover-Robinson was born in 1953 in Lancashire, UK. In 1979 he began studies for a fine art degree, specializing in painting, at Manchester Metropolitan University where he graduated with first class honours and mentions in art history and liberal studies. In 1985 he went on to further painting studies at the Slade school, University college London. The following years were spent painting full time, in London. In 1993, he moved into the world of fine art printing at a big London publishing house. Where he was the studio director and master print maker. Since 2005, he divides his time between England and France composing and playing Jazz music and building guitars. Exhibitions include: The Angela Flowers gallery, London.1988,The Solomon Gallery, London.1986, The Sue Williams gallery, London.1987, The Flower gallery, London.1987, The Bloomsbury theatre, London.1985, The Kingsgate gallery, London.1987, The Arts centre,Chester.1978, Theatre Clwyd, North Wales.1978, The Grundy House museum, Blackpool.1978, The Manchester Print Workshop gallery, Manchester.1977. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Jablonski, Adam, signed Art Glass cranberry contemporary vase. 38cm high approx. (B.P. 21% + VAT)

CONTEMPORARY ART: JANICE WALTON, (British) an unframed abstract painting, of a reclyning nude, Morning Light, signed and dated lower left Janice Walton '98, 96 x 12cm

CONTEMPORARY ART: JANICE WALTON, (British), large abstract desert scene, signed lower right, dated 99, 96cm x 146cm

CONTEMPORARY ART: JANICE WALTON, (British), abstract reclying nude, signed lower right, dated 99, 152cm c 106cm in black and gilt frame

2nd century A.D.. Carved in the round and probably from a life-size statue or bust of philosopher; depicting an adult male with short tousled hair and a longer 'rim' of wavy tresses at the brow; short curly beard descending to the neck; broad brow with deep-set lentoid eyes; possibly Hadrian, repaired and weather-worn. Cf. Frel, J., The J.Paul Getty Museum, Roman Portraits, Malibu, 1981, p.75, for similar; see also similar rendering of beard and moustache on a portrait of Emperor Hadrian, in Hermitage, cf.Vostchinina, A., Le Portrait Romain, Musee de l'Hermitage, Leningrad, 1974, pls.L-LI. 13.3 kg, 27 cm (10 1/2 in.). By repute found near Hadrian's Wall, UK.From a collection acquired on the UK art market, circa 1999.From an important Cambridgeshire estate; thence by descent.This head of bearded man, from a statue or bust probably representing a philosopher, is very similar to the representation of the Emperor Antoninus Pius, and though not imperial, can be dated to his age. The bust produces a convincing illustration of how faithful subjects tried to resemble their contemporary Caesars. Although damaged and blackened by some fire or bad weather conditions, the bust of man is distinguished by its perfect execution and good craftmanship. [No Reserve]

Circa 600-480 B.C. Modelled in the round as a miniature flat-bottomed boat with sternpost and three thwarts, one supporting the reclining figure of the boatman; supplied with a custom-made display stand. Cf. similar item in the Metropolitan Museum of Art, New York, under accession no.74.51.1752, for type, from Amathus. 728 grams total, 24.5 cm wide including stand (9 5/8 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000.From an important Cambridgeshire estate; thence by descent.Accompanied by an old identification tag.Accompanied by an original thermoluminescence analysis report from Oxford Authentication.A series of ship models, today preserved in the Metropolitan Museum and in the British Museum, depict in considerable detail the features of contemporary vessels, including the helmsman sitting in the bow, the spurs of the ships and the raised stern. All of the preserved ship models come from Amathus, indicating the importance of the site as a maritime centre. Our model could come from the same area. This clay model shows a man who comfortably sits on the back of the ship: we do not know his role and his activity, but – as observed by professor M.A. Mcintosh, he is part of a the?ri?, a state pilgrim (the?ros). Certainly, he represents the helmsman, the kubern?t?s, i.e. the governor who directs the ship. [No Reserve]

8th-7th century B.C. Representing a warrior with conical helmet riding his mount, horse with long neck, short legs and traces of polychromy all along body, neck and ears. Cf. Karageorghis, V., Cipro, Crocevia del Mondo Mediterraneo orientale 1600-500 a.C., Milano, 2002, figs.377,383. 251 grams, 17 cm high (6 3/4 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000.From an important Cambridgeshire estate; thence by descent.The most popular animals in Cypriot coroplasts of the 8th and 7th centuries B.C. were horses, with or without riders, with long necks and decorated along the whole body like contemporary ceramics. It is worth remembering that the horse in this period represented a status symbol for the military aristocracy and that bodies of sacrificed horses have been found in royal tombs. [No Reserve]

8th-7th century B.C. Representing a warrior with conical helmet riding his mount, round earrings. Cf. Karageorghis, V., Cipro, Crocevia del Mondo Mediterraneo orientale 1600-500 a.C., Milano, 2002, figs.377,383. 209 grams, 14 cm high (5 1/2 in.). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000.From an important Cambridgeshire estate; thence by descent.The most popular animals in Cypriot coroplasts of the 8th and 7th centuries B.C. were horses, with or without riders, with long necks and decorated along the whole body like contemporary ceramics. It is worth remembering that the horse, in this period represented a status symbol for the military aristocracy and that bodies of sacrificed horses have been found in royal tombs. [No Reserve]

