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LUCELLE RAAD (AMERICAN b.1942) SNAILS Serigraph, signed lower right, titled, inscribed (AP), 50 x 50cm  With certificate of authenticity from London Contemporary Art In an edition of 650 with 150 Artist Proofs Condition Report:Available upon request

Edward Bell (British Contemporary) Nude Study, signed and dated '02 right edge, chalk drawing, measurements 44.5 x 28.5 cm, frame 71 x 54 cm Provenance: private local collection, purchased from Bebb Fine Art

Paoletti (Bartolome, 1757-1834, & Pietro, 1801-1847). A collection of 52 plaster cameos (or intaglios), presented in a leather-bound double-sided faux book box, Rome, circa 1820, 52 white plaster intaglios, or impronte (miniature impressions in relief of ancient gems, cameos, coins and medals, as well as modern sculptures and portraits), each bordered with pale yellow paper (with manuscript numbers added in ink), and edged in gilt, generally between 2 and 5 cm in diameter, (but some between 6 and 9 cm), carefully arranged and mounted in recessed double-sided book-boxes, lined with dark blue paper, manuscript list of contents in brown ink to front and rear pastedowns of each volume, giving the subject, artist or location, with the address of the manufacturer added at foot of front pastedown 'Si fanno in Roma da Bartomomeo Paoletti, e Pietro Figlio, dimoranti di Studio in Piazza di Spagna numo. 49', marbled paper outer edges, original brown half calf over marbled paper boards, spines gilt, and lettered PAOLETTI, 3 and 'Uomini Illustri, Villa Albani, Museo di Firenze', rubbed and scuffed with a little wear to extremities, 8vo (24.5 x 15.5 cm)Qty: (1)Footnote: A collection of early 19th century plaster intaglios, known in Italian as 'impronte', manufactured by the Paoletti family, which became highly popular amongst aristocratic and fashionable travellers on the Grand Tour during the early part of the 19th century, especially from England. The Paolettis numbered amongst their clients Catherine the Great of Russia, Ferdinand III, Grand Duke of Tuscany, and Lord Elgin, and are listed in Heinrich Keller's contemporary directory of artists and craftsmen working in Rome in 1824 (Elenco di tutti i pittori, scultori, architetti miniatori...di Roma) at the same address as given in the present examples (page 70).Designed to form a kind of miniature museum of the history of art and classical mythology, this collection covers the collections of three museums in Rome: Uomini Illustri nel Museo Capitolino, Villa Albani, and the Museo de Firenze. Individual subjects include: Dante, Ariosto, Tasso, Petrarch, Correggio, Michelangelo, Galileo, Leonardo, Palladio, Titian, Poussin, Angelica Kauffmann, Winkelman; from the Villa Albani: Bacchante, Antinous, Agrippina, Aesop and Cupid; and from the Museo di Firenze: Venus, Minerva, Three Graces, Medici Venus, Raphael's Madonna della Sedia, Titian's Venus, Hercules defeating the Centaur, Mercury by Giambologna, Machiavelli, Niobe, and her four daughters.

Liebermann (Max, 1847-1935). Portrait of Hertha Morgenstern, 1921, pastel and coloured chalks on thick card, half-length portrait of a dark-haired young lady, seated in a carved wooden chair, her hands clasped on her knee, wearing a dark dress, a diaphanous green stole, and bangles on her arms, some surface marks and spotting, signed in red lower left 'Mx Liebermann Berlin 1921', 97 x 72 cm (38 1/4 x 28 3/8 ins), mounted on a contemporary black painted wooden support to verso (101 x 76.5 cm)Qty: (1)Footnote: Provenance: Formerly in the collection of Max and Hertha Morgenstern; thence by descent to Charles and Pauline Morton of Rowde Court, near Devizes, Wiltshire.Hertha Israel (1900-1962) married Maximilian Morgenstern (1883-1946) in 1922, and this picture was painted just prior to their marriage, presumably as a formal engagement portrait. Wealthy owner of a textile mill, Max Morgenstern was a bibliophile and art collector particularly known for his patronage and mentorship of Alfred Kubin, whose works he began collecting in the early 1900s. He and his wife had two children, both sons - Charles Peter (Curt Peter) Morton and Robert William (Wolgang Robert) Morton. At the outbreak of WWII Max and Hertha were forced to flee their opulent home in Vienna, to England, where their sons were being educated. The couple took very little with them, and most of their possessions were seized by the Nazis.Max Liebermann lived and worked for a time in Munich, but in 1884 returned to Berlin where he remained for the rest of his life. Prior to the Second World War he was lauded by high society; noted particularly for his portraiture, it is not surprising that he was chosen to portray Hertha, a relation of the wealthy Rothschild family. However, as for his fellow-Jews the Morgensterns, the rise of Hitler sounded the death knell to life as he knew it. Liebermann withdrew from public life in 1933 and two years later, at the age of 87, he died.

Interior Design - contemporary art, a collection of twenty one acrylic designs on canvas, the largest 51cm x 40cm (21)

Full title: Liu Ren (1980): 'The Forbidden City' from the series 'Sleepwalker', chromogenic or C print, ed. 2/2 A.P., dated 2007Description: Work: 129 x 90 cmAbout the artist:Ê Exhibitions in a.o. Beijing, Rotterdam, Seoul, Virginia, London and New York.Ê Ê Provenance:Ê - This work was part of the contemporary Chinese art exhibition 'Stars of China: Past and Present', which ran from February 1 - March 22 2009 at the Museum Jan van der Togt, Amstelveen (curator: Drs Feng-Chun Ma). Illustrated on p. 91 of the catalogue.Ê - Private collection the Netherlands, acquired directly from the artist.Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Yang Yi (1971): Three works from the series 'Uprooted' (No. 08, 12 and 21), chromogenic or C prints, dated 2007Description: Work:100 x 70 cmÊ Edition of 12.Ê Ê About the artist:Ê Numerous exhibitions in different photo galleries in Beijing.Ê Ê Provenance:Ê - These works were part of the contemporary Chinese art exhibition 'Stars of China: Past and Present', which ran from February 1 - March 22 2009 at the Museum Jan van der Togt, Amstelveen (curator: Drs Feng-Chun Ma). Illustrated on pp. 122-123 of the catalogue.Ê - Private collection the Netherlands, acquired directly from the artist.Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Yang Yi (1971): Two works from the series 'Uprooted' (No. 09 and 15), chromogenic or C prints, dated 2007Description: Work: 150 x 105 cmÊ Edition of 6.Ê Ê About the artist:Ê Numerous exhibitions in different photo galleries in Beijing.Ê Ê Provenance:Ê - These works were part of the contemporary Chinese art exhibition 'Stars of China: Past and Present', which ran from February 1 - March 22 2009 at the Museum Jan van der Togt, Amstelveen (curator: Drs Feng-Chun Ma). Illustrated on pp. 120-121 of the catalogue.Ê- Private collection the Netherlands, acquired directly from the artist.Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

