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* ELEANOR CHRISTIE-CHATTERLEY,YOUNG BOYciment fondu sculpture, 164cm highNote: Eleanor Munro was born (1929) and educated in Scotland. She studied sculpture at The Glasgow School of Art and Camberwell School of Art. She taught Sculpture at London Marylebone Institute (St John's Wood Sculpture School) from 1970 - 84 and at Blackheath School of Art from 1987 - 93. In 1952 she married the artist Fyfe Christie (1918 - 1975). Some eighteen years after the death of her first husband (1993) Eleanor married the music producer Albert "Jack" Chatterley (died 2016). Eleanor Christie-Chatterley has exhibited her sculptures at numerous venues including Woodlands Art Gallery (London), Blackheath Gallery (London), Old Cattan House Gallery (Norwich), Buckenham Galleries and at Cyril Gerber Fine Art (Glasgow). Her sculptures are in numerous private collections in the UK, the US and in France. In The Scottish Contemporary Art Auction of 5th December 2021 "Woman of the North" by Eleanor Christie-Chatterley sold for £5000 (hammer) and In The Scottish Contemporary Art Auction of 24th October, "Green Man Walking" by her sold for £3800 (hammer) with three small stoneware sculptures also achieving hammer prices of £480, £500 & £500. SHIPPING: Aardvark Art Services Ltd have quoted £150 to collect this sculpture and deliver it to most (except the more remote) UK mainland locations (further details on request).

* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004),IN THE STUDIOmixed media on paper, signedimage size 64cm x 49cm, overall size 82cm x 66cm Mounted, framed and under glass.Note: Alexander Goudie was born in 1933 at Paisley and, as a child, showed a prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist, he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, said: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world. In The Scottish Contemporary Art Auction of 24th October 2021 "The Baptism" a 40 x 50cm gouache by Goudie sold for £2600 (hammer).

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),THE CLYDE FROM GOVANoil on board image size 30cm x 40cm, overall size 48cm x 59cm Framed and under glass.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In The Scottish Contemporary Art Auction of 24th October 2021, lot 510A "RONDA, SPAIN", a slightly larger picture by Macmillan, sold for £1700 (hammer).

*ELEANOR CHRISTIE-CHATTERLEY, JOYFUL WOMANciment fondu sculpture177cm high.Note: Eleanor Munro was born (1929) and educated in Scotland. She studied sculpture at The Glasgow School of Art and Camberwell School of Art. She taught Sculpture at London Marylebone Institute (St John's Wood Sculpture School) from 1970 - 84 and at Blackheath School of Art from 1987 - 93. In 1952 she married the artist Fyfe Christie (1918 - 1975). Some eighteen years after the death of her first husband (1993) Eleanor married the music producer Albert "Jack" Chatterley (died 2016). Eleanor Christie-Chatterley has exhibited her sculptures at numerous venues including Woodlands Art Gallery (London), Blackheath Gallery (London), Old Cattan House Gallery (Norwich), Buckenham Galleries and at Cyril Gerber Fine Art (Glasgow). Her sculptures are in numerous private collections in the UK, the US and in France. In The Scottish Contemporary Art Auction of 5th December 2021 "Woman of the North" by Eleanor Christie-Chatterley sold for £5000 (hammer) and In The Scottish Contemporary Art Auction of 24th October, "Green Man Walking" by her sold for £3800 (hammer) with three small stoneware sculptures also achieving hammer prices of £480, £500 & £500. SHIPPING: Aardvark Art Services Ltd have quoted £150 to collect this sculpture and deliver it to most (except the more remote) UK mainland locations (further details on request).Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues. Artwork shows evidence of wear from being outdoors, mostly at the base. Additional images have been uploaded to our website. 

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),WET EVENING, GLEN MORE, MULLoil on canvas, signed and dated 2001, further signed, titled and dated versoimage size 41cm x 41cm, overall size 62cm x 62cm Framed and under glass.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick'sTug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.

* ALICE MCMURROUGH PAI RGI RSW (SCOTTISH b. 1956),MHAIRI'S SECREToil on panel, titled labels versoimage size 19cm x 14cm, overall size 29cm x 24cm Framed and under glass.Artist's label verso.Label verso: Open Eye Gallery, Edinburgh.Note: Alice McMurrough studied Fine Art at Glasgow School of Art from 1973 to 1978. She then attended St. Andrews College of Education where she graduated with a Diploma in Education in 1979. She held various teaching posts including Acting Principal Teacher in the 1990s and marker and moderator for the Scottish Qualifications Authority, until she left the profession in 2007 to devote her time to painting and organising group painting trips in Europe. McMurrough has won many awards including the James Torrance Award at the Royal Glasgow Institute of Fine Arts in 2011, the Joe Hargan Award at the Paisley Art Institute and the Anne Stevenson Memorial Award from East Dunbartonshire Council in 2012 and in 2013 the Dalrymple Award at the inaugural Maclaurin Annual Fine Art Exhibition. She was elected member of the Royal Glasgow Institute, Paisley Art Institute and Royal Scottish Society of Painters in Watercolour in 2013. McMurrough is a Diplomate of the Paisley Art Institute, Artist Member of the Glasgow Art Club and Associate Artist Member of Hospitalfield Alumni Association. She exhibits regularly with the Royal Glasgow Institute of Fine Arts, the Royal Scottish Academy, the Royal Scottish Society of Painters in Watercolour, the Paisley Art Institute, the Glasgow Art Club and at galleries throughout the UK. Her works are held in private collections worldwide. Alice's paintings rarely appear at auction, but in The Scottish Contemporary Art Auction of 24th October 2021 "Above Us Only Sky" (a 15 x 21cm oil) by McMurrough sold for £950 (hammer).

* ELEANOR CHRISTIE-CHATTERLEY,WOMAN WITH ROBEciment fondu sculpture177cm high.Note: Eleanor Munro was born (1929) and educated in Scotland. She studied sculpture at The Glasgow School of Art and Camberwell School of Art. She taught Sculpture at London Marylebone Institute (St John's Wood Sculpture School) from 1970 - 84 and at Blackheath School of Art from 1987 - 93. In 1952 she married the artist Fyfe Christie (1918 - 1975). Some eighteen years after the death of her first husband (1993) Eleanor married the music producer Albert "Jack" Chatterley (died 2016). Eleanor Christie-Chatterley has exhibited her sculptures at numerous venues including Woodlands Art Gallery (London), Blackheath Gallery (London), Old Cattan House Gallery (Norwich), Buckenham Galleries and at Cyril Gerber Fine Art (Glasgow). Her sculptures are in numerous private collections in the UK, the US and in France. In The Scottish Contemporary Art Auction of 5th December 2021 "Woman of the North" by Eleanor Christie-Chatterley sold for £5000 (hammer) and In The Scottish Contemporary Art Auction of 24th October, "Green Man Walking" by her sold for £3800 (hammer) with three small stoneware sculptures also achieving hammer prices of £480, £500 & £500. SHIPPING: Aardvark Art Services Ltd have quoted £150 to collect this sculpture and deliver it to most (except the more remote) UK mainland locations (further details on request).

* JAMES ORR (SCOTTISH 1931 - 2019),SUFFOLK BEACHoil on board, signed, titled labels versoimage size 56cm x 61cm, overall size 78cm x 83cm Framed and under glass.Handwritten artist's label verso.Note: James Orr was a regular and successful contributor to The Scottish Contemporary Art Auctions. A modest man when it came to his own achievements, his work is held in the collection of HRH Duke of Edinburgh and in many private collections across the world. He won several awards for his work, including the RGI’s Royal College of Physicians & Surgeons of Glasgow Award. His paintings have given and continue to give great pleasure to many people. Renowned for his kindness and generosity, he also nurtured many budding artists and gave his time generously through artist demonstrations for many art clubs across Scotland. James is much missed by all at McTear's.

* ERNI UPTON,BLASHIE DAY, TURNBERRY LIGHTHOUSEoil on canvas, signed, titled and dated 2007 versoimage size 51cm x 101cm, overall size 69cm x 120cm Framed.Label verso: The Ayrshire Art Exhibition.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues. 

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),WINTERFIELD, KILBARCHANoil on board, signed, titled labels versoimage size 35cm x 44cm, overall size 49cm x 59cmFramed.Artist's label verso.Handwritten label verso.Label verso: The Open Eye Gallery, Edinburgh.Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule, and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues. Additional images have been uploaded to our website. 

* MARGOT SANDEMAN (SCOTTISH 1922 - 2009),SHORE SCENE (ARRAN)mixed media on paper, signed and dated '89image size 29cm x 57cm, overall size 46cm x 72cm Mounted, framed and under glass.Provenance: Hughson Gallery, Glasgow.Note: Margot Sandeman was an accomplished Glasgow painter, who worked with Ian Hamilton Finlay and became Joan Eardley`s longest-standing friend, a friendship that lasted until Eardley`s death in 1963. At the Glasgow School of Art she was quickly singled out, along with Eardley, by Hugh Adam Crawford, head of drawing and painting, for an experiment in which a very small number of outstanding students in that 1939 session were selected for special attention. This effectively amounted to a three-year course in two years, with Crawford himself as tutor. The war interrupted her painting career as did the bringing up of her children following her 1946 marriage to ceramicist James Robson. In 1970 she won the Guthrie Award of the Royal Scottish Academy, the Redpath Award from the Society of Scottish Artists and a Scottish Arts Council prize. In 1988-89 she produced a series of large canvases of bathers echoing Matisse and Seurat and in 1989 she was the Scottish Winner of the prestigious Laing Competition. She also collaborated with her old contemporary Ian Hamilton Finlay on his texts and also created a parallel series of still-lifes plus all the illustrations for his "concrete poetry". Sandeman contributed to mixed exhibitions in the UK and US, with her principal solo exhibitions being at the Demarco Gallery in Edinburgh and the Hughson Gallery in Glasgow, with a final show at the Talbot Rice Gallery in Edinburgh in 2006. Her work is represented in public and private collections in Scotland and in private collections in the US and UK.