After David Hockney OM CH RA, British b. 1937-Pool and Steps, Le Nid du Duc, 1971;offset lithographic poster in colours on paper, for the Louisiana Museum of Contemporary art, Denmark, printed in 1987 by Grafodan offset, Vaerlose, allegedly in an edition of no more than 500, sheet: 84 x 59.5 cm,  (unframed) (ARR)

CONTEMPORARY ART, Jax (British born 1960) abstract watercolour, titled "Pont-y-Pair Pool", signed and dated 98 lower right, 55.5 x 34cms and Petra Peschkes (German born 1960) limited edition (508/560) colour print, titled "Amor", signed titled and numbered in pencil, 35 x 35cmsProvenance: deceased estate DenbighshireComments: Jax framed and glazed, Peschkes framed

A Longpark art pottery vase, early 20th c, applied with flowers and leaves, 19cm h, incised LONGPARK TORQUAY and a pair of similar contemporary vase (3) The lot in good condition

Lorna Bailey for Old Ellgreave Pottery - Bridge & Stream pattern . A contemporary Art Deco style in the manner of Clarice Cliff studio art pottery hand painted single handled vase having an ovoid shape. Marked & signed to the underside. Measures 16cm tall.

An original contemporary Biarritz Cote Basque poster art print. Reads 'Biarritz Basque Surfboards' by Editions Fricker - Gazelle Productions, Imprim Vert - Encres Vegetales. Poster on high quality coated paper - high hold, semi-gloss finish, vegetable ink, Imprim'vert label. Unframed. Measures approx. 50cm x 70cm.

A contemporary Art Nouveau style table desk lamp light. Depicting a semi nude woman with draped cloth. Signed crosa to stepped base, dated 2002. Measures approx. 34cm Together with a nude maiden in a lying position. reg mark 796952

Atelier BL119 - A contemporary cranberry studio art glass ceiling hanging / Christmas tree decoration designed by Grégory Blain and Hervé Dixneuf, France. Of hexagonal form with glass lop to top. Measures approx. 8cm diameter. 

A pair of contemporary Art Deco style wall mirrors of circular and canted form, with bevelled edge peach glass tinted surrounds, 42cm diameter

Three British Contemporary Oil Paintings, to include: Erika Ann Brandl (British, b.1947/49) - Two Paintings of Ladies at Leisure: At the Beach and In a Field, both with initials 'EB' lower right and label verso inscribed 'Erika Brandl (born 1947) London painter and picture restorer. She exhibits with the Twentieth Century Art Gallery in Fulham Road', oil on board, 16.5 x 24 cm, framed as a pair in lime washed gilt frames; together with Contemporary British School - Two Children Paddling at the Beach, unsigned, oil on board, 18 x 23 cm, gilt framed with canvas slip (3)

Contemporary Art Glass vase and a small similar dish

THREE BOXES OF BOOKS & EPHEMERA containing sixty-five miscellaneous titles in hardback and paperback formats, subjects include sport, vintage children's annuals and stories, five Rupert annuals, art, classic and contemporary fiction, art, Star Wars and biography, four early 20th century photograph albums featuring family or holiday snapshots including ships and liners and a cigarette card album containing miscellaneous part sets and odds (3 BOXES)

oil on canvas, signed, titled labels verso framed and under glass image size 56cm x 61cm, overall size 78cm x 83cm Handwritten artist's label verso. Label verso: Thompson's Gallery, London. Note: Jonathan Robertson was born in Banff in 1947 and trained at Glasgow School of Art. He has exhibited widely at home and abroad including the Artists Union Gallery Moscow, The Barbican, Royal Glasgow Institute, Royal Scottish Academy, Scottish Society of Artists, Smith Institute Stirling and the Mall Galleries, London. His work is highly collectable and is represented in institutional collections including Arthur Andersen and Co., Ernst and Young, Scottish Television plc, Glasgow Art Gallery, the Universities of Strathclyde and Stirling, Hilton Hotels and Loretto School. His galleries include: Thompsons Gallery (London), The Contemporary Fine Art Gallery (Eton), Lemon Street Gallery (Cornwall) and Lemond Gallery (Glasgow). The two most recent examples we've offered of Jonathan Robertson's work were "Tales of the Sea" (lot 75, 29th September 2022) which sold for £1900 (hammer) and “Seatown Knitters” (lot 12, 8th December 2022) which sold for £2400 (hammer).

CONTEMPORARY ART DECO DESIGN CARPET, 270cm x 180cm.

Mary Stork (1938-2007)"Maran"Signed and dated 24.03.05, inscribed verso, mixed media, 45.5cm by 22.5cmProvenance: Rowley Contemporary Art, Hampshire

Roger Hilton CBE (1911-1975) Untitled (1971) Signed and dated (19)71, pencil, 20cm by 25cm Provenance: Belgrave St Ives Modern & Contemporary Art, Cornwall Slight time staining to the paper. The odd minor scattered tiny foxing spot, in particular centre of right hand side edge, centre of top edge and feint ones within the figures. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.