MAX ERNST (1891-1976)Méduse circonflexe signed 'Max Ernst' (lower right); signed, inscribed and dated 'Max Ernst Méduse circonflexe 1933 26 rue des Plantes Paris 14e' (on the reverse, listed in the catalogue raisonné as beneath the lining)oil on canvas38.3 x 46.2cm (15 1/16 x 18 3/16in).Painted in 1933Footnotes:ProvenanceRichard Feigen Gallery, Chicago.Leo Orenstein Collection, New York.Galerie Jan Krugier, Geneva.(Possibly) Galerie 623, Paris.Galerie Jeanne Castel, Paris.Acquired from the above by the previous owner (1990s); their sale, Sotheby's, Paris, 19 October 2017, lot 1.Private collection, Europe (acquired at the above sale).ExhibitedLondon, The Mayor Gallery, Max Ernst Exhibition, 8 June – 1 July 1933, no. 3.Zurich, Kunsthaus Zurich, Was ist Surrealismus?, 11 October – 4 November 1934, no. 47.New York, Julien Levy Gallery, Max Ernst, Exhibition Surrealist, 18 November – 9 December 1936, no. 29.LiteratureW. Spies, S. & G. Metken, Max Ernst Oeuvre-Katalog, Vol. IV, Werke 1929-1938, Cologne, 1979, no. 1892 (illustrated p. 167).The primeval figure who floats suspended at the centre of the present work marries Ernst's interest in Greek mythology and the process of metamorphosis, as well as his fondness for wordplay. Painted in 1933, Méduse circonflexe also looks outward to the seismic events of contemporary Europe whilst showcasing the artist's pioneering grattage technique.Although he resisted being identified as a full member of the Surrealist group, Max Ernst became one of the key figures associated with the movement, drawn to André Breton's 1924 siren call from the Cologne Dada group alongside Jean Arp and Man Ray. Highly experimental, Ernst would utilise techniques across the spectrum of painting, sculpture, collage and literature to create haunting dream-like compositions prompted by the teachings of Sigmund Freud, aiming to unlock the unconscious mind. The title of the present work recalls Medusa of Greek mythology, commonly depicted as a winged female with venomous snakes in place of hair, turning those who met her gaze into stone. One of the three Gorgon sisters, Perseus was challenged to behead her. Armed with divine protection from the gods, he attacked, using a polished shield to deflect the reflection of her petrifying stare. Successfully severing her head, he escaped but her power remained even in death, with Perseus using it to turn his enemies to stone. Painted in 1933, Méduse circonflexe coincided with the publication of the first issue of the Surrealist journal Minotaure which 'marked the re-emergence of a mythological theme which would assume increasing importance for Surrealist painting after that date' (W. Chadwick, Myth in Surrealist Painting, 1929-1939, Michigan, 1980, p. 40). The theme of the Minotaur and the labyrinth had already appeared in works by Breton, Ernst, Masson and Picasso; the artists being drawn to the legend by Freud's writing, in which he compared the maze to the mind, the Minotaur symbolising our darker, unpredictable impulses.Ernst had long been interested in ancient myth and legend and was described by his biographer Werner Spies as one of the best-read people, having studied German, philosophy, Romance languages and the history of art at the University of Bonn from 1910 to 1914. Castor and Pollution dates from 1923, before the inception of the Surrealist movement, and references the twin brothers of classical mythology, Castor and Pollux whilst Leda and the Swan of 1927 and Napoleon in the Wilderness of 1941 illustrate his continued interest – the latter work shows the Emperor reimagined as a Greek hero, 'a horse-faced [figure who] appears on a sea coast as a kind of Odysseus [...] The figure is received by a seductive, sirenlike woman' (R. Bouvier, 'Transformations and Re-Formations, Max Ernst's Representations of the Body', in exh. cat., Max Ernst, Retrospective, Vienna, 2013, p. 117).That Ernst embraced myth is evident not only in his art but in his literature, writing about himself in the third person in 1936 thus: 'one may discern in him two attitudes, in appearance irreconcilable: that of the god Pan and the man Papou who possesses all the mysteries and realizes the playful pleasure in his union with her ('He marries nature, he pursues the nymph 'Echo' they say') and that of a conscious and organised Prometheus, thief of fire who, guided by thought, persecutes her with an implacable hatred' (Ernst writing in 1936, quoted in W. Spies, Max Ernst, Life and Work: An autobiographical collage, London, 2006, p. 133). Photographs from 1939 show the artist dressed in white robes and holding a trident, in the image of Poseidon. Jürgen Pech believes that he identified with this god in particular through his 'metaphorical description of the artist as a diver into the unconscious' (J. Pech, 'Mythology and Mathematics. Max Ernst's Sculpture' in exh. cat., Max Ernst, sculptures, Milan, 1996, p. 87).One of Ernst's earliest explorations of Greek myth is to be found in Oedipus Rex from 1922. Rather than a straightforward portrait of the tragic hero, a surreal tableau is formed of giant fingers emerging from a brick wall, pierced through by a needle. In their grasp is a large nut, pierced by arrows, before two birds' heads. Pech explains that 'the pierced hand in his painting Oedipe Rex / Oedipus Rex makes pictorial play on Oedipus' name (= Schwellfuss or Swellfoot) and verbal play on the relationship between solving a riddle and cracking a nut' (ibid. p. 67). 'Oedipus' meant swollen foot or ankle in Greek, referring to his feet being pierced and bound together when abandoned on the mountainside. Wordplay is employed to the same effect in Méduse circonflexe where the ambiguity of the title, referring to both the Medusa of Greek myth and a jellyfish, is reflected in the figure's unclear form, whose tendril-like arms recall both the tentacles of the sea creature and the snakes of the Gorgon's hair and who appears to float beneath the horizon or sea-line. The circumflex of the title appears anomalous, referring in grammar to the chevron-shaped accent placed over a vowel, until the viewer sees the inverted 'v' shape created by the tendrils or tentacles of the 'Méduse'. These forms give a sense of languorous, floating movement, at odds with the hot, fiery orange which dominates the work, punctuated by deep red and cobalt blue elements. Ernst's interest in Surreal literature and writing is well documented, a love of typography which is further shown in the Initiales frottage series from the 1960s. In 1929 Ernst created an extensive collage novel entitled La femme 100 têtes, a similarly ambiguous title which allowed women to be 'hundred-headed', 'headless', 'stubborn', and 'bloodsucking' at the same time, becoming a paradoxical complementary being – a many-head hydra and a beheaded Medusa in one' (R. Bouvier, op. cit., p. 115). The multiple meanings of his titles are reflected in the shifting identities of his subjects, which are frequently presented in the midst of transformation or metamorphosis. In his 1936 La Nymphe Écho for example, Ernst references the myth of the mountain nymph who dissolved into thin air from unrequited love for Narcissus. Relegated as a mere side note in the painting, Ernst instead focuses on another moment of metamorphosis in the tale, as a monstrous green creature formed of vegetation sprawls in the foreground, representing Narcissus, who was transformed into a flower. 'The need to establish constantly fluid boundaries between various stages of being [...] results, in Surrealist painting of the 1930s, in a gradual mythologizi... 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