* GEORGE DEVLIN RSW RGI ROI ARWS FRSA (SCOTTISH 1937-2014),UNTITLED (likely a Provence scene)oil on canvas, signedimage size 80cm x 85cm, overall size 101cm x 104cmFramed.Note: George Devlin was one of Scotland's most successful 20th century artists with numerous exhibitions in Scotland, throughout the UK and around the world. Corporate collections include: De Beers (South Africa and Switzerland); Robert Fleming Holdings; Dutch Water Board; London Stock Exchange; Arthur Andersen and Co; Scottish Television; Universities of Leicester, Glasgow and Strathclyde, Essex, Dunbartonshire, Argyll and Tayside; Edinburgh City Collection; Royal Bank of Scotland; Clydesdale Bank; Lloyds TSB; Bank of Scotland; J. O. Hambro; Mason Owen; Dunedin Trust Management; Dunfermline Building Society; Argyll Group; Scottish Friendly Society; United Distillers; Teachers Whisky; Edrington Group and Clan Donald Centre; Cunard (QM2), Dunbartonshire Educational Trust. Private collections include: Sir Tim Rice; Sir James Black; Earl Haig; Lord Maclay; Duke of Bedford and numerous collections in the UK and worldwide. In The Scottish Contemporary Art Auction of 6th March 2022, two smaller examples of George Devlin's continental scenes sold for £2200 and £3300 (both hammer prices).

* GORDON K MITCHELL RSA RSW RGI (SCOTTISH b. 1952),CROSSDRESSERoil on canvas, signed, titled labels versoimage size 61cm x 25cm, overall size 76cm x 40cmFramed. Artist's label verso.Label verso: Portland Gallery, London.Note: Prizes and Awards include: Borders Biennial Exhibition; First Prize, City Arts Centre, Open Exhibition; First Prize, Educational Institute for Scotland; Purchase Prize, Glasgow Mayfest Award, Royal Scottish Academy Award; First Prize, Royal Scottish Society of Painters in Watercolour; William Gillies Award, Scottish Drawing Competition, Paisley; Second Prize, Royal Scottish Academy; J. Murray Thompson Award, Scottish Artists and Artist Craftsmen; Arts Club Prize, Scottish Artists and Artist Craftsmen; Whyte & Mackay Award, Scottish Artists and Artist Craftsmen; Scottish Provident Award, Scottish Artists and Artist Craftsmen; Dunfermline Building Society Prize, Scottish Artists and Artist Craftsmen; SSWA Special Award. Solo Exhibitions include Dorothy Quinn Gallery, St. Andrews, Henderson Gallery, Edinburgh, Old City Art Gallery, Jerusalem, Traverse Theatre, Edinburgh, Open Eye Gallery, Edinburgh (biannually since 1992), Roger Billcliffe Fine Art, Glasgow (biannually since 1993), Atholl Gallery, Dunkeld (1993) Albemarle Gallery (biannually since 1997). Represented in Group Exhibitions in the United Kingdom, including: Allan Park Gallery, Stirling, Atholl Gallery, Dunkeld, Borders Biennial Exhibition, City Arts Centre, Edinburgh, Contemporary British Art Show, London, Contemporary Fine Art Gallery, Fine Art Society Galleries, Glasgow, Gracefield Art Centre, Dumfries, Hilton Hotel, Hong Kong, John Martin of London, Kirkcaldy Art Gallery, Mall Galleries, London, Morrison Scottish Portrait ExhibitionOpen Eye Gallery, Edinburgh, Paisley Art Institute, Portland Gallery, London, Richard Demarco Gallery, Edinburgh, Roger Billcliffe Fine Art, Glasgow, Royal Glasgow Institute, Royal Scottish Academy, Edinburgh, Royal Scottish Society of Painters in Watercolour, Scottish Arts Club, Edinburgh, Scottish Arts Council Gallery, Smith Art Gallery & Museum, Society of Scottish ArtistsSociety of Scottish Artists and Artist Craftsmen, Stirling Gallery, Talbot Rice Gallery, Edinburgh Group Exhibitions held abroad: Through the `Old City Gallery` Jerusalem, paintings have been included in group exhibitions in Israel, Australia, Canada, U.S.A. and Sweden. Blue and White Gallery, Jerusalem, Contemporary Scottish Art 1994, Hilton Hotel, Hong Kong. Collections: Works held in a great many private and public collections, including; Alliance & Leicester Building Society, Edinburgh Distillers Co. Ltd, Edinburgh College of Art, Educational Institute for Scotland, Johnny Walker Whisky Co, Kansas City Art Institute, Macfarlane Group Plc, National Westminster Bank, Paisley Art Institute, Scottish Arts Council, Scottish Brewers Limited, Slottseal Forthside Limited, The Knesset, Israel, University of Edinburgh, Welcome Inns, Whyte & Mackay Group, William Teacher & Sons (Whisky). One of the most recent examples of Gordon Mitchell's paintings we've offered was "Castaway" a 73 x 98cm oil on canvas which sold in The Scottish Contemporary Art Auction of 24th January 2021 for £8000 (hammer) setting a new (and current) auction world record for a work by the artist.

* PETER HOWSON OBE (SCOTTISH b. 1958),JOHN IN DESERTmixed media on paper, signed and dated '09, titled label versoimage size 29cm x 20cm, overall size 50cm x 41cm Mounted, framed and under glass. Label verso: The Contemporary Fine Art Gallery, Eton.

* JAMES S DAVIS DA PAI RSW FRSA (SCOTTISH b. 1944),LAST EMBERSoil on canvas, signed, titled label versoimage size 28cm x 28cm, overall size 44cm x 44cm Framed and under glass. Label verso: Macaulay Gallery, Stenton.Note: James Davis was born in Scotland in 1944. He studied contemporary painting at the Glasgow School of Art between 1963 and 1967. He specialised in drawing and painting under the tutorage of Scottish artists William Armour and David Donaldson. For more than 40 years James Davis paintings have been exhibited extensively with the Royal Glasgow Institute ( RGI), Royal Scottish Watercolour Society (RSW), Royal Scottish Academy RSA and the Paisley Art Institute ( PAI). James Davis was elected to the RSW in 2003. James Davis paintings are predominantly landscapes, figurative and portraits and he paints in both watercolours and oils. Davis has been the recipient of many art awards for his contemporary paintings including the David Cargill Award; RGI in 2003 and the Reid Kerr Painting Award in 2005. James has established a strong following with leading private and corporate art collectors of contemporary Scottish art. These include: HRH The Duke of Edinburgh; The Royal Collection; Holyrood Palace; King Hussein Family Private collection; Vatican Commission Scott's College Rome; Glasgow City Chambers; Merk Finance; Arisaig Holdings (Singapore) and Strathclyde Education Authorities. His paintings also feature in many private contemporary art collections in the UK, Canada, USA, Italy, Holland, France, Switzerland, Australia and Tasmania.

* IAIN R MCINTOSH RSA (SCOTTISH b. 1945),HARBOUR Icomplex wood construction, titled label verso39cm high Artist's label verso.Exhibition label verso: Marine Exhibition, The Leith Gallery, June 2000.Note: Iain R. McIntosh RSA was born in 1945 in Peterhead, Aberdeenshire, and studied at Gray’s School of Art. Trained as a sculptor, he is perhaps best known for his wood-carved boats and sailing vessels, inspired by his coastal upbringing. In recent years he has also begun to create paintings and drawings but his subject matter is still never far from the sea. He was elected Associate of The Royal Scottish Academy in 1981 and full Academician in 2005. His work rarely appears at auction but in The Scottish Contemporary Art Auction of 9th May 2021, lot 525 an untitled 25cm high wood carving (by McIntosh) sold for £500 (hammer).

* WILLIE RODGER RSA RGI (SCOTTISH 1930 - 2018),MARY, WIFE OF WILLIAM OF ORANGElinocut on paper, signed, titled and numbered 52/100image size 29cm x 18cm, overall size 51cm x 42cm Mounted, framed and under glass.Note: The Royal Scottish Academy website describes Willie Rodger as "one of the most significant artist-printmakers in recent Scottish art history". Born in Kirkintilloch in 1930, Rodger studied Graphics and Printmaking at Glasgow School of Art from 1948 to 1953. He received a rigorous education from a course that, at the time, only accepted the most skilled draughtsmen. By graduation Rodger had already sold two prints to the Victoria and Albert Museum, London, and went on to a career in advertising. However, he became disillusioned with the cut and thrust of the commercial world and an opportunity to change careers and return to Scotland came about with a teaching vacancy at Lenzie Academy, then as Principal Teacher of Art at Clydebank High School, a post he held until early retirement in 1987. He was elected to the Royal Scottish Academy in 1989 and awarded an honorary doctorate by the University of Stirling in 1999. Our auctions have established several new UK auction record prices for Willie Rodger prints and in The Scottish Contemporary Art Auction of 28th February 2021 lot 562 "Reverie" by Willie Rodger achieved a new (and current) auction record for a print by the artist selling at £1200 (hammer).

* MATT MCCURDY,MAN IN SUNLIGHTmixed media on paper, initialled and dated '86, titled label versoimage size 30cm x 35cm, overall size 54cm x 59cm Mounted, framed and under glass.Exhibition label verso: Studies of the Male Nude, April 1986, Main Fine Art, Glasgow.Provenance: Exhibited at McCurdy's first solo show "Studies of the Male Nude" 1986, Glasgow. Trained Glasgow School of Art B.A.(Hons) Fine Art. Multiple solo and group exhibitions in Glasgow, Edinburgh and London. Collections include: The Commonwealth Development Corporation, London; Earl of Dundonald; University of Strathclyde, Glasgow; Baillie, Gifford and Co., Edinburgh; East Dunbartonshire District Council and private collections throughout the United Kingdom, Germany and North America. Represented by Hughson Gallery, Glasgow. Another similar but slightly larger study, from the same exhibition (by McCurdy), was sold in The Scottish Contemporary Art Auction of 9th May 2021 for £300 (hammer).