David Wilders (Contemporary) "Headgear III" Signed and dated 2023, numbered 11/100, linocut and watercolour, 33cm by 23.5cm Castleford born David Wilders began work at Fryston Colliery, West Yorkshire in 1976. He trained as a mining craft apprentice, coal face worker and became a colliery Deputy in 1983.Along with painting, he enjoys experimenting with different methods of print making.His work is greatly influenced from his underground memories and experiences in the coalmines. He has a strong theme of industrial landscape, mixing the northern landscapes of mines, factories, terrace housing, mills, and finding inspiration from his home town.David’s work can be regularly seen at the National Mining Museum, Wakefield, and the Mining Art Gallery, Bishop Auckland.

Joe Hargan PAI, PPAI (b.1952) Scottish "Susan and the Elders" Signed and dated (20)03, oil and gold leaf on canvas, 28.5cm by 28.5cmProvenance: The Contemporary Fine Art Gallery, Eton

A GREEN-GLAZED POTTERY FLASK, LIAO DYNASTY 遼代綠釉陶壺Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 907-1125. Of saddle shape with stiff, seamed edges, a short cylindrical neck, the top flap is notched and pierced with two hanging holes and applied with two small figures facing forward towards the spout, the body incised with floral motifs on each side, all under an intentionally crackled emerald-green glaze.Provenance: From the collection of André Dubreuil. André Dubreuil (1951-2022) was a French designer and craftsman. At the age of eighteen he moved to England to study drawing at the Inchbald School of Design, while exploring the London underground nightlife scene. After graduating, he started working for a decorating agency and designed flats with trompe l'oeil paintings. He learned the art of ironwork with Tom Dixon and Mark Brazier-Jones, and they quickly became the reference for 1980s English avant-garde design. As a collector, Dubreuil was particularly interested in metalwork, and his collection included a wide range of objects, such as 18th-century French candelabras, medieval ironwork, and contemporary metal sculptures. He was known for his eclectic taste and his ability to appreciate the beauty and craftsmanship of objects from different periods and cultures. His collection was a reflection of his passion for art, as well as his interest in history and cultural heritage.Condition: Fine condition, commensurate with age. Old wear as expected, the spout with a small old repair, some flaking and minor losses to glaze, and firing irregularities including scattered glaze recesses. The head of one figure lost.Weight: 1,447 gDimensions: Height 27 cm Traditionally known as a pilgrim's flask, the shape of these containers derived from leather prototypes and has retained many features of the originals such as the seam and the hanging lug. It is quite rare to find two applied figures on the flask.Literature comparison: Compare an example in the Museum of Fine Arts Boston, Charles B. Hoyt Collection, accession no. 50.1747. A flask and cover with very similar designs and also with two applied figures in the Museum of Fine Arts, Boston, is illustrated in Hai-wai Yi-chen Chinese Art in Overseas Collections Pottery and Porcelain (II), p. 88, no. 86; another flask with two figures on the rim but slightly different decoration on the body from the Chang Foundation, Taipei, is illustrated in Selected Chinese Ceramics from Han to Qing Dynasties, p. 78, col. pl. 20. An example with one figure is in the Fengtian Museum, illustrated in Koyama Fujio ed., Sekai Toji Zenshu, 1961, vol. 10, p. 244, fig. 148.Auction result comparison: Type: Closely related Auction: Christie’s New York, 20-21 March 2014, lot 2078 Price: USD 8,750 or approx. EUR 10,500 adjusted for inflation at the time of writing Description: A rare olive-green glazed pottery flask and cover, Liao dynastyExpert remark: Compare the closely related form and glaze. Note the similar size (30.5 cm).Auction result comparison: Type: Closely related Auction: Christie’s London, 17 June 2003, lot 10 Price: GBP 4,541 or approx. EUR 7,700 adjusted for inflation at the time of writing Description: A very large green-glazed flask.Expert remark: Compare the closely related form and glaze. Note the smaller size (24.8 cm).

Enid Marx (1902-1998), limited edition wood engraving on paper, A Walrus’s delicacy is Sea-Urchin, from An ABC of Birds and Beasts, 8cm x 12cm. Printed from the blocks on paper hand-made by Barcham Green in 1937. From the special edition of 75, no. 60/75, mounted, framed and glazed. Published by Douglas Cleverdon for Clover Editions, London 1985. Provenance, Betty Evans Collection, former President of the Contemporary Art Society for Wales

Paul Nash (1889-1946), limited edition woodcut on paper, Pattern Paper No 24 (1928), 4.0cm x 8.0cm, mounted, glazed and framed. Published by Garton and Cooke, May 1985. Ed. 12/45. Printed on Japanese Hosho paper by Ian Mortimer from the original woodblocks in the possession of the Victoria and Albert Museum, with blindstamp of the Paul Nash Trust. Provenance – Betty Evans Collection, former President of the Contemporary Art Society for Wales

Bookbinding.- Binding.- Zaehnsdorf (Joseph W.) The Art of Bookbinding, first edition, half-title, 10 plates printed in various tints, steel-engraved illustrations, [Brenni 42; Mejer 1054], George Bell & Sons, 1880 bound with a third edition of Nicholson's Manual of the art of bookbinding, Philadelphia, 1882 (with samples of marbled paper), together 2 works in 1 vol., some spotting or foxing, lightly browned, marbled endpapers, inner gilt dentelles, hinges starting, contemporary black crushed morocco, gilt, spine in compartments, covers with 2 sets of double filets, the innermost intertwining at corners, rubbed, marbled edges, 8vo (binding 197 x 133mm.)*** An attractively bound copy of two classics of bookbinding. 