GEORGE GROSZ (1893-1959)Clown und Partner inscribed extensively (lower right); stamped with the artist's atelier stamp (on the reverse)watercolour, pen and India ink and collage on card37.8 x 27.9cm (14 7/8 x 11in).Executed circa 1922Footnotes:The authenticity of this work has been confirmed by Dr. Ralph Jentsch. This work will be included in the forthcoming volume of the George Grosz catalogue raisonné of works on paper, currently being prepared.ProvenanceGalleria Schwarz, Milan, no. C 2601 (by 1958).Anon. sale, Parke-Bernet, New York, 19 November 1969, lot 15a.Jay C. Leff Collection, New York.Anon. sale, Sotheby's, New York, 22 October 1975, lot 219.Anon. sale, Sotheby's, London, 4 December 1985, lot 37.Anon. sale, Sotheby's, Munich, 31 May 1990, lot 109.Private collection, UK (acquired at the above sale).ExhibitedDusseldorf, Kunsthalle Dusseldorf, Dada: Dokumente einer Bewegung, 5 September - 19 October 1958, no. 21.Hanover, Kestner-Gesellschaft, Dada, Photographie und Photocollage, 6 June - 5 August 1979, no. 52.Caracas, Museo de Arte Contemporáneo de Caracas, El Espiritu Dada 1915/1925, 14 November 1980 - 15 January 1981.Realised circa 1922 in Berlin, Clown und Partner is a rare Dadaist collage by George Grosz. In typical Dadaist fashion Grosz here sets up a visual dialectic contrasting the somewhat tragic figure of the clown in outsized clothes with a photomontage element depicting a portly member of the bourgeoise in evening dress smoking a cigar. By contrasting these two opposing subjects yet simultaneously making visual comparisons between the two, most notably with the wild hair and formal dress, Grosz serves to evoke the Dada spirit of illogical coherence and thus underscore the satirical tone of the composition: Germany's elitist class has become a laughing stock.In 1919 George Grosz and John Heartfield joined the newly formed Communist party and, in accordance with Dadaism, set about expressing anti-bourgeois protest and a solidarity with the proletariat. Writing in 1925, George Grosz and Wieland Herzfelde set out their aims for the function of contemporary art: 'the artist cannot withdraw himself from the laws of social development – today the class struggle. A detached stance, above or on the side lines, still means taking sides. Such indifference and otherworldliness supports automatically the class in power – in Germany its bourgeoisie... The artist today, can only choose between technical construction and propaganda in the class struggle. In either case he will have to give up on pure art' (Grosz and Herzfelde quoted in H. Hess, George Grosz, London, 1985, p. 85). Grosz first turned to collage in 1919 when, together with John Heartfield, he produced a series of drawings and photomontages to deconstruct traditional bourgeois art and to imbue it with fresh impact and democratic value.Grosz was enchanted with the circus and its cast of performers from an early age. Writing in his autobiography he described his formative attraction to the bohemian, anti-establishment characters of the travelling circuses that frequented his childhood town of Stolp, 'Ah what boy has not been fascinated by circus life and activity? What I wouldn't have given to have gone out into the world with the rope dancers and jugglers and lived in a white wagon so richly decorated and gilded. Naturally not as the boy I was, but as a world-famous jumper or trapeze artist' (Grosz quoted in A Little Yes and a Big No, New York, 1946). After moving to Berlin in 1912, Grosz was able to fully immerse himself in circus, cabarets, and theatres of the metropolis, and it was in these places that Grosz could observe the interactions between the bourgeoisie and those at the fringes of society. His work from this key Berlin period is filled with acerbic observations and social commentary cementing his reputation as one of Germany's most celebrated satirists.The creative anarchy of Dada was to provide the fertile ground upon which André Breton would grow the Surrealist movement. Though Grosz himself did not join the Surrealists, the emphasis on nonsense and irrationality that had characterised Dada formed the foundations of Surrealism, with many artists who had been proponents of the earlier movement joining Surrealist ranks after the dissolution of Dada in the mid-1920s.For further information on this lot please visit Bonhams.com

JOHN TUNNARD A.R.A. (1900-1971)Flurry signed, numbered and dated 'John Tunnard/F4/63' (lower left); signed, titled, numbered and dated 'Flurry/F4/1963/John Tunnard' (on the reverse)gouache on paper38.1 x 55.9cm (15 x 22in).together with three further works (all unframed) (4)Executed in 1963Footnotes:ProvenanceThe artist's collection.McRoberts & Tunnard, London.Tunnard Estate.Entwistle, London.Private collection, UK.ExhibitedLondon, Royal Academy of Arts, John Tunnard 1900-1971, 6 March - 11 April 1977, no. 69 (later travelled to Cambridge, Kettering, Manchester, Newcastle-upon-Tyne, Penzance).LiteratureExh. cat., London, Arts Council, John Tunnard 1900-1971, 1977, no. 69, p.35 (illustrated).A. Peat & B. Whitton, John Tunnard; His Life and Work, Aldershot, 1997, p. 198.John Tunnard began his artistic career as a designer in the Manchester textile industry and this is likely where he first began to experiment with abstraction and geometry in his work and designs. By the late 1920s, he took up painting in earnest and started exhibiting works with the London Group, whose primary aim was to advance public awareness of contemporary visual art. As his output matured and became more and more avant-garde in its approach, his paintings maintained an organic quality, reflecting his interest in natural history and the Cornish coastline where he lived most of his life. Although proficient in many mediums, Tunnard favoured gouache which he used throughout his career with excellent and varied effect, being well-suited to his modernist style. Tunnard was an advocate of Surrealism in Britain, encouraged perhaps by his interest in experimental techniques and imaginative imagery. Although never formally a member of the movement, Tunnard participated in a number of key group exhibitions in the 1930s, including Surrealism, held in 1939 at Gordon Fraser Gallery in Cambridge, which featured works by Ernst, Klee, Magritte, Miró and others.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