GAVIN SCOTT WEIR,PINEAPPLE I oil on canvas panel, signed, titled versoimage size 41cm x 31cm, overall size 44cm x 34cm Framed. Note: The Still Lifes' were painted during the lockdowns and were painted direct from life. The artist used a studio set up with photography grade lighting and white backdrops to create the clean contemporary feeling in this work. Weir has over 25 years' experience of drawing, painting and teaching art.

GAVIN SCOTT WEIR,EXOTIC FRUITSoil on canvas panel, signed, titled versoimage size 23cm x 36cm, overall size 39cm x 41cm Framed. Note: The Still Lifes' were painted during the lockdowns and were painted direct from life. The artist used a studio set up with photography grade lighting and white backdrops to create the clean contemporary feeling in this work. Weir has over 25 years' experience of drawing, painting and teaching art.

GAVIN SCOTT WEIR,FOUR PEARSoil on canvas panel, signed, titled versoimage size 30cm x 24cm, overall size 35cm x 29cm Framed. Note: The Still Lifes' were painted during the lockdowns and were painted direct from life. The artist used a studio set up with photography grade lighting and white backdrops to create the clean contemporary feeling in this work. Weir has over 25 years' experience of drawing, painting and teaching art.

GAVIN SCOTT WEIR,BANANA I oil on canvas panel, signed, titled versoimage size 25cm x 31cm, overall size 28cm x 34cm Framed. Note: The Still Lifes' were painted during the lockdowns and were painted direct from life. The artist used a studio set up with photography grade lighting and white backdrops to create the clean contemporary feeling in this work. Weir has over 25 years' experience of drawing, painting and teaching art.

GAVIN SCOTT WEIR,CITRUS Ioil on canvas panel, signed, titled versoimage size 20cm x 28cm, overall size 25cm x 34cm Framed. Note: The Still Lifes' were painted during the lockdowns and were painted direct from life. The artist used a studio set up with photography grade lighting and white backdrops to create the clean contemporary feeling in this work. Weir has over 25 years' experience of drawing, painting and teaching art.

* GERARD BURNS (SCOTTISH b. 1961),GIRL WITH THE SALTIREoil on canvas, signedimage size 69cm x 69cm, overall size 94cm x 94cm Framed.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

* LILIAN NEILSON (BRITISH 1938 - 1998),A BEACHED BOAToil on board, signed, titled and dated 1964 labels versoimage size 43cm x 92cm, overall size 54cm x 103cm Framed.Handwritten artist's labels verso.Exhibition label verso: Into the Light, Aberdeen Art Gallery & Museums.Provenance: Acquired by the vendor direct from the artist in 1964 when he and Lil Neilson both lived in the Lawnmarket (Edinburgh). Lil was sharing digs with Reet (Rita) Guenigault and both were employed as set designers for The Traverse Theatre. "A Beached Boat" has been held in the same private collection since 1964 and has only been publicly exhibited when the vendor agreed to loan the picture to Aberdeen Gallery & Museums for Neilson's "Into The Light" exhibition. Note: Lil Neilson was a member of the quartet who became known as 'The Catterline School' along with Joan Eardley, Annette Stephen and Angus Neil. Lil Neilson studied at Duncan of Jordanstone College of Art from 1956-60, including a summer school at Hospitalfield House, Arbroath. She completed a post-diploma year tutored by Hugh Crawford and Alberto Morroco in 1960-61 and was awarded a travelling scholarship to France and Italy in 1961-62. On her return she joined Joan Eardley in Catterline: they had become friends in 1960 at Hospitalfield House and Eardley invited Lil to paint in the studio she and Annette Stephen shared in Catterline. Like many other painters and visitors, Lil became enthralled with the place. At this time Lil also worked backstage with Reet Guenigault in theatres including the Traverse in Edinburgh and also in England, returning to Catterline to nurse Eardley when her illness was diagnosed in the new year of 1963. Reet joined them three months later to take over and give Lil a rest, and after Eardley's death in August of that year, Lil bought No 2 South Side, Catterline, to make her home in one half and studio at the other end. Some pictures of this period show Catterline views which Eardley famously painted, especially with the great round moons low in the summer sky. Neilson's foregrounds are less detailed and the viewer's eyes are led upwards towards the sky. Lil continued to work in theatres until 1969, when she returned to Catterline to try to work through the Eardley influences which had been made more than a bitter cup. She felt that she must paint that problem out in Catterline. She spent some time in Norfolk with Gaydon Phillips, but not many paintings of Norfolk exist and she returned to paint in Catterline regularly over the next nine years. She moved permanently to Catterline in 1986 and, once there, Joyce Laing's Pittenweem gallery exhibited some of Lil's work which showed new directions. In 1989, at the influential 369 Gallery, Edinburgh, an exhibition shared with Annette Stephen showed a two-room retrospective of Lil's work. Her last show was 'Certain Days and Other Seasons' (1997) at both Seagate and Aberdeen Art Galleries. Lil pronounced this to be ''the end of my life's work'', prophetically as it turned out, for by August 1997 it became apparent that this private and reticent woman had been working under duress for the past two years as the extent of her disease was discovered. Lil's good friends and neighbours loved and nursed her, enabling her to be in her beloved Catterline until she needed the services of Roxburgh House. Lil Neilson's paintings rarely appear at auction and those which have in recent years have often been small studies and sketches which perhaps explains why her UK auction record price remains the £4600 (hammer) for "Catterline" achieved for lot 1744 in The Scottish Contemporary Art Auction on 15.12.2013. Several recent examples have threatened to set a new mark, but we consider "A Beached Boat" to be the finest example of Lil Neilson's work to appear at auction anywhere.

* MARK DEMSTEADER (BRITISH b. 1963),ABIGAIL WHITE PAPER VIIpastel on paper, signed, titled label versoimage size 107cm x 76cm, overall size 120cm x 89cm Mounted, framed and under glass.Label verso: Oakham Contemporary, London.Note: Mark Demsteader was born in Manchester in 1963 and still lives and works there. He studied at Rochdale College, Oldham Art College and The Slade. His awards include The Public Eye Award, The Lyceum Prize and The Sidney Andrews Scholarship. Mark's work has developed from a fascination with the human form and an obsession with classical themes. These pre-occupations can be seen in recent paintings where his close observation combines with surface texture and carefully balanced compositions to create a beautiful and powerful representation of the figure, often in renderings of just black and white paint. He favours absorbent, handmade Indian paper called Khadi as the natural ingredients in it such as grasses and leaves add another element to the finished drawing. His paintings are about movement, dynamism and expression; he believes that a drawing that is tight and overworked is be avoided at all costs. He loves the accidental marks that occur. He will mix pastel and water and often has a hair-dryer to hand to dry the results. Mark likes to have space to move about in when he is working, for that reason, he rents space in an old mill to use as a studio, he makes too much mess to make working at home possible. Mark's paintings feature in many important collections, and current demand for his work reflects his growing reputation. In The Scottish Contemporary Art Auction of 24th January 2021 lot 22A "Vicky V" a 108 x 75cm pastel by Demsteader sold for £3000 (hammer).

Watercolor on cardboard 20,5x30 cm frame 38,5x50 cm Signed on the lower right Giovanni Alicò was born in Catania in 1906. Self-taught painter, his approach to art is free from pre-built constraints or tracks. In 1935 he settled first in Naples then in Milan. In 1942 he was present with a work at the XXIII Venice Biennale, and in the same year, he held his first personal exhibition at the Tornabuoni Gallery in Florence. Six years of activity in Argentina followed between 1948 and 1953, with three solo shows in Buenos Aires and many participations in group exhibitions in various national exhibitions in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Returning to Italy, from the mid-fifties and throughout the following decade, there were several personal exhibitions in Catania, Milan, Rome and Como. It was the Suzzara Prize in 1955 with the work Contadino che riposa, where the painter, freed from a cold realistic description and far from the neo-Cubism typical of the first post-war period, abandons himself to a painting of luministic suggestion, with large fields of greens, of grays, of earths, supported by a dense pictorial material defined by a thick contour line. The painting is currently kept in the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited at the Galleria il Pincio in Piazza del Popolo in Rome, one of the most active realities in the panorama of art exhibitions, where Renato Guttuso and Carla Accardi also exhibited. He began his artistic career by depicting in his painting the carts with the colorful stories of the puppets using preferably flat colors, then he introduces in his palette delicate, vibrant colors, and focuses on themes pervaded by a marked spirituality. Favorite subjects are female figures, still lifes and landscapes. In the 1950s, Giovanni Alicò approached his style to that of Guttuso, in the context of social realism. His attention is towards a synthetic figurative painting, which proceeds by suggestions in the general adherence to the themes of social realism. After 1960, an important poetic made of arabesques and luminous and chromatic effects enters his work and shaded furniture. Since 1967 anthropomorphic characters, a sort of ghosts, have appeared on these backgrounds, hovering in the space of the composition. The artist's latest production, on the other hand, is characterized by paintings where signs, repeated geometric shapes and large splashes of color are rendered with intense and vivid colors, leading to informal and material outcomes. Giovanni Alicò died in Catania in 1971. After his death, an important retrospective was set up at the Palazzo della Borsa in Catania in 1973. Many of his works are present in important private collections in Europe and America and in various art foundations.

a chest of eighteen drawers with a curved body of teinted ash and painted wood, brushed steel on wheels; overall dimensions: 170.5 (h) x 45 (w) x 50 (d) cm (67 1/8 (h) x 17 3/4 (w) x 19 3/4 (d) in.), dimensions of drawers: 38.5 (l) x 37.5 (w) x 7 (d) cm (15 1/8 (l) x 14 3/4 (w) x 2 3/4 (d) in.), please note variant depths for the drawers, between 7 cm (2 3/4 in.) and 6 cm (2 3/8 in.)LITERATUREThe Work of Shiro Kuramata: 1967-1974 (Tokyo: Parco, 1988), pp. 45-47Shiro Kuramata 1934-1991 (Tokyo: Hara Museum of Contemporary Art, 1996), ex. cat., pp. 45, 48, 130David A. Hanks, Anne Hoy and Martin Eidelberg, Design for Living: Furniture and Lighting 1950-2000, The Liliane and David M. Stewart Collection (Montreal: Montreal Museum of Decorative Arts, 2000), ex. cat., pp. 128-29Shiro Kuramata and Ettore Sottsass (Tokyo: 21_21 Design Sight, 2011), ex. cat., pp. 30, 169Deyan Sudjic, Shiro Kuramata (New York: Phaidon Press, 2013), pp. 154, 255CONDITIONIn good condition. Minor scuffing and light surface scratches, consistent with use and age.