Wright (Thomas) The Art of Floating Land, as is practised in the County of Gloucester, first edition, 3 folding engraved plates, disbound, lightly soiled, J.Rider, 1799 § [Sharp (Granville)] Remarks concerning the Encroachments on the River Thames near Durham-Yard, first edition, presentation copy from the author with contemporary ink inscription slip "H.Champnes - 1771 - E Donis Granville Sharpe" mounted on front pastedown, ex-library copy with a ink stamps, modern cloth, G.Bigg, 1771; and 4 others, science and agriculture, 8vo (6)*** ESTC records only one copy of the first item, in Delaware, USA.The second mentioned is an attack on the plan to create an embankment on the Thames for the purpose of building the Adam brothers' Adelphi building. It was too late to be of any service for the Act allowing the embankment of the river had been passed by the time the Remarks had been printed.

Bookbinding.- Nicholson (James B.) A Manual of the Art of Bookbinding ...also, The Art of Marbling Book-Edges and Paper, first edition, lithographed frontispiece and 11 plates of binding styles, 7 samples of marbled paper, wood-engraved illustrations, without advertisement f. and publisher's catalogue at end, offsetting from plates, occasion spotting or mostly light staining, upper hinge cracked, contemporary dark brown crushed morocco, gilt spine in compartments, spine faded, corners little worn, rubbed, Philadelphia, Henry Cairey Baird, 1856 § [Hannett (John)], "John Andrews Arnett". Bibliopegia; or, the Art of Bookbinding, in all its branches, 'The second edition, with considerable additions', wood-engraved frontispiece and 9 plates, some spotting, lightly browned, new endpapers, original dark green cloth, rebacked, preserving original gilt backstrip (chipped at ends), corners little worn, little stained, rubbed, [Pollard & Potter, Early Bookbinding Manuals, 100], Richard Groombridge, 1836; and 8 others, 19th & 20th century Bookbinding, v.s. (10) *** The first mentioned is the first practical American bookbinding manual.

Letter writing.- Verepaeus (Simon) Selectiores epistolae clarorum virorum, colophon f., Antwerp, [Geeraet Smits for] Jean Bellère, 1574 bound with Macropedius (Georgius) Methodus de conscribendis epistolis, occasional early ink marginalia, final f. blank, Cologne, Heirs of Arnold Birckmann, 1573, together 2 works in 1 vol. (plus parts of 2 related works at end), titles with woodcut printer's device, woodcut decorative initials, occasional spotting, lightly browned, contemporary blind-stamped (including biblical portraits) pigskin-backed boards with part of a 15th century liturgical manuscript, spine in compartments, piece missing from pigskin of upper compartment and a smaller piece from lower compartment, lacking 1 tie, some staining, 8vo *** Two scarce works on the art of letter writing.

Wing (John) Geodaetes Practicus Redivivus. The Art of Surveying, 6 engraved plates only (of 7), with final advertisement f. but lacking errata f., light browning, some damp-staining, ink ownership inscription on title, bookplate to front pastedown, contemporary paneled calf, bumping to spine ends and corners, by J. Matthews &c., 1700; and 14 others, largely mathematics and physics, including Newton, all defective, v.s.; sold not subject to return (15)

A contemporary Egyptian Khayamiya "(And) I Entrust My Affairs to Allah for He is Watchful of (His) Servants" (Qur’an, 40:44), Khedival Revival, cotton appliqué on linen, white thuluth calligraphy over a maroon field, with three panels underneath, and a central medallion encircled with lotus pattern, with dark blues, maroon, and white as the dominant colours throughout, produced by Ahmed Naguib, stitched-signed verso, 1.4 x 2.5 m (2013)Note: Verse begins with: ‘You will remember what I say to you’.Based on Mamluk Revival piece in Doris Duke Foundation for Islamic Art, Honolulu: Embroidered and Appliquéd Cotton Tent Panel (Khayamiya) – Works – eMuseum (shangrilahawaii.org), object number 83.23. Khayamiya were originally tent panels, used for grand occasions such as weddings and festivals. Later, from around the late 19th Century, tentmakers also started to do free-standing and smaller pieces for home and other decorations. Following the discovery of Tutankhamun's tomb in 1922, "Tutmania" dominated the West, and works depicting Pharaonic or figural scenes became popular, mainly to be exported for the tourist trade.

A contemporary Egyptian Khayamiya "(And) I Entrust My Affairs to Allah for He is Watchful of (His) Servants", Qur'an 40:44, Khedival Revival design, based on Mamluk Revival piece in the Doris Duke Foundation for Islamic Art, Honolulu, cotton appliqué on linen, with yellow thuluth calligraphy over a green ground, with three panels underneath, produced by Ahmed Naguib, stitch-signed verso, 1.4 x 2.5 m (2013) Khayamiya were originally tent panels, used for grand occasions such as weddings and festivals. Later, from around the late 19th Century, tentmakers also started to do free-standing and smaller pieces for home and other decorations. Following the discovery of Tutankhamun's tomb in 1922, "Tutmania" dominated the West, and works depicting Pharaonic or figural scenes became popular, mainly to be exported for the tourist trade.

EXHIBITION CATALOGUES: two boxes of contemporary art exhibition catalogues. All in at least VG condition. Owned by a renowned collector of contemporary and modern art. Similar to previous lots.