MARCEL MARIËN (1920-1993)Le rêve traversé signed and dated 'Mariën 1969' (lower left, within the box)assemblage in the artist's box15 x 16.4 x 7.4cm (5 7/8 x 6 7/16 x 2 15/16in).Executed in May 1969Footnotes:ProvenancePrivate collection, Italy (a gift from the artist in the late 1960s).Thence by descent to the present owner.Literature'Le surréalisme au-delà des alternances', in Clés pour le spectacle, no. 18, February 1972 (illustrated on the front cover & p. 21).M. Mariën, 'To the unhappy few', in Les Lèvres Nues, no. 21, May 1969 (illustrated).M. Mariën, Trattato della pittura ad olio e aceto, Milan, 1972 (illustrated p. 21).M. Mariën, Crystal Blinkers, Sidmouth, 1973 (illustrated p. 28).X. Canonne, A. Nounckele, C. Sohie & J. Waseige, Marcel Mariën catalogue raisonné, online catalogue, no. MM-O-288 (illustrated).Born in Antwerp in 1920, Marcel Mariën swiftly became one of the most prolific members of the Belgian Surrealist movement.Mariën discovered Surrealism in 1935 through two paintings by fellow Belgian René Magritte during a contemporary art exhibition organized at the Antwerp community centre. He met Magritte two years later in 1937 and subsequently joined the Surrealist group - the youngest member at only 17 years old. It was this year that he made and exhibited his very first surrealist object and his most famous work: L'introuvable, a set of single-lens glasses.His works play and distort the accepted norm, creating bridges between language, image and object, all concurrently playing with the viewer's perception of reality. His experimentation with different media is testament to his versatility as an artist and member of the movement. Aside from his involvement with the Surrealists as an artist, Mariën was a writer, poet and theorist. He penned the first monograph of René Magritte, published in 1943; in 1954 he founded the magazine Les Lèvres Nues with Jane Graverol and Paul Nougé and in 1979 he authored the first reference book on Surrealism in Belgium titled L'activité surréaliste en Belgique (1924-1950), to name just a few.His works are housed in some of the world's most prominent modern art institutions such as Tate Modern in London, The Getty Museum in Los Angeles, MoMa in New York, and the Royal Museums of Fine Arts in Brussels.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

ARTHUR SEGAL (Romania, 1875 - 1944).Untitled, 1918.Oil on cardboard.Signed and dated in the lower right corner.Measurements: 60 x 50 cm.With his characteristic synthetic style in this piece Arthur Segal forms a geometrical composition, where he combines different lines arranged through different strokes, thus creating an image that is somewhat reminiscent of cubism. However, despite the prominence of the forms, it is necessary to mention the artist's use of colour, fusing complementary tones, as a slight reminiscence of Orphic Cubism. Segal, an absolute reference point for Dadaism, established a personal language based on works such as this one, known as primatics, in which he structured an entire contemporary landscape. In fact, although this piece does not seem to represent a specific landscape, from the 1920s onwards his prismatic compositions became clearer and more synthesised, as can be seen in several of his works such as Regenbogen (prismatisch), which belongs to the collection of the Art Institute of Chicago, and Heloland, painted in 1923.Segal was born of Jewish parents in Ia?i, Romania, and trained academically at the Berlin Academy from 1892. He studied with Schmid-Reutte and Hölzel in Munich in 1896, and later continued his artistic training in Paris and Italy, places he visited in the early 20th century. After studying in Paris and Italy, he finally moved to Berlin in 1904, where he exhibited his work with Die Brucke and Der Blaue Reiter, two important German expressive groups. In 1910 he co-founded the Neue Sezession, a group of artists whose work was rejected by the Berliner Sezession. At the outbreak of war in 1914 he moved to Ascona, Switzerland with his family, and remained there until 1920. During the war, Switzerland became a refuge for many artists like Segal, and while there he exhibited some of his work with Arp at the Cabaret Voltaire in Zurich, the nerve centre of the Dada movement. In 1920 he returned to Berlin, where years later he founded his own art school, Novembergruppe. He was offered a teaching post at the Bauhaus in Dessau, but turned it down. His Jewish background prevented him from exhibiting his work in Germany, so in 1933 he moved to Palma, Majorca, and then to London, where he set up another school with his daughter Marianne. Segal's early works were strongly influenced by Impressionism and Neo-Impressionism. Around 1910 he began a more expressionist and Dadaist style, and around 1916 he found his own modern style. In addition to painting, he also produced woodcuts from 1910 onwards, many of which had as their main theme criticism of the war. Segal was also the author of many books, articles and often gave lectures which influenced many students.

SALVATORE GARAU (Italy, 1953)."Pressione sul paesaggio", Gandía, 1990.Oil on canvas.Signed, dated, titled and located on the back.Size: 140 x 140 cm.Italian artist born in Santa Giusta (Sardinia), Salvatore Garau trained at the Academy of Fine Arts in Florence, graduating in 1974. After an initial period devoted to music, he focused his career on visual art. He held his first solo exhibition in 1984, and since then has shown his work in various European cities. In 2003 he participated in the Venice Biennale and held an exhibition at the European Parliament (Strasbourg). Six years later he held a major solo exhibition at the Musée d'Art Moderne et Contemporain in Saint-Étienne (France). He is currently represented in the Museo del Novecento and the Pablleon of Contemporary Art in Milan, the Museum of Modern Art in Bologna, the Museum of Modern and Contemporary Art in Saint-Étienne, the MACAM in Maglione, the Museum of the Italian Embassy in Seoul, the Sala Parpalló in Valencia and other important collections.

ANTONIO AGUIRRE (Madrid, 1945-2016)."La nube perseguida".Oil on paper.Signed in the lower right corner.Size: 35 x 49 cm; 52 x 68 cm (frame).Painter, curator of the Spanish Museum of Contemporary Art (MEAC) and art critic, Juan Antonio Aguirre trained in Philosophy and Psychology. He attended painting classes with Sorolla's disciple, the Valencian José Manaut Viglietti. He was appointed director of the Galería Amadís, where he had previously exhibited as a painter, and promoted artists such as Luis Gordillo, Elena Asíns, García Ramos, Jordi Teixidor and José M. Yturralde, among others. With them he formed the group Nueva Generación, with which he overcame his previous informalist and figurative language. Before disbanding, they organised three exhibitions, in which they exhibited an experimental art that tended towards the geometric (Jordi Teixidor and Mel Ramos), as well as towards figuration and pop art (Luis Gordillo). Aguirre's early works presented a naïve aesthetic that evolved into neo-constructivism (always based on figuration). In 1995, he donated his personal collection to IVAM in Valencia. His work forms part of museums and public collections such as the MNCARS Museo Nacional Centro de Arte Reina Sofía (Madrid) or Museo Patio Herreriano Museo de Arte Contemporáneo Español (Valladolid).