Paul Scheurich (1883-1945): Très rare bronze figurant le Prince héritier Wilhelm de Prusse, circa 1911 Paul Scheurich (1883-1945): A very rare bronze figure of Crown Prince Wilhelm of Prussia, circa 1911Wearing the uniform of the 'Ersten Leibhusarenregiment' in Danzig-Langfuhr, on a square black marble plinth, signed 'Scheurich' and dated 1911 on the back of the base, 30cm highFootnotes:Exhibited:Meissen, Museum der Meissen Porzellan-Stiftung, Paul Scheurich. Porzellangestalter Zeichner Grafiker, 6 March 2020-21 February 2021This bronze figure of Crown Prince Wilhelm of Prussia (1882-1951) is one of the earliest known sculptural works by Paul Scheurich. Crown Prince Wilhelm is depicted wearing the uniform of the 1st Leibhusarenregiment of Leipzig-Langfuhr, which he later commanded.In 1911, the Crown Prince stood at the pinnacle of Prussian society and so it is not surprising that Scheurich's humorous and ironic depiction was not published, exhibited or even offered for sale. Even the foundry where it was produced remains unknown and Scheurich may have funded the cast himself. In the heyday of the Berlin Secession, Scheurich exhibited bronzes at their exhibitions, including 'Bruder Lutz' in 1919/20 (see lot 41). The Berlin Secession was an art movement established in Germany in 1898. It was formed in reaction to the Association of Berlin Artists, and the restrictions on contemporary art imposed by Kaiser Wilhelm II, father of the Crown Prince. Under the leadership of Walter Leistikow, Franz Skarbina and Max Liebermann, various artists, including women, converged to form a 'free association for the organization of artistic exhibitions'. This bronze may be seen in the context of criticism of the tight grip the Prussian establishment tried to exert over artistic expression in Berlin in the early 20th century.For further information on this lot please visit Bonhams.com

Rémy Martin-Louis XIII Black Pearl-MagnumGrande Champagne. Baccarat crystal decanter No. 63 of 358. In original presentation case and outer packaging. Accompanied by certificate of authenticity, booklet and stopper. Engraved labelling. Filled to 1.5L. Cognac, 40% volume1 Baccarat crystal decanterFootnotes:Black Pearl was created as an homage to the very beginnings of LOUIS XIII. This unique tierçon No. C.100-46, with eaux-de-vie matured between 40 to 100 years of age, of the family's reserve in the Domaine de Merpins, was selected to produce this important Louis XIII large format: a contemporary 'Black Pearl' version of the original metal flask that inspired Paul-Émile Rémy Martin when he created LOUIS XIII in 1874. To craft this superb metallic decanter, the House of Baccarat treated the crystal using a unique plating technique. This gives the decanter a beautiful reflective quality, with myriad subtle contrasts of light and dark dancing across its surface. Achieving this dichroic effect involves layering successive thin coatings of precious materials (titanium, carbon and gold) one upon the other. The result is a true work of art.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

A large collection of Christie's, Sotheby's, Bonhams and other auction catalogues,predominantly Impressionist, Modern, Post War and Contemporary Art, to include many of the important and notable sales of the last decade, such as The Jeremy Lancaster Collection, 'Dear Monsieur Monet', The Emily and Jeremy Spiegel Collection, 'Hidden Treasures', 'Looking Forward to the Past' etctogether with some books, magazines etc (approx. 200 in seven boxes/ crates)Condition report: All appear to be in good cosmetic order. Some bearing annotations such as achieved prices, unsold etc.

Collection of 7 mixed contemporary oils and prints and a wall art plaque

Travel. Enrico van Lint (1808-1884) and contemporary photographers unknown, c1870-80 - A Victorian photograph album, including views of Marseille, Mentone, Bordighera, Cannes, Pisa, Florence, Verona, Como, Bellagio and elsewhere, works of art and Whitby Abbey, approximately 148, whole plate and smaller albumen prints mounted on leaves, recto and verso, contemporary half calf with gilt monogram, worn, a.e.g.

Travel. Alfredo Noack (1833-1895) and other contemporary photographers - A Victorian photograph album of the towns and monuments of Italy, including Genoa, Florence, Siena, Ravenna, Padua, Venice, Milan, Verona and works of art, 42, whole plate albumen prints mounted on linen hinged leaves, contemporary half calf worn, boards detached, lacks spine

A contemporary Art Nouveau style mirror of rectangular form having four vignettes with Art Nouveau maidens in the manner of Alphonse Mucha. Measures 57cm x 82cm. 

Michael Kessler (American, B. 1954) "Thyme" Acrylic on Panel. Signed and titled verso on panel. Purchased from Allyn Gallup Contemporary Art/Mira Mar Gallery. Overall Size: 20 x 28 in.

A Large contemporary Art Deco style metal frame and frosted glass ceiling light fitting.

Linda Hill, (British, born 1961), Feline Friends-Lucinda, limited edition print 34/150, with certificate of authentication from Christie's Contemporary Art, in an oak Art Noveau frame, print measuring 13cm x 6cm

MARINO MARINI (1901-1980)Cavalli e cavalieri signed and dated 'Marino 1970' (lower right)oil on paper39.3 x 51.1cm (15 1/2 x 20 1/8in).Executed in 1970Footnotes:The authenticity of this work has been confirmed by the Fondazione Marino Marini.ProvenanceDominion Gallery, Montreal, no. B6324 (possibly acquired directly from the artist in the 1980s).Private collection, Switzerland & UK (acquired from the above circa 1997).ExhibitedToronto, Istituto Italiano di Cultura, Marino Marini: Sculptures, paintings, drawings, 27 May – 11 July 1998.A cavalry rider of the avant-garde, Marino Marini forged a valiant artistic pathway that was in sync with the strident drumbeats of Modernity. Utilising the horse and rider as a lifelong leitmotif, Marini conveyed an exhaustive breadth of drama and emotion, scaling the divide between primeval furore and contemporary anxiety. By enunciating this classical trope with the fragmented language of his own zeitgeist, Marini engendered deep and dynamic meditations on the state of the world and man's relationship with it. Completed ten years before his passing at the age of 79, Cavalli e cavalieri represents a chapter in which Marini's horses and riders are reduced to ideas or memories. The present work therefore embodies the distilled values of a master artist who had reached the apex of his creative vision.Marini grew up in the bucolic environs of Tuscany, enveloped in sun-drenched natural landscapes dotted with the emotive frescoes of Giotto and Masaccio. He strongly identified as a descendent of the Etruscans – a tendency which manifested in the ancient and mythical qualities of his art. Marini learned the language and imagery of the early Renaissance and the international Gothic style whilst enrolled at the Accademia di Belli Arti in Florence from 1917, thence developing a personal connection with Northern European sculpture and ancient cave paintings. His travels placed him at the centre of the European avant-garde: in Paris he associated with Pablo Picasso and Giorgio de Chirico, and then in Switzerland he befriended Germaine Richier and Alberto Giacometti. The creative discourse between Marini and Giacometti resounded in their shared preferences for attenuated forms, expressive textures and rigid abstraction. After starring in the Twentieth-Century Italian Art exhibition at the Museum of Modern Art in New York (1949), Marini became ingratiated with an exciting new generation of post-war artists, among them Lyonel Feininger, Max Beckmann and Alexander Calder.The horse and rider first appeared in Marini's work in 1936, after he visited Der Bamberger Reiter, an early thirteenth century equestrian sculpture at the Cathedral of Bamberg in Germany. In Marini's first iterations of the subject, his riders and their steeds possess elongated physiques, their poses calm and formal. By 1940, they evolve into more squat, simplified, archaic forms. After the Second World War, the horses often have their mouths open in silent screams, their ears pinned back in ecstasy or anguish. Indeed, Marini had witnessed true atrocities under the Italian fascist regime, including watching terrified peasants fleeing from armed forces on horseback. In ensuing years, Marini's riders appear to be dislocated from their mounts and focused on their inner human turmoil, reflecting a society bent by trauma, grief and apathy. By 1970 – and in the present work – the equestrian motif had been reduced into a kind of patterned obscurity, one that favoured impulse and impression over object and circumstance. This chronological disintegration was for Marini an extended metaphor for mankind's expulsion from earthly paradise into the cruel reality of war. In Cavalli e cavalieri, Marini creates mysteries that are just as vivid as his colours and forms. Bright, full-bodied black and blue oil paints coalesce into evocations rather than descriptions of the horses and riders, omitting any possible whispers of individualisation. Marini's lively dabs and strokes resonate across the surface of the paper in thick staccato, generating forms that resemble musical notations or grammatical symbols. The needle-thin lines with which he incises the subjects grants them a certain architecture, forming rivulets of violence and tension. With their arms raised in defiance, they could be cavalry units undertaking a drill or manoeuvre, charging forth in sync. Indeed, their harmonious colours could evoke a common uniform or military standard. Marini conjures up a saturated backdrop beneath them with off-white paint, sustaining the flatness and compression of the wider mise-en-scène. In their symmetry and abstraction, Marini's horses and riders resemble a Rorschach test, a psychological method by which one's perceptions of inkblots are recorded and analysed using a series of algorithms. In this, the present composition manifests psychoanalytical interpretations of his work, by which critics have understood the horses to signify man's primal erotic instinct – a force that must be harnessed and controlled by the riders. The horses also provide links to history and tradition, as Herbert Reed has observed: 'The taming of the wild horse marked a definite stage in the evolution of human civilization. But such symbolism apart, the horse, by its animal form... is in itself a thing of beauty that naturally appeals to the artist... Marini, in selecting this animal as a subject, is showing a predilection as old as art itself. It is all the more amazing, therefore, that he should have given a new treatment to the subject' (H. Read, P. Waldberg & G. di San Lazzaro, Marino Marini, Complete Works, Milan, 1970, p. 12).For Marini, tradition was a mode through which he could delineate mankind's relationship with the world, its values and its events. In this, he distinguished himself from the Italian Futurists, whose art embodied the mechanical and industrial advancements of their age. Nevertheless, he sought to pervert the epic and imperial overtones of the equestrian type, dismantling its mythology of uono di virtù, the individual virtuous hero. He considered this to be, 'my own way of reacting against the imperialist pathos of official Fascist art... I am no longer seeking, in my own equestrian figures, to celebrate the triumph of any victorious hero. On the contrary, I seek to commemorate in them something tragic – in fact, a kind of 'Twilight of Man', a defeat rather than a victory' (Marini quoted in É. Roditi, Dialogues: Conversations with European Artists at Mid-century, London, 1990, p. 87). Marini was keenly aware of the trajectory of the equestrian trope throughout history, placing himself in a dialogue with his antique forerunners and his avant-garde contemporaries. As he explained to the critic Édouard Roditi, equestrian motifs once 'set out to exalt a triumphant hero, a conqueror like Marcus Aurelius... The Romantic painters were already addicted to a cult of the horse as an aristocratic beast... From Géricault and Constantin Guys to Degas and Dufy, this cult of the horse found its expression in a new attitude toward sport and military life... In Odilon Redon's visionary renderings of horses and later in those of Picasso and Chirico, we then see the horse become part of the fauna of a world of dreams and myths' (Ibid., p. 86).As archetypes that endure throughout art history – and that sustain the microcosm of his oeuvre – horses and riders carried Marini's expansive visions of the world. These visions evolved through his encounters with both art and atrocity. In the present work, Marini succeeds in shifting these emblems of status and pow... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