EXHIBITION CATALOGUES: two boxes of contemporary art exhibition catalogues. All in at least VG condition. Owned by a renwoned collector of contemporary and modern art. Similar to previous lot.

EXHIBITION CATALOGUES: two boxes of contemporary art exhibition catalogues. All in at least VG condition. Owned by a renwoned collector of contemporary and modern art. Similar to previous lots.

RECENT AUCTION CATALOGUES: Sotheby's & Christie's catalogues in two large boxes. Very much Contemporary and Modern Art in the main and in at least VG condition. Very similar to previous lot. Mainly 21st C. Also from the world-renowned collector's library.

RECENT AUCTION CATALOGUES: Sotheby's & Christie's catalogues in two large boxes. Very much Contemporary and Modern Art in the main and in at least VG condition. Very similar to previous two lots. Mainly 21st C. Also from a world-renowned collector's library.

BOOKS: three boxes of high quality books generally about art, contemporary and modern as well as others.

BOOKS: two boxes of high quality books generally about art, contemporary and modern as well as others.

EXHIBITION CATALOGUES: two boxes of contemporary art exhibition catalogues. All in at least VG condition. Owned by a renwoned collector of contemporary and modern art.

Everard, Thomas. 1738 Stereometry; or The Art of Gauging Made easy, by the Help of a Sliding - Rule, by Tho. Everard Esq, the Tenth Edition Carefully Corrected. Printed for Mary Mussey in Little-Britain 1738. Contemporary full calf binding, bumped to extremities & the head of the spine, with joints starting but binding remaining firm. Contemporary ownership inscription of John Allen dated 1750, with Victorian inscription to front pastedown 'Found by C. J. Eyoton in his Library about the year 1880 and returned by him to John Allen, who gave them to his son W. J. Allen'. Front and rear endpapers with contemporary scientific inscriptions. Two folding diagrams, appears complete. 16mo.

SANDERS & WALLACE; two contemporary art glass vases with iridescent decoration, height of larger 14cm, and a small collection of paperweights including a Victorian style dump example.

A disbound scrap album belonging to William George Benjamin Bullock Barker, of Shipdham Hall, Norfolk, his initials and dated by him April 1883 to front cover, contents include various mounted etchings, engravings, autographs, m/s pen & ink drawings, some examples of 16th Century printing, including c. 1550 printer's device of Joannes Oporinus (1507-1568), depicting Arion standing, one foot on a dolphin and the other touching terra firma, with a violin, motto above "Invia virtuti nulla est via", plus a frontispiece/wood engraved decorative leaf from a book dated 1540, and another similar Vincentius de Portonariis, etc etc, Henry Irving (1838-1905) signed & inscribed clipped piece, Sarah Edith Wynne (1842-1897), Welsh operatic soprano and concert singer, signed & inscribed clipped piece, Wilhelm Ganz (1833-1914), signed & inscribed piece, several sepia etchings by Wilfred Williams Ball; several pen, ink and wash architectural drawings, Edward John Poynter (1836-1919) signed & inscribed card, numerous other engravings etc; plus a packet containing other assorted 19th Century and earlier ephemera and engravings, including four arts and crafts style decorative bookplates by Robert Anning Bell (1863-1933), some contemporary art related invitations to William George Benjamin Bullock Barker, Fine Art Society, UCL etc; four mid circa earlier to mid 20th Century postcards of Wingfield Castle, Suffolk, of which 1 signed & inscribed to verso by Grahom Baron Ash; Great Eastern Railway 1834 prospectus from London to Norwich, 1 large folding sheet (a/f), etc

Twelve assorted antiquarian volumes, including [Robert Boyle]: 'Some considerations touching the vsefulnesse of experimental naturall philosophy : propos'd in familiar discourses to a friend, by way of invitation to the study of it.', Oxford, Ric. Davis, 1663, 1st edition, two parts in 1 volume, [10]f., 128 p.; [4]f. 418p., [9] f, 4to (20 x 16cm), contemporary calf worn; Crousaz, Jean-Pierre de: 'A new treatise of the Art of Thinking; or, a compleat system of reflections, concerning the conduct and improvement of the mind. Illustrated with variety of characters and examples drawn from the ordinary occurrences of life / written in French by Mr. Crousaz ... Done into English.', L, Tho. Woodward, 1724, 1st English edition, 2 volumes, uniform contemporary panelled calf gilt; Piganiol de la Force, Jean Aimar: 'Nouvelle description des chasteaux et parcs de Versailles et de Marly.', Paris, 1713, 3rd edition, volume II only (of 2 vols), 5 very interesting copper engraved folding plates depicting Versailles Palace, Orangerie, perspective view Chateau de Trianon with adjacent gardens, plan of Marly Estate, perspective view of Marly palace and gardens, contemporary calf gilt, etc etc (12)