MATTEO BASILÉ (Rome, 1974)."Trans- Avanguardía Series", 2006.Mixed media print on aluminium.Work referenced on the artist's website.Signed and dated on the back.Sizes: 150 x 100 cm; 154.5 x 104.5 cm (frame).Matteo Basilé began his career in the early 1990s, establishing himself as one of the first artists in Europe to fuse art and technology. Reconciling opposing ideas such as beauty and the grotesque, the real and the surreal, natural and artificial. Exploring the nature of humanity, the artist developed his own narrative, which crystallised in artistic serias such as transavanguarde (2006), los santos vienen (2007), este orientado (2009), thishumanity (2010), aterrizaje (2012), invisible (2014), pietra santa (2016), viaje al centro de la tierra (2017), stardust (2018), memento (2019), and mnemosyne (2021). Basilé's research can be seen as an interface between East and West (in fact, he lived and worked for almost 8 years in Southeast Asia), a dialectic that works in collision between tradition and modernity, between the professional and sacrifice. Only based on multicultural and timeless (timeless and multicultural) signs or values, because it instead includes visually a more global language where the connubial between dream, fantasy and real, is no longer the predominant real character. His anti-eroes stand out as meticulous, realistic portraits, recalling classical history yet always incorporating the spirit of the present time. Basilé's poetics is an iconographic universe, the result of a combination of technological mannerism and surrealism.Matteo Basilé's (Rome 1974) solo exhibitions include: Matteo Basilé-Utopia, Vittoria Colonna Museum of Modern Art, Pescara, 2006; No Man's Land, Guidi & Schoen, Genoa, 2006; Alchemical Primordiality, Galleria Pack, Milan, 2005; Lord of the Flies, Galerie Beukers, Rotterdam, 2004. He has also participated in numerous group exhibitions, including On the edge of vision - New idioms in contemporary Indian and Italian art, Victoria Memorial Hall, Kolkata / National Gallery of Modern Art, New Delhi / National Gallery of Modern Art, Mumbai; Arterritory. Art, Territory, Memory, Centrale Montemartini, Rome, 2006; Nature and Metamorphosis, Urban Planning Exhibition Centre, Shanghai / Creative Art Centre, Beijing, 2006; Sound & Vision, City Museum / Palazzo della Penna, Perugia; Evil. Exercises in Cruel Painting, Palazzina di Caccia di Stupinigi, Turin, 2005; Italian Six, Barbara Davis Gallery, Houston, 2003. Basilé was the winner of the New York Price, Columbia University, 2002/2003.

JOSEP MARIA RIERA I ARAGÓ (Barcelona, 1954).Untitled, 1988.Mixed media and collage on panel.Signed and dated in the lower margin.Size: 26 x 36 cm; 44 x 54 cm (frame).A painter and sculptor, Josep Riera i Aragó trained at the Barcelona School of Fine Arts. He made his individual debut in 1981 at the Artema gallery in Barcelona. Two years later he took part in the Salón de Otoño in that city, and since then he has shown his work all over the world, in leading galleries in Spain, Mexico, Holland, Israel, Germany, Belgium, France, Luxembourg, Switzerland, Colombia and the United States. Particularly noteworthy are the solo exhibitions he has held at the Musée de Ceret (France, 1989), the Bibliothèque Nationale de Paris (1993), the Oostende Museum of Modern Art (Belgium, 1997), the Joan Prats Gallery in New York (1998), the Tassende Gallery in Los Angeles (2003) and the Museum of Aalst in Belgium (2006), among others. Since 1983, Riera i Aragó has developed his plastic discourse around machinery, with a symbolic language marked by an interest in air and sea transport, which he sees decontextualised, separated from their original function. At the same time, his plastic language has been enriched by the deepening of the line/plane and empty/full dialogue. Never repetitive, each "machine" he creates evokes, without pathos or condescension, a clear and comprehensive vision of humanity. With a visual vocabulary limited to simple forms reminiscent of zeppelins, submarines or aeroplanes, Riera i Aragó develops a fertile iconography charged with meaning which, endowed with a clear irony, speaks of the absurd recklessness of man's creations and of the poetic justice that results when these creations turn against him. His work should be understood as a global story, which is related to languages as disparate as astronomy, botany, mathematics and mysticism, and which offers the spectator the possibility of entering a particular and highly lyrical universe, where reality and fiction are no longer opposing categories. Riera i Aragó is currently represented in the Museum of Contemporary Art in Barcelona, the Joan Miró, La Caixa and Vicent Van Gogh foundations, the Museum of Modern Art in Luxembourg, the Rufino Tamayo Museum in Mexico, the Ceret and Reattu Museum in Arles in France, the Otani Museum in Japan and the Heilbronn Museum in Germany, among many others.

LUIS FEITO (Madrid, 1929-2021).Untitled.Gouache on paper.Work in relation to the first series of the 1970s.Provenance: Jean Robert Arnaud Gallery (Editor of the series); John Flanklin Joenig Collection; Jean Pierre & Françoise Arnaud Collection.Measurements: 65 x 50 cm.Born and trained in Madrid, he was one of the founding members of the El Paso group. In 1954 he held his first individual exhibition, with non-figurative works, at the Buchholz gallery in Madrid. From then on Feito exhibited regularly in the most important cities in the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor at the San Fernando School of Fine Arts in 1954, two years later he left teaching and went to Paris on a scholarship to study the avant-garde movements in force. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works were figurative painting, followed by a phase in which he experimented with cubism and finally moved fully into abstraction. At first he only used black, ochre and white colours, but when he discovered the potential of light he began to use more vivid colours and smooth planes. He evolved until he used red as a counterpoint in his compositions (from 1962) and, in general, more intense colours. In his abstract phase, which includes the 1970s, Feito showed a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled and can therefore be recognised by a number assigned to them. Among his awards is his appointment as an Officer of the Order of Arts and Letters of France in 1985. In 1998 he was awarded the Gold Medal of Fine Arts in Madrid, and was made a Full Member of the San Fernando Royal Academy of Fine Arts. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most important artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums all over the world, including the Gallery of Modern Art in Rome, the Guggenheim, the MoMA and the Chase Manhattan Bank in New York, the Museums of Modern Art in Tokyo, Paris, Rio de Janeiro and Montreal, the Lissone in Italy, etc.

LUIS FEITO (Madrid, 1929-2021).Untitled, 2001,Acrylic on paper.With information labels on the back from the Galería David Cervelló (Barcelona) and the Centro Cultural Isabel de Farnesio (Aranjuez).Signed and dated in the lower left corner.Measurements: 29 x 41 cm; 62 x 73 cm (frame).This work belongs to one of Feito's last artistic stages. At the beginning of the 2000s the author showed a change with respect to his painting, being a period in which he relaxed his aesthetic work with the strictest geometry, to introduce a more expressive language, where the gesture and the randomness became more important than the sobriety of the geometrical forms.Born and trained in Madrid, he was one of the founding members of the El Paso group. In 1954 he held his first solo exhibition of non-figurative works at the Buchholz gallery in Madrid. From then on Feito exhibited regularly in the most important cities in the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor at the San Fernando School of Fine Arts in 1954, two years later he left teaching and went to Paris on a scholarship to study the avant-garde movements in force. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works were figurative painting, followed by a phase in which he experimented with cubism and finally moved fully into abstraction. At first he only used black, ochre and white colours, but when he discovered the potential of light he began to use more vivid colours and smooth planes. He evolved until he used red as a counterpoint in his compositions (from 1962) and, in general, more intense colours. In his abstract phase, which includes the 1970s, Feito showed a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled and can therefore be recognised by a number assigned to them. Among his awards is his appointment as an Officer of the Order of Arts and Letters of France in 1985. In 1998 he was awarded the Gold Medal of Fine Arts in Madrid, and was made a Full Member of the San Fernando Royal Academy of Fine Arts. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most important artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums all over the world, including the Gallery of Modern Art in Rome, the Guggenheim, the MoMA and the Chase Manhattan Bank in New York, the Museums of Modern Art in Tokyo, Paris, Rio de Janeiro and Montreal, the Lissone in Italy, etc.

PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973)."Declinatoria de Picasso a Luis Felipe Vivanco", 1960.Drawing with crayons on paper.Signed, dated and dedicated.Size: 19,5 x 14 cm.Dedication from Pablo Ruiz Picasso to the architect Luis Felipe Vivanco, who wrote the Poem Goat (Picasso), published in issue IX of "Papeles de Son Armadans", December 1956.The creator of Cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "ElsQuatreGats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a brief period. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had met or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. Painting in these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange forms. Picasso is represented in major museums around the world, including the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.

JOSÉ DE GUIMARÃES (Portugal, 1939)."Untitled" From the series Negreiros, 2011.Painted iron.Slight damage on the front and back.Signed on the base.Size: 120 x 86 x 21,5 cm.This sculpture representing the profile of a woman with African features, belongs to the series made by the author José de Guimarães in 2011, called Negreiros. In this series, which consisted of drawings, paintings, sculptures and monotypes, the artist explored the human body, especially that of the woman, conceived as a silhouette of voluptuous forms. The sculpture is conceived in the form of a shadow, where the specific features of the protagonist are not discernible, although we can intuit an identity conceived from a collective rather than an individual point of view.José María Fernández Marques, known as José de Guimarães, is one of the most important contemporary artists of his native Portugal. During his youth he entered the military academy and began his engineering studies at the Technical University of Lisbon, where he enrolled in 1957. During this training he acquired knowledge that he later applied to his artistic work. A year later, however, he began his artistic education, taking painting classes from the artist Teresa Sousa and Gil Teixeira Lopes, as well as studying engraving at the Portuguese Engravers' Cooperative Society. In the 1960s he decided to change his surname, adopting the name of his native town as his surname. Between 1961 and 1966 he travelled around Europe, getting to know the work of old masters. Years later, in 1967, he moved to Angola, where he lived for seven years, during which time he forged his own identity as an artist. Throughout his career he has received numerous awards, as well as participating in various solo and group exhibitions. He currently has numerous works in prestigious international collections, including the Wurth Museum in Germany, the Royal Museum of Modern Art in Brussels, the Museum of Modern Art in Sao Paulo (Brazil), Carlton University in Ottawa, the Museum of Contemporary Art in Madrid, the Spanish Ministry of Culture, the Frederick Weisseman Museum in Los Angeles, and the Rockefeller Art Center in New York, among many others.

YUNUENE (Mexico City, 1975)."La paloma". Urban SeriesOil on canvas accompanied by augmented reality.Signed.Size: 90 x 70 cm.Yunuene's collection of deconstructivist paintings emerge from a desire to inspire the viewer to discover the deeper meaning of the everyday, to ignite the search for creative ideas, and to celebrate the strength of individuality. Her artistic style involves a multitude of personal, aesthetic, and cultural references that reflect the plurality of her personal life and contemporary social issues. She often plays with the viewer's perceptions of the mundane and traditional, using augmented reality to complement her message. Yunuene lives and works in Mexico City. Esparza's contemporary art has been exhibited in landmark museums including Museo Soumaya, Museo Nacional de Arte MUNAL, Centro Nacional de las Artes, Museo de la Bolsa Mexicana de Valores MUBO and within the CDMX Metro system. She has exhibited internationally in New York, Austria, Spain, Germany, Israel, Mexico, Canada, China, Brazil and Italy.

MIQUEL BARCELÓ ARTIGUES (Felanitx, Mallorca, 1957)."Giorgione à Felanitx", 1984.Mixed media on paper.Titled and signed with initials in the lower margin.With Bischofberger gallery label on the back.Size: 24 x 31,5 cm; 44,5 x 54 cm (frame).The 1980s was one of the most important decades in Miquel Barceló's plastic art, as it meant his international recognition. He began with his establishment in Barcelona in 1980, and exhibited in several European cities. He took part in the São Paulo Biennial (1981) and the Documenta in Kassel (1982). In 1986, he showed his work for the first time in the United States (specifically, at the Leo Castelli Gallery in New York). Two years earlier he had already exhibited his work for the first time with Bruno Bischofberger, and met and married Cécile Franken. In 1987 he settled in Paris, and the following year he travelled for the first time to Africa, another important geographical reference point in his career. The present work is a sketch for the imposing painting "Giorgione a Felanitx", a large-format canvas (300 x 200 cm) also painted in 1984, which alludes to Giorgione, one of the Mallorcan's most admired painters.A painter and sculptor, Barceló began his training at the School of Arts and Crafts in Palma de Mallorca, where he studied between 1972 and 1973. In 1974 he made his individual debut, at the age of just seventeen, at the Galería Picarol in Mallorca. That same year he moved to Barcelona, where he enrolled at the Sant Jordi School of Fine Arts, and made his first trip to Paris. In the French capital he discovered the work of Paul Klee, Fautrier, Wols and Dubuffet, as well as "art brut", a style that was to exert an important influence on his first paintings. During these years he reads extensively, and is enriched by works as diverse as the writings of Breton and the surrealists, Lucio Fontana's "White Manifesto" and Arnold Hauser's "Social History of Literature and Art". In 1976 he held his first solo exhibition in a museum: "Cadaverina 15" at the Museum of Mallorca, consisting of a montage of 225 wooden boxes with glass lids, with decomposing organic materials inside. That same year, back in Mallorca, he joined the Taller Lunàtic group and took part in its social, political and cultural protest actions. In 1977 he made a second trip to Paris, and also visited London and Amsterdam. That same year he exhibits for the first time in Barcelona, and meets Javier Mariscal, who becomes one of his best friends in the city. It was also in 1977 that he received his first large-scale painting commission: a mural for the dining room of a hotel in Cala Millor, Mallorca. The following year, at the age of twenty-one, he sold his first works to some collectors and galleries, and finally moved to Barcelona. His international recognition began in the early 1980s. In 1986 he was awarded the Premio Nacional de Artes Plásticas, and since then his work has been recognised by the most distinguished awards, such as the Prince of Asturias Prize for the Arts (2003) and the Sorolla Prize of the Hispanic Society of America in New York (2007). Barceló is currently represented in the most important contemporary art museums in the world, such as the MoMA in New York, the Centre Pompidou in Paris, the Guggenheim in Bilbao, the Marugami Hirai in Japan, the Reina Sofía in Madrid, the Patio Herreriano in Valladolid, the CAPC in Bordeaux, the Carré d'Art in Nimes, the Museum of Contemporary Art in Caracas and the Museum of Fine Arts in Boston, among others.