EDVARD MUNCH (1863-1944)Figurer ved Seinen i Saint-Cloud signed with the artist's initials and dated 'EM. 90' (lower right)pastel on paper30.2 x 35cm (11 7/8 x 13 3/4in).Executed in 1890Footnotes:This work is recorded in the archives of the Munch Museet, Oslo.ProvenanceAntonine G. Melet Collection, Paris, no. 2 (possibly acquired from the artist in January 1890).Private collection, Nice.Private collection, Paris (acquired from the above in April 1988).'Munch writes poetry with colour. He has taught himself to see the full potential of colour in art... His use of colour is above all lyrical. He feels colours and he reveals his feelings through colours; he does not see them in isolation. He does not just see yellow, red and blue and violet; he sees sorrow and screaming and melancholy and decay.' – Sigbjørn Obstfelder, 1893 Few names in the history of modern art conjure quite such immediately visceral imagery as that of Edvard Munch. Globally renowned for his pictorial expression of existential dread, depicted in arguably one of the most famous images of art history, as well as his intensely probing and self-scrutinising self-portraits, Munch experienced some of the most revolutionary social and artistic moments of the late 19th and early 20th Centuries. Though his personal life was plagued from the outset by tragedy, grief and mental anguish, Munch became a leading figure in the breakthrough artistic movements of the period and, contrary to the reclusive nature he embodied, was soon revered as one of the greatest artists of his time.The traditional and strictly conservative society of late nineteenth century Europe was the perfect kindling for the liberating Bohemian ideologies that began to murmur throughout many of the small cafés and quasi-underground drinking houses of the European artist quarters. Whilst Paris and Berlin are perhaps most widely known for this cultural phenomenon, the monumental societal shift in Kristiania – as Oslo was known as from 1877-1925 – was possibly even more extreme; the intellectual readjustment hit the Scandinavian regions particularly aggressively, as Ragna Stang writes: 'the movement was met with such single-minded and relentless hostility that what elsewhere had been a few gentle ripples on the surface of society, in Norway became a full-scale storm, a life and death struggle in some circles that had far-reaching effects; social, political, and, above all, artistic and intellectual' (R. Stang, Edvard Munch, The man and his art, Milan, 1979, p. 45).Artists and writers flooded to Paris during the early 1880s before returning home, brimming with not just new theoretical, philosophical and artistic ideas, but with a newfound appreciation for Continental life, with its café society, Parisian brothels and cosmopolitan people. This threatened the middle-class population of the Scandinavian capital which functioned under the stern ideals of the Lutheran Church and was deeply insular. Munch was exposed to this staunchly pious sentiment through his father, an unaccomplished doctor whose devoutness was only exacerbated by the painfully early loss of his wife Laura and daughter Sophie to tuberculosis, driving him to an almost manic-like state of piety. Illness did not escape the artist himself who was sickly throughout his childhood, forcing much of his formative education to take place at his impoverished home. He swiftly grew apart from his father's beliefs and found himself a shy, reclusive outsider. Ultimately, the opportune rise of Bohemianism in Kristiania drew in the impressionable young man and he began his involvement with the bohemian fraternities in the autumn of 1882, setting his sights on the 'modern' metropolis of Paris.'People will be able to see ... that my philosophy of life and my spiritual art had their beginnings during my Bohemian period in the middle and end of the 1880s, and developed even more during my stay in Paris in 1889' (Munch to Ragnar Hoppe in 1929, quoted in ibid., p. 20). Aside from its prominence as a bohemian metropolis, Paris in the 19th Century was the leading cultural centre of the world; it was the place to see the celebrated painters of the period and the 'alternative' exhibitions on view in the cafés and private galleries that flourished in the city.After receiving a bursary and study grants from the Norwegian state Munch made several visits to Paris during the years 1889-1891. As stated by the artist himself, these sojourns had a profound influence on his development, with some of his most iconic works dating to this period and the years following. His senses were bombarded with artistic theory - Impressionism, Post- & Neo-Impressionism and Symbolism were coming to the fore at this time and elements of all can be seen throughout his oeuvre in the radical brushwork, bold colours, and painting en plein air. A clear indication of this contemporary influence can be seen in Rue Lafayette (1891), in which Munch emulates a typically Caillebotte top-hatted gentleman who looks over the bustling city streets, with the loose handling of a radical Neo-Impressionist, such as Paul Signac. However, perhaps Munch's most frequent and poignant comparison, both as the depressed, melancholic and as the proponent of vivid and expressive colour, is with Vincent van Gogh.Though van Gogh died in July of 1890, and it is assumed that they almost certainly never met, the two artists co-existed unimaginably closely in these Paris years, living in the Montmartre area and moving within the same artistic circles, both finding inspiration and guidance from the revolutionary Symbolist, Paul Gauguin. Whilst they would find great stimulation through the prevailing trends of the time, it is Gauguin who encouraged the two artists to translate their intense personal experience into bold colour and expressive handling which, along with their masterful use of perspective and the solitary figure, conveyed the shared theme of isolation and mental seclusion. Prevalent also is the simplification of form that each of the young artists applied to the human figure, which only expressed further the outward expression of inner suffering the painters felt as they placed themselves in their canvas.In December 1889, prompted by an outbreak of cholera in the central area of the city, Munch moved to the picturesque suburb of Saint-Cloud. He formed a close friendship with the Danish poet Emanuel Goldstein and the two talked frequently and intensely: their conversations gave Munch cause to put his thoughts to paper, producing 'not a diary in the accepted sense of the word; [rather] they are partly extracts from the life of my soul, partly poems written as prose...' (Munch quoted in ibid., p. 73). These extensive writings from the cold Saint-Cloud winter came to be known by some as the 'Saint-Cloud Manifesto', where 'he rejected the emotionally neutral subjects of Impressionism, and stated his determination to paint pictures expressive of states of mind' (G.H. Hamilton, Paintings and Sculptures in Europe 1880-1940, New Haven, 1993, p. 122). Munch became increasingly alienated from the materialism of the bohemians and sought to carve his own path. As Stang comments: 'under the influence of the new ideas that he had encountered in Paris and with the strict religious atmosphere of his home gone, Munch began to develop a mystical and pantheistic philosophy and a completely different attitude towards life and art ... He systematically rejected his earlier philosophy and formulated a new artistic creed: 'There should be no more paintings of people reading and women knitting, in future they s... 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SEGUNDO MATILLA MARINA (Madrid, 1862 - Teiá, Barcelona, 1937)."Female portrait".1888.Oil on canvas.Signed and dated in the right margin.Paint losses and cuts. Stucco stains.Measurements: 56 x 46 cm.Although he was born in Madrid, Matilla trained and developed his career in Barcelona. He studied Fine Arts at the Lonja de Barcelona, under the direction of Antonio Caba. He took part in numerous exhibitions, including the Barcelona International Exhibition in 1891, 1894, 1896 and 1898 (honourable mention in 1891), the Barcelona Art Exhibitions of 1918 and 1919, and the Paris Salon of 1897. That same year he received an honourable mention at the National Exhibition of Fine Arts in Madrid. His solo exhibitions include those held at the Salón Vilches in Madrid (1915) and, in Barcelona, at the Sala Parés (1914) and the Pallarés Galleries (1942), the latter a posthumous tribute. Several of his works exhibited there were bought by the Museum of Modern Art in Madrid, and many others were exported to America. His landscapes of the Empordà, Camprodón, Port de la Selva and Cadaqués brought him great public and critical acclaim. A painter endowed with astonishing skill, a marked personality full of sensitivity, a mastery of drawing and painting technique and an overflowing capacity for work, Segundo Matilla was an excellent painter who cultivated absolutely all genres, being a great landscape and marine painter, painting portraits of great quality, especially of people from the world of show business, and his vases and still lifes were also highly appreciated. His paintings of bullfighting themes, painted with great spontaneity and full of movement, demonstrate his great fondness for the art of Cúchares. He always painted in a totally intelligible way and without any kind of reflexive complications, ignoring absolutely all the artistic trends of his time. His work can be found in various museums, such as the aforementioned Museum of Contemporary Art in Madrid, the Prado Museum, the Pablo Gargallo Museum in Saragossa and the National Art Museum of Catalonia, as well as in important international private collections.