Sixteen volumes on India, including history, travel and topography, art, politics, literature etc, including Mahatma Gandhi: 'Stonewalls Do Not a Prison Make', Ahmedabad, Navajivan Publishing House, 1964, 1st edition, one of 3,000 copies, xv,231pp, original printed wraps, Pyarelal: 'Mahatma Gandhi: The Last Phase. Volume I', Ahmedabad, Navajivan Publishing House, 1956, 1st edition, one of 8,000 copies, portrait frontispiece + numerous ills. from photographs as called for, original pictorial cloth, dust wrapper, M.R. Imrany: 'Paradise Under the Shadow of Hell: India's War on Kashmir. As Seen by Non-Muslims and Neutral Observers. In Five Parts', Lahore, September 1948, xxiii,193pp, original printed wraps, Lieut. Gen. Sir George MacMunn: 'The Underworld of India', L, Jarrolds, 1933, 1st edition, 16 b/w plates from photos as called for, orig. cloth gilt, Bal Krishna: 'Shivaji the Great', Bombay, D.B. Taraporevala, 1932, signed & inscribed by the author on FFEP, volume I, viii,589pp, colour frontis + colour plates as called for, original cloth gilt, Vera Anstey: 'The Economic Development of India', L, Longmans, 1936, 3rd edition revised and enlarged, 10 maps, plates, diagrams as called for (some folding), original cloth gilt, m/s pen & ink ownership signature of the author Vera Anstey (1889-1976), British economist and noted expert on the economy of India, on front pastedown, together with a Tamil translation of the same work, Madras, Bureau of Tamil Publications by arrangement with Longmans, 1965, 1st Tamil language edition, Vera Anstey's own copy with 3 contemporary typed letters signed from the publisher to her, plus a contemporary autograph letter signed to her from D. Velappan, Lecturer in Economics, St Hindu College, Nagercoil, loosely inserted, orig. cloth, dust wrapper, plus a Japanese translation copy of the same work, orig. cloth (worn), 'Notes for the Guidance of Visitors to Kashmir', Lahore, Lion Press for the Jammu & Kashmir Government, [nd], c.1935, 2 folding maps at end + folding table and numerous illustrations throughout as called for, original pictorial wraps; plus 7 others similar (16)

A contemporary Art Deco style diamond dress ring, in platinum mount, estimated diamond weight, two centre stones each 0.35 carat, total diamond weight 1.00 carat, ring size N Condition Report Good condition, stones are brilliant cuts, gross weight 4,4 grams

Pier mirror, contemporary in distressed Art Nouveau style frame. H.135 W.65cm.

[GLASSE, Hannah. The Art of Cookery Made Plain and Easy, London: Printed for the Author, 1747]. FIRST EDITION. Folio (30 x 18cm). Lacking the title only, otherwise textually complete and conforming to the collation of a first edition: pp. [14] (i.e. the presence of a title would've made this 16), iii, 4-65, 68-135, 138-166, all signatures following on correctly and without any loss of text. The book begins with subscribers & contents, A1 commencing at 'To the Reader'. Without O2, as per a true first issue. Interestingly, this copy has been bound with additional blank leaves throughout, 54 sides of which have been utilised for manuscript recipes in various early hands. This, therefore, is not only a first issue of one of the most important early cookery books in English, but also a unique collection of early handwritten recipes for dishes such as 'Vermicelly Soop', 'Oyster Pye', 'Turbot in Jelly', 'Patigonian Cucumber', and 'Green Grape Wine', as well as how to pot & pickle birds including curlews, wheatears and sparrows. The laid paper of these additional leaves includes watermarks depicting both a Royal Coat of Arms and a 'GR' cypher [George II or George III]. All pages (published & otherwise) are numbered in an early hand, amounting to 336. Contents generally well-preserved with occasional creasing & marks, a few marginal tears, a few leaves with foxing, the contemporary binding worn & lacking calf, the upper board detached. A unique copy of the most renowned English cookery book of the eighteenth century

Max Pechstein (Zwickau 1881 – 1955 Berlin). „Badende III“. 1911Holzschnitt auf Japanbütten. 33,7 × 40,1 cm (41 × 52,6 cm) (13 ¼ × 15 ¾ in. (16 ⅛ × 20 ¾ in.)). Signiert und datiert. Rückseitig mit dem Sammlerstempel Lugt 83b.Krüger H 98.–Einer von mindestens 15 Abzügen. Blatt 3 ( von 11) der Folge: Badende [nicht als Mappe erschienen]. Berlin, Verlag Fritz Gurlitt. [3174]Provenienz: Ehemals Arthur B. Spingarn, New YorkAusstellung: Works of Art From the Collection of Centurions Leslie J. Garfield & Malcolm Goldstein. New York, The Century Association, 1985 / The Leslie and Johanna Garfield Collection: Works on Paper. Madison, Chazen Art Museum (University of Wisconsin), 2011/12, m. AbbLiteratur und Abbildung: Auktion: Modern Paintings, Drawings, Watercolors, Sculptures: A Group of Works by Contemporary Italian Artists / Various Owners, Including Arthur B. Spingarn, Mr. and Mrs. Bernard Sanders, Warner Leroy. New York, Parke-Bernet Galleries Inc., 10.3.1966 / Russell Panczenko: Selections from The Leslie and Johanna Garfield Collection. A Passion for Prints. Madison, Chazen Museum of Art, 2011, Abb. S. 11Zustandsbericht: In gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Unter UV-Licht sind keine Restaurierungen erkennbar. Harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.