LONDON, Piccadilly, Royal Academy Antique School, ivory, legend above 1768, rev. named (B.E. Ward, Admitted 30th Decr. 1876), 52mm, 11.86g (W 1033; D & W 63/143). About extremely fine, very rare £200-£260 --- Bernard Evans Ward (1857-1933), b London, was a renowned painter of the Victorian era who won a gold medal for some of his works exhibited at the Royal Society of British Artists. Together with a contemporary art teacher, Elíseo Abelardo Alvarez Calderón (1847-1911), he founded the St John's Wood Art School, at 7 Elm Tree road, N.W., in 1878; among the teachers they hired was Vanessa Bell, sister of Virginia Woolf and herself part of the Bloomsbury group of artists. After a lawsuit had cost him his fortune, Ward emigrated to the USA, living firstly near Cleveland, Ohio, then by the early 1920s in Florida, before returning to Akron, Ohio, where he died in August 1933 at the age of 76. Prospective buyers please note: ivory is covered by CITES legislation and in all probability this item cannot be exported from the UK

A set of photographic stereograms published by The Fine Art Photographers' Publishing Co, London, late 19th c, the photographs mounted on grey card lettered in silver, silver edges and a contemporary wood and aluminium handheld viewer (59) Good condition

South-Est Asian Art A white coral currency bangleThailand, Ban Chiang Culture, ca. I millennium b.C. . Cm 15,00 x 6,00. A white coral “Pi” disk, tapered towards the outer border and provided with a central hole. Its shape replicates that of contemporary disc bracelets made of marble or hard stone, but differs in the material used which, in this case, is a white rock encrusted with precius coral. This is an object connected to religious practices but also used as a precious jewel and exchange currency.

Chinese Art A Dehua plate with blue decorationChina, Transition (1620-1683). . Cm 26,00 x 3,00. Unusual Blanc de Chine saucer with blue underglaze painted decoration. The blanc the Chine production, made in the kilns of the Dehua district in Fujian, was very much appreciated mostly for its characteristic milk-colored monochromatic glaze, whose production began around the 14th century. This dish is of some interest for the addition of the blue decoration which could have been an attempt to imitate the contemporary blue and white production in the Imperial kilns of Jingdezhen. The rise of another kiln distributing the similar artifacts might have been imposed by the need of providing blue and white pottery in a period in which the imperial kilns were seriously neglected.

South-Est Asian Art A celadon glazed saucer dishThailand, Sukhothai (1238-1351) . . Cm 15,00 x 3,00. Small dish with barbed edge and cavetto decorated with a wavy pattern. This dish, which stylistically duplicates the contemporary Yuan celadon pottery made in Longquan, was probably produced in Thailand in the Sukhothai province.

* CHARLES MACQUEEN RSW RGI (SCOTTISH b. 1940),EARLY MORNING, SUMMER ISLESmixed media on board, signed, titled label versoimage size 46cm x 46cm, overall size 64cm x 64cm Framed and under glass. Label verso: Ainscough Contemporary Art, London.Note: Charles MacQueen was born in Glasgow and studied at Glasgow School of Art from 1958 to 1962. After graduation MacQueen pursued a career in teaching art until in 1990 when he retired and became a full time professional artist. His travels have taken him to Morocco, Italy, the Greek Islands and France. The influence of the colour and light experienced in these places are visible in his highly textured and atmospheric works. He is an acclaimed artist with many prestigious accolades including the Glasgow Civic Art Prize won in 1971 and the Torrance Award and Teacher’s Whisky Travel Award, both at the Royal Glasgow Institute. He was elected a member of the Royal Glasgow Institute in 1983 and the Royal Scottish Society of Painters in Watercolour in 1984. His works can be found in public, private and corporate collections worldwide.Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues.

* GERARD BURNS (SCOTTISH b. 1961),WINTER WOODLAND WALKoil on canvas, signedimage size 100cm x 100cm, overall size 123cm x 123cm 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.

* MICHAEL SCOTT (SCOTTISH 1946 - 2006),THE SONG OF ORPHEUS oil on canvas, signed, titled and dated 2004 labels versoimage size 91.5cmcm x 91.5cm, overall size 113cm x 113cmFramed and under glass.Handwritten artist's label verso.Label verso: Roger Billcliffe Gallery, Glasgow.Exhibition label verso: 9th - 13th June 2004, artLONDON Catalogue No.2, Portland Gallery, London.Note: a copy of the book 'Michael Scott Testament' by Ray McKenzie and Tom Normand is included with this lot and "Song of Orpheus" is shown as a full page photo on page 105.Note 2: Born in Aberdeenshire in 1946, Michael Scott (Mike Scott) studied Political Science at Liverpool before doing a one year's teacher training course in Huddersfield. After moving to Glasgow, Scott took a full-time research post at Glasgow University followed by a lecturing post at the re-named Glasgow Caledonian University. By 1997 demand for his work had become so great that he had to resign his post at the University to paint full time. Awards Include The David Cargill Senior Award, Royal Glasgow Institute. Exhibitions Include 1988~John D Kelly Gallery, Glasgow: 1994~Roger Billcliffe Fine Art, Glasgow ~Contemporary Fine Art, Eton; 1995~Portland Gallery, London; 1997~Fosse Gallery, Stowe on Trent ~Contemporary Fine Art, Eton; 1998~Portland Gallery, London; 2001~Portland Gallery, London, 2004~Portland Gallery, London; 2010~A Memorial Exhibition, Roger Billcliffe, Glasgow. Collections Include Distillers plc, Robert Fleming Holdings Ltd, Spencer Stuart & Associates, Teachers Whisky, Whyte and Mackay and others. To mark the 10th anniversary of Michael Scott's death, The Roger Billcliffe Gallery staged an exhibition of his work 1st April - 30th April 2016. In The Scottish Contemporary Art Auction of 24th October 2021, lot 599 "Echo & Narcissus" a 60 x 60cm oil by Michael Scott sold for £3800 (hammer) and in recent times, other examples in our auctions have more than once achieved prices in excess of £4000 (hammer). In The Scottish Contemporary Art Auction of 23rd December 2022, lot 655 "Dancing The King" sold for £5000 (hammer).