RAMON CASAS CARBÓ (Barcelona, 1866 - 1932)."Portrait of a lady.Pastel on paper.Signed in the lower right corner.With "Pèl i Ploma" stamp in the lower right-hand corner.Size: 33 x 25 cm; 56 x 47 cm (frame).Drawing made by Ramon Casas for the artistic and literary magazine "Pèl i Ploma", of which 100 issues were published between 1899 and 1903. Casas himself financed its publication and was its artistic director and main illustrator, while Miquel Utrillo was in charge of the literary section and Emilio Galcerán was in charge of the administrative side. It was one of the most representative magazines of Catalan Modernisme, a driving force behind this movement and a platform for the dissemination of modern art. In this work Casas depicts an elegant lady dressed in the bourgeois fashion of the turn of the century, with a fox fur collar. It is an image charged with instantaneity, typical of the female representations of the Catalan school of the late 19th century. It combines the formal sensuality of the sinuous and expressive line, typically modernist, with the great realism with which a strictly contemporary image has been captured. It is a work closely linked to the graphic design of the period; the expressive linearity, the sobriety of the colours and the attention to current themes coincide with the features of posters and illustrations for magazines.An outstanding painter and draughtsman, Casas began painting as a disciple of Joan Vicens. In 1881 he made his first trip to Paris, where he completed his training at the Carolus Duran and Gervex academies. The following year he took part for the first time in an exhibition at the Sala Parés in Barcelona, and in 1883 he presented a self-portrait at the Salon des Champs Elysées in Paris, which earned him an invitation to become a member of the Salon de la Societé d'Artistes Françaises. He spent the following years travelling and painting between Paris, Barcelona, Madrid and Granada. In 1886, suffering from tuberculosis, he settled in Barcelona to recover. There he came into contact with Santiago Rusiñol, Eugène Carrière and Ignacio Zuloaga. After a trip to Catalonia with Rusiñol in 1889, Casas returned to Paris with his friend. The following year he took part in a group exhibition at the Sala Parés, together with Rusiñol and Clarasó, and in fact the three of them continued to hold joint exhibitions there until Rusiñol's death in 1931. His works of this period are halfway between academicism and French impressionism, in a sort of germ of what would later become Catalan modernism. His fame continued to spread throughout Europe, and he held successful exhibitions in Madrid and Berlin, as well as taking part in the Chicago World's Fair of 1893. Casas settled permanently in Barcelona, immersed in the modernist atmosphere, although he continued to travel to Paris for the annual salons. He financed the café Els Quatre Gats, which was to become a point of reference for the Modernists, and which opened in 1897. Two years later he organised his first solo exhibition at the Sala Parés. While his fame as a painter grew, Casas began to work as a graphic designer, adopting the Art Nouveau style that came to define Catalan Modernisme. In the following years his successes followed one after another: he presented two works at the Universal Exhibition in Paris in 1900, won a prize in Munich in 1901, several of his works were included in the permanent exhibition at the Circulo del Liceo, he held several international exhibitions and, in 1904, won first prize at the General Exhibition in Madrid. He was represented in the Prado Museum, the Museo Nacional de Arte de Cataluña, the Museo Nacional Reina Sofía, the Thyssen-Bornemisza, the Museo de Montserrat, the Cau Ferrat in Sitges, the Camón Aznar Museum in Zaragoza and the Museums of Contemporary Art in Barcelona and Seville, among many others.

VALENTIN ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963) ."Portrait in front of a Basque landscape".Oil on canvas.Signed in the lower right corner.Size: 31 x 36 cm; 48 x 53 cm (frame).An old woman holds on her lap a big pitcher, opening behind her a mountainous landscape. This is a frequent type of composition in Valentín Zubiaurre's painting, which allowed him to ennoble both the inhabitants of rural areas and the Basque landscape. The intense chromatic contrast, with its twilight shifts, and the expressiveness of the old woman's weathered face are characteristic of this artist, who (together with his brother Ramón) was a renovator of Spanish regionalism.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and dumb, like his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea, who was also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a pupil of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time completed his solid training by visiting the Prado Museum. In 1898 the two Zubiaurre brothers set out on a study trip that took them to France, Italy and the Netherlands. On their return to Spain they obtained a grant from the Diputación de Vizcaya in 1902, which enabled them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not receptive to its influence, owing mainly to the weight of their academic training and their admiration both for the Flemish and Italian primitives and for contemporary Spanish painters such as Darío de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts and was awarded several prizes; in 1908 he won the second medal and in 1917 the first. He was also distinguished with prizes from foreign institutions, and won prizes in important international competitions held in the first decade of the 20th century, including those of Munich, Buenos Aires, Brussels, San Francisco, San Diego and the University of Panama. From the 1920s until the Civil War, the Zubiaurre brothers experienced their most successful and renowned period, both in Spain and internationally. After the war Valentín de Zubiaurre resumed his career in Spain, and his recognition became official with his appointment as a full member of the San Fernando Royal Academy of Fine Arts in 1945, culminating in the medal of honour awarded to him at the National Exhibition of Fine Arts in 1957, six years before his death. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Centre, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.

RAMÓN CASAS CARBÓ (Barcelona, 1866 - 1932)."Julia".Pencil drawing on paper.With testamentary signature in the lower left-hand corner.Size: 37 x 30 cm; 67 x 58 cm (frame).In this work Ramón Casas presents us with a portrait of Julia Peraire, the artist's undisputed muse, with whom he established the only known lasting sentimental relationship and whom he would end up marrying in 1922. Casas was the master of modernist drawing in Catalonia, sensual in line and expressive in equal measure, delicate and subtle, endowed with a very special sensitivity. In this work, the draughtsman's line becomes precise and hurried in the face, modelling it delicately, using a faint play of half-shadows that focuses the viewer's attention precisely on it. This is reinforced by Julia's enigmatic expression, who looks directly at us, squinting her feline eyes and smiling proudly. This sketchy character of the lines creates the illusion of a radiant image, full of light, triumphant despite the absolute simplicity of the composition.The female figure was the main protagonist of Ramón Casas's work, both in painting and illustration. The master shows us his personal sensual and decorative vision of the female figure, in representations that always go beyond the simple reproduction of reality to reflect powerful personalities, often defiant, strong women who are always elegant and seductive. Specifically, in this drawing Casas shows his affinity with some of his contemporaries, especially Toulouse-Lautrec who, like him, knew how to make the oriental language of the line his own, expressing himself through subtlety, the elegant and moving stroke and the evocative power of the void.An outstanding painter and draughtsman, Casas began painting as a disciple of Joan Vicens. In 1881 he made his first trip to Paris, where he completed his training at the Carolus Duran and Gervex academies. The following year he took part for the first time in an exhibition at the Sala Parés in Barcelona, and in 1883 he presented a self-portrait at the Salon des Champs Elysées in Paris, which earned him an invitation to become a member of the Salon de la Societé d'Artistes Françaises. He spent the following years travelling and painting between Paris, Barcelona, Madrid and Granada. In 1886, suffering from tuberculosis, he settled in Barcelona to recover. There he came into contact with Santiago Rusiñol, Eugène Carrière and Ignacio Zuloaga. After a trip to Catalonia with Rusiñol in 1889, Casas returned to Paris with his friend. The following year he took part in a group exhibition at the Sala Parés, together with Rusiñol and Clarasó, and in fact the three of them continued to hold joint exhibitions there until Rusiñol's death in 1931. His works of this period are halfway between academicism and French impressionism, in a sort of germ of what would later become Catalan modernism. His fame continued to spread throughout Europe, and he held successful exhibitions in Madrid and Berlin, as well as taking part in the Chicago World's Fair of 1893. Casas settled permanently in Barcelona, immersed in the modernist atmosphere, although he continued to travel to Paris for the annual salons. He financed the café Els Quatre Gats, which was to become a point of reference for the Modernists, and which opened in 1897. Two years later he organised his first solo exhibition at the Sala Parés. While his fame as a painter grew, Casas began to work as a graphic designer, adopting the Art Nouveau style that came to define Catalan Modernisme. In the following years his successes followed one after another: he presented two works at the Universal Exhibition in Paris in 1900, won a prize in Munich in 1901, several of his works were included in the permanent exhibition at the Circulo del Liceo, he held several international exhibitions and, in 1904, won first prize at the General Exhibition in Madrid. He was represented in the Prado Museum, the Museo Nacional de Arte de Cataluña, the Museo Nacional Reina Sofía, the Thyssen-Bornemisza, the Museo de Montserrat, the Cau Ferrat in Sitges, the Camón Aznar Museum in Zaragoza and the Museums of Contemporary Art in Barcelona and Seville, among many others.