A contemporary Scottish circular silver and iridescent glass brooch by Pat Cheney, being an openwork goose in flight past a fine crescent moon on an art glass panel by John Ditchfield, Edinburgh, 14.33 g, 40.5 mm

Etienne Nasreddine Dinet (Paris 1861-1929)Jeune baigneuse assise près d'une fontaine (Charchar) porte une signature 'E. DINET' (en bas à droite)huile sur cartonbears a signature 'E. DINET' (lower right)oil on board39.5 x 25.4cm (15 9/16 x 10in).Footnotes:ProvenancePrivate Collection, France, since 1950LiteratureDenise Brahimi & Koudir Benchikou, La Vie et l'œuvre de Étienne Dinet, Paris, 1991, p. 229, n. 301, illustratedThe painting is offered with the original certificate issued by the Expert Lynne Thornton, who examined the work on 12 January 1981.Pupil at the École des Beaux-Arts in Paris, Etienne Dinet quickly moved away from history painting and contemporary life. In 1883, he discovered Algeria thanks to his painter friend Lucien Simon, and settled there permanently the following year. The love of North Africa and its people was so strong that he eventually converted to Islam in 1905, taking the name Nasreddine. In 1888, Dinet took important steps to solidify his growing interest in North Africa: he enrolled in formal Arabic classes at the Oriental Language School in Paris and returned to Algeria for a fourth time, accompanied by the young guide, Sliman Ben Ibrahim, with whom Dinet was to eventually live and collaborate with for many years. His knowledge of the Arabic language allowed him access to remote locations and enabled him to capture a more intimate portrayal of the life of North Africa. Dinet's work was displayed in the Algerian pavilion at the Universal Exhibition of 1889, where he would also win the silver medal for painting, and following this surge of publicity, Dinet helped found the Société Nationale des Beaux-Arts along with thirteen other artists. In 1904, after spending many months of each year in Algeria, Dinet decided to create a more permanent base for himself in-country and bought a house in the southern Saharan city of Bou-Saada.Delving deeper into Orientalist themes with his work now spanning two continents, Dinet had a respected place among the desert culture he drew inspiration from. He was a stunning realist, focused more on the interactions between natives, representations of women and manifestations of the Muslim religion. Despite his numerous paintings of nude Algerian youths – he was, surprisingly, never wanting for indigenous models – Dinet's paintings lack the frank eroticism of his counterparts who illustrated an Orient full of reclining odalisques oozing sensuality.Employing the use of photography to capture the fleeting expressions of his models, Dinet's cinematic approach was far removed from the disengaged reserve of fin-de-siècle aesthetics which lent an air of theatricality. His landscapes lack exaggerated romanticism and his depictions of women, a favorite subject, hold no territorial claims over the eastern body seen through western eyes. With his conversion to Islam in 1908 and made formal in 1913, Dinet used his nudes to express a right to represent beauty as created by God, rather than the purely voyeuristic impressions of imagined, private moments.Shortly after making the Hajj pilgrimage to Mecca, Dinet died in his native France in 1929. Today in Bou-Saada, where he was eventually buried, The Nasreddine-Etienne Dinet Museum stands as a testament to Dinet's unique place in the history of Orientalist painters. Though later on in his career to be found behind the times by his peers, Dinet and his true understanding of Saharan life lend his works encapsulating the history and peoples of Algeria an authenticity rarely surpassed. The art critic Camille Mauclair predicted Dinet's staggering importance in the history of Orientalist painters: 'Later on, they (Dinet's canvases) will be incomparable references; they will have fixed without the coldness of archaeology a civilization and a race called upon to transform themselves to the point of travesty by the fatalities of a 'modernism' that is slowly killing the Orient.' By allowing his models to face forward rather than backward to suit the tastes of a time obsessed with antiquity, the work of Etienne Dinet acts as a rich cultural currency towards understanding a way of life now transformed yet far from forgotten.For further information on this lot please visit Bonhams.com