LUIS ARCAS BRAUNER (Valencia, 1934 - Cambridge, United Kingdom, 1989)."Villarluengo", 1970.Oil on canvas.Signed and dated in the lower left corner.Measurements: 91 x 135 cm; 95.5 x 140 cm (frame).A landscape painter, although he also tackled portraits and still lifes, Luis Arcas began his training at the Escuela Superior de Bellas Artes de San Carlos in Valencia, where he also did complementary studies in engraving. He furthered his studies with the Pensión de Paisaje de El Paular (1953), and completed his training a year later. He subsequently obtained a painting pension from the Caja de Ahorros de Valencia (1958), a grant to study in Paris from the Albert-Álvarez Foundation (1958) and a grant from the Casa Velázquez awarded by the French Government and the Valencia City Council (1966). In 1974 he won the chair of life drawing at the Faculty of Fine Arts of the Polytechnic University of Valencia, and four years later he was appointed member of the Royal Academy of San Carlos. He was also a founding member of the group Arte Actual. He won numerous prizes throughout his career, including the silver medal at the 13th University Art Exhibition in 1952, the Extraordinary National Prize at the Fifth National Fine Arts Competition in Alicante in 1956, an honourable mention at the Sixth Autumn Salon of the Ateneo Mercantil in Valencia in 1960 and the prize awarded by the Diputación de La Coruña at the National Fine Arts Exhibition held in Barcelona that same year. Between 1954 and 1973 he showed his work in numerous exhibitions, both individual and collective, and among the latter it is worth mentioning for its importance the one entitled "75 Years of Valencian Painting", organised by the Valencia City Council in 1975. He also took part in the National Exhibitions in Madrid in 1954, 1960 and 1976, the Spanish-American Biennial in Barcelona in 1955, the Biennial of Spanish Contemporary Art in Paris and others. Likewise, the Caja de Ahorros de Valencia dedicated a retrospective exhibition to him entitled "Thirty years of professional life". Luis Arcas held individual exhibitions in Spain, France and Argentina.

Cookery.- Cole (Mary) The Lady's Complete Guide; or, Cookery in all its branches, third edition "very much improved", half-title, some foxing, marginal tear to K7 neatly repaired, contemporary sheep, rubbed, corners worn, rebacked with gilt spine, new endpapers, [Cagle 623; Maclean p.29; Oxford p.117], for G.Kearsley, 1791 § [Glasse (Hannah)] The Art of Cookery, made Plain and Easy, sixth edition "with very large additions", with facsimile signature of authentication on p.1, some light soiling, stain to lower outer corner of some leaves, some fraying to fore-edges repaired, contemporary sheep, rubbed and stained, some repairs, rebacked, new endpapers, [Maclean p.59; Oxford p.77; this edition not in Cagle], for the Author...sold by A.Millar...and T.Trye, 1758 § Armstrong (John) The Young Woman's Guide to Virtue, Economy, and Happiness...with a Complete and Elegant System of Domestic Cookery..., eighth edition, engraved frontispiece and 11 plates of joints & seasonal table settings, some foxing and staining, contemporary half calf, spine gilt, rubbed, [cf.Cagle 548, fifth edition], Newcastle upon Tyne, 1828, 8vo (3)⁂ Mary Cole was cook to the Earl of Drogheda and appears to have been the first cookery writer to recognise and acknowledge systematically the source of some of her recipes. The second item, by Glasse, was the best-selling cookery book of the century but this was the first edition to contain some Jewish recipes. The last mentioned contains advice on all matters from letter-writing to letting lodgings, in addition to recipes.

NO RESERVE Art Reference.- Sparrow (W. Shaw) British Sporting Artists from Barlow to Herring, one of 95 copies signed by the author in pencil, 92 plates, 3 double-page, many colour, bookplate of the Earl of Kintore, the odd spot, contemporary maroon half morocco, gilt, upper cover lightly toned, 1922; and 29 others, art reference, many sporting and watercolour related, v.s. (30)

Angling.- Walton (Izaak) The Complete Angler, 2 vol., Tercentenary Edition, one of 350 copies, portrait frontispiece, plates, lightly browned endpapers, original vellum-backed pictorial boards, gilt, dust-jacket, slight creasing to edges, 1893 § Bowlker (Charles) The Art of Angling, engraved frontispiece, advertisement at end, scattered faint spotting, modern half-calf, 1792 § Halford (F. M.) Dry Fly Entomology, half-title, previous owner's ink signature, 28 plates, of which 10 colour, 1 folding table, illustrations, scattered faint spotting, near contemporary half-morocco, a little rubbed, 1897; and others, angling, 8vo & 12mo (9)

ANTIQUARIAN: PRICE (Francis): 'The British Carpenter: or, a treatise on carpentry. Containing the most concise and authentick rules of that art...': 3rd Edition: London, V & J Ackers, 1753: with 62 plates, some folding, including 2 frontispieces: 4to, contemporary panelled calf boards, recently rebacked: together with a quantity of antiquarian books over 4 shelves, 16th-19thc publications, various languages, sizes and condition. (4 shelves)

LEIGHTON (John): 'Select Views of Glasgow and its Environs. Engraved by Joseph Swan..', Glasgow, published by Joseph Swan, engraver, 1828: 4to, contemporary blind stamped blue calf gilt, aeg, a little rubbed: GORTON (John) 'A Topographical Dictionary of Great Britain and Ireland..', London, Chapman & Hall, 1833: 3 vols, publishers blue cloth gilt, 8vo: NORRIS (Thaddeus) 'The American Angler's Book: embracing the natural history of sporting fish and the art of taking them..': Philadelphia, Porter & Coates, 1864: contemporary black half morocco gilt, endpapers renewed, broad 8vo: together with approx 33 other vols, miscellaneous including topography, cookery and horticulture. 

SWAN (John): 'The Entire Works of Dr Thomas Sydenham, newly made English from the original...', London, printed for Edward Cave, 1742: 8vo, contemporary calf gilt ruled, worn and scuffed, hinges cracked: together with 'The Art of Invigorating and Prolonging Life', 2nd edition, London 1821, bound with 'The Cook's Oracle', 3rd edition 1821, contemporary calf gilt, worn, 8vo. (2)

Sven BERLIN (1911-1999)TwinsInk drawingSigned and dated'7340x24.5cmNote: This black and white study is a very similar work to the watercolour 'Teenagers' in David Bowie's collection, that sold for £20,000 in Sotheby's Bowie/Collector Part II: Modern And Contemporary Art, Day Auction, November 2016. Bowie originally acquired the work from Christies in 1993. We will be selling another similar work in our Sven Berlin, Part II Sale, in June.

AN IMPORTANT COLLECTION OF ONE-HUNDRED HARDSTONE NEOCLASSICAL INTAGLIOS, NINETY-EIGHT OF WHICH WERE FORMERLY IN THE COLLECTION OF PRINCE STANISLAS PONIATOWSKI (1754-1833)Each intaglio carved in carnelian, sardonyx, amethyst or chalcedony to depict a classical scene, with majority with Greek pseudo signature, each with an electrotype cast, in two wooden and Perspex frames each containing fifty intaglios and together with a hardbound reference catalogue with slipcaseProvenance: Prince Stanislas Poniatowski Christie's, London, 1839 John Tyrell Esq.Various private collections Property of a private lady. Inherited from her father in 1999. He purchased the gems from Collingwood, Conduit Street in 1973, who commissioned the electrotype casts, compiled the reference catalogue and mounted them on display boards.Reference literature: Catalogue des pierres gravιs antiques de S.A. le Prince Stanislas Poniatowski ([1830?]-1833) Prendeville, J.: Explanatory catalogue of the proof-impressions of the antique gems possessed by the late Prince Poniatowski and now in the possession of John Tyrrell, Esq. (1841) Platz-Horster,G.: L'antica maniera. Zeichnungen und Gemmen des Giovanni Calandrelli in der Antikensammlung Berlin (2005)Please note that we have used the subject descriptions as per the Beazley Archive, which differ from the hardbound reference catalogue that accompanies this lot. With thanks to Dr Claudia Wagner of the Ashmolean Museum, Oxford for her assistance with research for our comparative references to the Beazley Archive.PRINCE STANISLAS PONIATOWSKI (1754 - 1833) Prince Poniatowski was the nephew of the last King of Poland. He was well educated and developed a keen interest in the arts including Classical mythology. He emigrated to Italy at the end of the 18th century and after the Partition of Poland where he lived in Rome and Florence. It was here in the early 19th century that he commissioned over 2500 hardstone intaglios to be carved in the Classical manner, in the spirit of the Grand Tour. The skilled gem engravers who included Luigi Pichler (1773 - 1854) and Giovanni Calandrelli (1784-1853), were exclusively influenced by Classical literature, especially the works of Homer, Virgil and Ovid rather than the many ancient Classical representations which had inspired so much Neoclassical art. Together with their stylistic interpretation of the subjects, this gave them a distinct originality and a unique visual language. Poniatowski did little to discourage the misconception that his gems were Classical and used contemporary Greek pseudo signatures. He published two catalogues of his gems and his collection was sold after his death at a Christie's auction in 1839. The deception was exposed and the gems were recognised and spurned as 'modern'; with the majority being acquired by John Tyrrell. The collection was subsequently split and has been widely dispersed ever since. The intaglios being offered now are probably the largest collection of Poniatowski intaglios to be offered at auction since the mid 19th century.

RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist artist. A good vintage signed 8.5 x 6.5 photograph, being a reproduction of one of the artist's still life studies featuring a fish and entitled Nature Morte au Poisson. Signed ('Renoir') in black ink with his name alone to the lower white border. Also signed by the Mayor of Cagnes beneath a short statement confirming the authenticity of Renoir's signature, dated 10th January 1911. The lower border also features the Mayor's official purple rubber stamp. Neatly mounted to a 9 x 9.5 page removed from a contemporary album. Some very light, extremely minor age wear, VG In the later years of his life Renoir suffered from the crippling effects of arthritis which impacted on his work and he turned to subjects which could be executed in the studio, including still-lifes. Such paintings could be finished quickly, illustrated by the sureness of the long, gestural strokes which define the fish in the present image. Nature Morte au Poisson, an oil on canvas, was originally owned by Renoir's cataloguer, the French art dealer Ambroise Vollard (1866-1939). Vollard, in order to avoid any future disputes regarding the authenticity of works by Renoir, had all the original paintings photographed and then asked Renoir to sign each photograph whilst being witnessed by the Mayor of Cagnes.