ENOCH SEEMAN (BRITISH CIRCA 1694-1744) SELF PORTRAIT AGED EIGHTEEN Signed and inscribed 'AETATIS.18.' (lower right) Oil on canvas 53.3 x 43.1cm (20 x 16¾ in.) Provenance: Denis Cowell Collection, Lewes, Sussex The self-portraits of Enoch Seeman ''in the finical manner of [Balthasar] Denner'' [1] that he painted in the early 1700s are impressive statements of the artist's virtuosity. The combination of elegance of execution, personal beauty and exceptional talent is no doubt intended to recall the early self-portraits of Van Dyck in the previous century, whilst alluding further to the intellectual inner life of the Rembrandt School. This painting, which, with the ambitious Colonel Andrew Bisset and his family, appears to be the painter's earliest datable work in this country is a striking demonstration of excellence in such a young painter. Indeed the prominence of the inscription suggests that this painting may well have acted as an advertisement for the painter as he began to build a portrait practice in London. The exceptional precocity of these self-portraits was recognised by no less a connoisseur than the Earl of Burlington. George Vertue [2] records that Seeman ''did his own picture in that finished manner extremely well, when he was about 19 years old this picture was much admired. & Sig Ricci when he was here advised Lord Burlington to give him 100 guineas for it but understanding he had a mind to make another therefore bought it not. Since that Lord bought it and is in his pose?.'' This entry of 1723 refers to events a decade previously, as Sebastiano Ricci was working for Burlington in 1713 - 1714. As a comparison with the price suggested by Ricci it is worth noting that at the same date Sir Godfrey Kneller, the most fashionable of portraitists, was charging around sixty guineas for a privately commissioned full-length.That Seeman was particularly taken with painting himself at this date is confirmed by the number of self-portraits that exist from the period. A contemporary example (Historical Portraits, exhibited Southampton City Art Gallery 2001) is of similar composition and dimensions, and the untraced three-quarter-length self-portrait engraved by J. Faber (example National Portrait Gallery) must likewise be close in date, and is a dynamic suggestion of the artist in the very moment of inspiration. The most conceptually daring of these self-portraits is the artist's placing of himself in the background of Colonel Andrew Bisset and his family. Behind the Colonel and his wife and daughters there is a further shadowy figure, which was long believed to be a posthumous depiction of Bisset's son. Comparison with this Self Portrait suggests that it is a further image of Seeman himself. In confirmation of this, the figure gestures towards a pedestal on which is inscribed Enoch Seeman. Pinx. AE. 18? 1708.The continental manner that Seeman employs in these self-portraits would, nonetheless, seem not to have been congenial to his clients for their own images. He sufficiently impressed Society to be able to pursue a career into the 1740s - in 1723 Vertue remarks that ''Enoch. for portrait painting. is in the greatest vogue'' [3] - and his aristocratic and royal patronage makes him a rival to Charles Jervas, but his portraits are painted in a solid version of the prevailing London manner, plainly more to the public taste. 1. Horace Walpole Anecdotes of Painting ed. Dallaway 1876 vol II p2942. Notebooks III p 15 - 163. ibid. Condition Report: The canvas has been relined, and presents a thin craquelure across the whole surface. UV light reveals various retouches on the background area, most visible on the bottom left, where a thin horizontal line of resonation crosses part of the shoulder; such thin retouching is of about 8 cm long. Similar thin and long retouches are also present across the upper left border, and upper border. A few dotted retouches are also visible on the background area on the right of the sitter, and at the centre of the bottom border. Also visible are retouches on the pupils of the sitter, and a patch of retouching of about 2 cm wide next to the right eye. To conclude, very thin and slight retouches are present on the nostrils and near the mouth, and a single retouch on the hair at the height of the eye. Condition Report Disclaimer

THOMAS HEATHERLEY (BRITISH 1824 - 1914) THE GOLDEN AGE Pencil and oil on linen over millboard, oval 22.5 x 27cm (8¾ x 10½ in.) Painted circa 1862.Literature: Maas, Trimpe & Gere,Victorian Fairy Painting, (London 1997), p.136 (illustrated)Exhibited: London, Royal Academy of Arts, Victorian Fairy Painting, 13 November 1997 - 8 February 1998 Iowa, University of Iowa Museum of Art, Victorian Fairy Painting, 28 February - 24 May 1998 Toronto, The Art Gallery of Ontario, Victorian Fairy Painting, 10 June - 13 September 1998Fairy painting began in the late eighteenth century with artists such as William Blake and Henry Fuseli who imaginatively illustrated the work of Shakespeare, particularly his more fanciful plays, A Midsummer Night's Dream and The Tempest. It reached its height of popularity between 1840 and 1870, and it was during this time that the present lot was painted (circa 1862). It is unsurprising that this subject matter was so popular during the middle of the nineteenth century. Despite fairies regularly appearing in literature from as early as the 14th century, a revived interest in the work of Shakespeare as previously mentioned, as well as contemporary works such as Kinder und Haus-marchen by the brothers Grimm (published in England in 1823), and Hans Christian Andersen's Fairy Tales (translated by Mary Howitt in 1847), provided a rich source of inspiration for artists, musicians, and other writers. Indeed, so integral to Victorian painting was the topic of fairies, that alongside the most notable artists of this genre such as John Anster Fitzgerald, Noel Paton, and Richard Dadd, other distinguished artists of the day, including Millais and Landseer, dipped their paint brushes into the world of make-believe and folklore to paint at least one notable fairy picture.Thomas Heatherley (1824 - 1913) is perhaps best known as the founder of Heatherley's Academy where many famous Victorian artists studied, including Edward Burne-Jones, Dante Gabriel Rossetti, Arthur Hughes, and Walter Crane. Heatherley himself attended the Newman Street Art School in 1850, studying under William Etty's only pupil, James Matthews Leigh. Upon Leigh's death in 1860, Heatherley took over the running of the school until 1887, when he retired to Keswick in the Lake District, leaving the school in the hands of his nephew John Crompton. An infrequent exhibitor and painter of mainly genre and figurative subjects, Heatherley's works are seldom seen at auction, with his fairly works being particularly rare.In The Golden Age the influence of Hieronymus Bosch, and Jan Bruegel on Heatherley's work can be seen in his impish figures which dance joyously and mischievously around the seated fairies whilst they play music under a leafy canopy. There is also a reference to the work of Ingres, specifically his unfinished 1862 mural of the same title (L'Age d'Or), made for the Duc de Luynes, Château de Dampierre. A reduced replica of which is now in the Fogg Art Museum, Boston. A second fairy work by Heatherley Fairy Seated on a Mushroom (painted circa 1860) was exhibited alongside The Golden Age in the 1997-98 touring Victorian Fairy Painting exhibition.  Condition Report: Some fine surface cracking. With rubbing and abrasions to the framing edges. Inspection under UV reveals some light, scattered retouching, largely confined to the framing edges.  Condition Report Disclaimer