An early 17th century Tosa school four panel folding screen for tea room use "The joys of lake Biwa": a small four-panel folding screen for tea-room use, ink, colours, and gofun (crushed calcified shell) on paper, in silk mounts, depicting various figures walking through hills over bridges, pine and cherry trees, with temples in the background; signed bottom right panel with red stamp . Overall: 90cm x178cm each panel: 90cm x 44cm. Tosa school, hereditary school of Japanese artists, consisting of members of the Tosa clan and other artists adopted into the clan, forming an official school contemporary with that of the Kanō family. Both lineages claim descent from great 15th-century masters of Japanese art. The two schools lasted until the end of the Edo period (1603–1867). The Tosa school devoted its talents to subjects and techniques traditional to the indigenous art of Japan and, in theory, provided the official painters attached to the court

John Newberry (b.1934)Bridge at Victoria Gate, Valetta, signed, watercolour, 21.5 x 29cm; with Duncan Campbell Contemporary art; and four further to include: Inland Sea with Fungus Rock, Gozo; Blue Lagoon, Comino, Gozo; Xlendi, Sunset Gozo; and Morning Light, Xatt I-Ahmar, Gozo (5)

Lardner (Dionysius). Railway Economy: a treatise on the new art of transport, its management, prospects, and relations, commercial, financial, and social, 1st edition, London: Taylor, Walton and Maberly, 1850, ownership inscriptions to title, front free endpaper and front pastedown, lightly spotted and toned, bookbinder's ticket to lower margin of rear pastedown, pencil sketches to rear free endpaper, original blindstamped green cloth, backstrip slightly faded, boards slightly marked, extremities rubbed, 8vo, together with:Haslett (Charles). The Mechanic's, Machinist's, and Engineer's practical book of reference..., New York: Stringer & Townsend, 1856, 517pp, folding table, ownership inscriptions to front free endpaper, spotted, some marginal damp-staining, bookseller's ticket to rear pastedown, original wallet-style brown gilt morocco binding with fore-edge flap, gilt vignettes to flap and rear cover, extremities rubbed, 12mo, withMinutes of Evidence. Taken before the Committee on the London and Brighton Railway Bills, London: James & Luke G. Hansard & Sons, circa 1836, ownership inscription to front free endpaper, lightly spotted, contemporary cloth, lacking spine, boards lightly marked and stained, 8vo, together with 3 other related works on British RailwaysQty: (6)

Portuguese Musicians & Artists. A series of 16 autographs in an album (4 unknown), relating to important figures in the cultural life of Portugal during the 1920s, the twelve identified being De Freitas Branco, Luis Maria da Costa (1890-1955). Composer who is widely considered to be the ‘father’ of 20th century classical music in Portugal. A very rare Autograph Musical Quotation Signed (‘Luis Maria da Costa de Freitas Branco’) of the opening 5 bars of his 1st Symphony written on 3 staves; Serafin, Tullio (1868-1958). Italian conductor. Autograph Musical Quotation Signed of 2 notes, suggestive of the range of an instrument (probably a violin); Suggia, Guilhermina (1885-1950). Cellist. Autograph Musical Quotation Signed (‘Guilhermina Suggia’) from J. S. Bach’s 3rd ‘Cello Suite; De Lacerada, Francisco (1869-1934). Composer. Autograph Musical Quotation Signed from an unidentified work; Lassalle, Jose (1876-1937). Conductor. Autograph Musical Quotation Signed from an unidentified work; Lopes, Antonio Teixeira (1866-1942). Sculptor. Signature (‘Teixeira Lopes’) with a two-line inscription and place and date; Arroio, Antonio (1856-1934). Engineer who wrote about literature, music and fine-art. Signature (‘Ant. Arroio') with a two-line inscription and place and date; Virgani, Vera (1895-1989). Actress. Signature (‘Vera Virgani’) with place and date; Robinne, Gabrielle (1886-1980) Actress. Alexandre, Rene (1885-1946) Actor and husband of Robinne. Both signatures on the same page (‘R Alexandre’ and ‘Gabrielle Robinne’) with place and date; Sergio, Antonio (1883-1969). Educationalist, philosopher, journalist, sociologist and essayist. Being a 4 stanza poem in translation - the original being by René François Armand (Sully) Prudhomme and signed at the end (‘Antonio Sergio’); De Campos, Augustinho (1870-1944). Sculptor. 4 line sentiment or poem signed (‘Augustinho de Campos’); and three other unidentified signed Autograph Musical Quotations and a four-line sentiment/poem, all inscribed to rectos only with some news cuttings and blank leaves at rear, contemporary marbled wrappers, oblong 8vo, together with a loosely inserted unsigned programme andRey Colaco, Alexandre (1854-1928). Pianist and composer, whose works were among the first to incorporate popular themes of a Portuguese national character. Two Autograph Letters Signed (‘Alexandre Rey Colaco’), relating to a concert at the Automobile Club in Lisbon, which is to be given by his daughter Alice with the pianist Beatrix Coelho (to whom the autograph album appears to have belonged), further informing the recipient of their complete programme, both 2 pages, 8voQty: (1)

Hayes (Alfred). The Vale of Arden, signed limited edition, Birmingham: Cornish Brothers, 1897, signed by author and artist to limitation page, bookplate of Alfred Woodward to front pastedown, lightly spotted, original publisher's quarter vellum, rubbed, folio, number 51 of 75, together with:Catalogue of the Art Treasures of the United Kingdom, collected in Manchester in 1857, no publisher, no date, half-title, frontispiece, ground plan to rear, contemporary inscriptions to front pastedown, front hinge tender, contemporary black half calf over marbled boards, worn, 8vo, withHamnett (Nina). Laughing Torso, reminiscences of Nina Hamnett, London: Constable & Co Ltd 1932, half-title, frontispiece, numerous black and white illustrations, lightly spotted, original black cloth, remnants of sticker to front board, rubbed and lightly marked, 8vo, with 6 others unrelatedQty: (9)

ROBERT NATKIN (AMERICAN 1930-2010) UNTITLED (ABSTRACT), C.1950s Oil on canvas(100cm x 85cm (39.5in x 33.5in))Provenance: Purchased by the present owner from Robert Henry Adams Fine Art, Chicago Art Fair, Navy Pier, Chicago, USA 1990 Note: Robert Natkin was born into a dysfunctional, impoverished Chicago family in 1930. The cinema and theatre proved a welcome distraction which the young Natkin would enjoy up to six times a week, often with his father, a rag-dealer (and, as he enjoyed recalling, a failed tap dancer). An encounter with a book of Paul Klee’s paintings in 1947 proved pivotal for Natkin, who found the vibrant evocations of the subconscious revelatory. Against his parents’ protestations, he resolved to become an artist. Klee’s influence is evident in the rhythmic, structural forms of ‘Untitled (Abstract)’, which is understood to date to the 1950s. Natkin stated that during this period he was influenced by the artificial lighting of theatre sets and Technicolour musicals, by turns dramatic and lurid, that had illuminated so much of his childhood. In this early work, intermingled pigments are pushed across the canvas, eliciting broad passages of moody, earthier tones, which are punctuated by flashes of pure cerulean, vermillion and tangerine. The bold linear mark-making anticipates the vertical planes that would dominate Natkin’s output throughout the 1960s, dubbed the ‘Apollo series’. Yet while his ‘Apollo’ paintings contrasted adjoining bands of solid colour to catalyse what he termed a ‘visual vibrato’, his earlier abstracts demonstrate an inquisitive and playful approach to his palette, as if he were testing his ability to manipulate colour and light. Robert Natkin studied at the Art Institute of Chicago between 1948 and 1952, where he was afforded access to their collection of Post-Impressionist paintings. In the early 1950s Natkin moved to New York to commence a successful and varied exhibiting career, and immerse himself in the contemporary art scene, which at the time was preoccupied with Abstract Expressionism. Natkin recalled that he was first exposed to the style when reading Life magazine’s 1949 spread on Jackson Pollock, which asked readers ‘Is he the greatest living painter in the United States?’; Natkin professed to never having warmed to Pollock’s work, instead preferring Willem de Kooning, but above all remaining committed to European abstraction. His most celebrated commission came in 1992, when he was invited to create a mural for the lobby of 1211 Avenue of the Americas, New York. Situated on the corner of the Rockefeller Centre, the vast composition is visible from the street, and has become a beloved local landmark. By this point Natkin was in his 60s and living with his family in Connecticut, but in the summer of 1991 he relocated to New York to work on the mural full-time upon an elevated scaffold. Natkin was commissioned to fill a space measuring twenty by forty-two feet, and preparatory studies therefore proved integral to the successful fulfilment of the commission; he was adamant that his composition should retain its emotional intensity and integrity when transcribed from the smaller studies to the towering lobby wall. By this point his palette was lighter, and his forms softer and more luscious, influenced by a particularly fruitful stay in England in 1974. ‘Study for “1211 – Mural”’ provides an intriguing insight into the developing composition, and evidences a concern for textural mark-making and architectural form. Robert Natkin died in Connecticut in 2010, and is remembered as an important name in the development of American abstraction. He is well-represented in important national collections, including the Metropolitan Museum of Art, the Museum of Modern Art, the Solomon R. Guggenheim Museum, and the Centre Pompidou.Footnote: Exhibited: Robert Henry Adams Fine Art, Chicago