* GRAEME WILCOX (SCOTTISH b. 1967),BLURRY HEADoil on canvas, signed and titled versoimage size 37.5cm x 28.5cm, overall size 52cm x 43cm Framed.Provenance: McTear's, November 2017. Note: After graduating from Glasgow School of Art in 1993, Wilcox continues to prosper as a painter based in Glasgow. He exhibits regularly in solo shows and group exhibitions throughout the UK and Europe. Recent work depicts people and events experienced in public spaces around the city. These paintings show figures engaged in ambiguous actions in half-remembered spaces. These situations and scenes have lodged in the memory due to some resonance or poignancy that can't quite be dismissed. The resulting paintings are partly an attempt to balance a sense of stillness with a sense of movement; a tension that hopefully generates a heightened feeling of the strangeness of everyday life and those around us. Graeme has collaborated on a number of multimedia projects with Mischief-la-bas-performance group and with other artists, culminating in projects at the Arches and Tramway in Glasgow and the Albany Theatre in London. He has also organised two large scale mural projects in collaboration with the East End Community Arts for Glasgow Health Board and devised and ran "Face to Face" photography project in Glasgow. This Arts Council funded project culminated in a temporary public artwork at the East End Festival in Glasgow. In 2011 he completed a prestigious portrait commission for the newly opened Conway Hall in London. Graeme's work is held in private collections in Europe, the USA and Canada and in public collections in Petrezovodsk, Russia and the Gulf State of Qatar. He is also held in the Corporate Collection of the Royal Bank of Scotland, Edinburgh. The most recent example of Graeme Wilcox's work we have offered was "On the Same Page" (a 112 x 102 cm oil on canvas) which was sold in The Scottish Contemporary Art Auction of 28th March 2021, lot 722 for £5000 (hammer).

* MICHAEL SCOTT (SCOTTISH 1946 - 2006),TREE HOUSEoil on canvas, signed, titled and dated 2001 label versoimage size 101cm x 81cm, overall size 120cm x 101cmFramed and under glass.Handwritten artist's label verso.Note: Born in Aberdeenshire in 1946, Michael Scott (Mike Scott) studied Political Science at Liverpool before doing a one year's teacher training course in Huddersfield. After moving to Glasgow, Scott took a full-time research post at Glasgow University followed by a lecturing post at the re-named Glasgow Caledonian University. By 1997 demand for his work had become so great that he had to resign his post at the University to paint full time. Awards Include The David Cargill Senior Award, Royal Glasgow Institute. Exhibitions Include 1988~John D Kelly Gallery, Glasgow: 1994~Roger Billcliffe Fine Art, Glasgow ~Contemporary Fine Art, Eton; 1995~Portland Gallery, London; 1997~Fosse Gallery, Stowe on Trent ~Contemporary Fine Art, Eton; 1998~Portland Gallery, London; 2001~Portland Gallery, London, 2004~Portland Gallery, London; 2010~A Memorial Exhibition, Roger Billcliffe, Glasgow. Collections Include Distillers plc, Robert Fleming Holdings Ltd, Spencer Stuart & Associates, Teachers Whisky, Whyte and Mackay and others. To mark the 10th anniversary of Michael Scott's death, The Roger Billcliffe Gallery staged an exhibition of his work 1st April - 30th April 2016. In The Scottish Contemporary Art Auction of 24th October 2021, lot 599 "Echo & Narcissus" a 60 x 60cm oil by Michael Scott sold for £3800 (hammer) and in recent times, other examples in our auctions have more than once achieved prices in excess of £4000 (hammer). In The Scottish Contemporary Art Auction of 23rd December 2022, lot 655 "Dancing The King" sold for £5000 (hammer).

JEFF GILLETTE (AMERICAN b. 1959),DISMAYhand-finished print on paper, from the Dismay Show circa 2017image size 19cm x 27cm, overall size 38cm x 45cmMounted, framed and under glass.Note: Jeff Gillette is a contemporary American artist based in Southern California. He is best known for his subversive 'slumscape' paintings ironically featuring Disney characters. He is often cited as the inspiration for Banksy's 2015 Dismaland theme park installation, in which he was a featured artist. Gillette has been exhibiting his work since 1997, with his first solo show at Broadway Gallery in Santa Ana, CA. The style he is currently known for emerged in a solo show called "Slumscapes - Blasphemy Blowout," which depicted American fast-food restaurants such as McDonald's against backdrops of slums, as well as well-known cartoon figures juxtaposed with religious iconography. His 2010 solo show at Copro Gallery in Santa Monica, "Dismayland," was a commercial success and drew interest in his work from British artist Banksy. The aesthetic and themes established here began to define him as an artist. In 2015, Banksy contacted Gillette through his manager to purchase a Minnie Hiroshima painting (that became the official poster available at the Dismaland gift shop). Gillette was invited to be in a group exhibition in England at what was then described as an abandoned theme park. Gillette discovered upon arriving at the unlikely beach town Weston Super Mare, that this park was Dismaland. His pieces sold very quickly at the show. Based upon his success, Gillette began to show in London at the former Lawrence Alkin Gallery now the Rhodes Gallery and internationally elsewhere. Gillette began to explore the actual value of art in his work. In 2017, Gillette had a solo show at Gregorio Escalante Gallery in Los Angeles called "Total Dismay," that turned the exhibition space into an "art landfill." In the show, he premiered a series of new paintings mounted on walls and priced thousands of dollars, while the floor was littered with paper prints that patrons would actually walk on top of, that were for sale for $5. This artwork being one of these in the ‘Art Landfill’. In Spring 2015, Gillette was messaged on Facebook by Banksy's manager and invited to participate in a secretive group exhibition called Dismaland, a temporary art project organized by Banksy and built in the resort town of Weston-super-Mare, three hours outside of London. The pop-up would be a fully functioning theme park designed as "a sinister twist on Disneyland." It opened on August 21, 2015 and ran until September 27. Banksy described it as a "family theme park unsuitable for children." Including Gillette, the show featured 58 artists, such as Bill Barminski, Damien Hirst, Jenny Holzer, Peter Kennard, and Ben Long. Gillette premiered six new paintings on canvas for the pop-up as part of his "Dismayland" series

* PETER GRAHAM ROI (SCOTTISH b. 1959),OLD TOWN, ALTEAoil on board, signed and dated '89image size 75cm x 62cm, overall size 90cm x 70cm Mounted, framed and under glass.Note: A rare appearance at auction for one of Scotland's and the UK's most successful contemporary artists. Peter Graham was born in Glasgow in 1959. He attended the Glasgow School of Art, graduating in 1980. In 2000 Peter was elected to Full Membership of The Royal Institute of Oil Painters, R.O.I. Peter has earned a reputation as one of Britain’s most gifted and distinctive Modern Colourists. His work is often related to the Modern Scottish School but Peter has a flamboyant style which is unique, – detailed brush work combined with loose fluid strokes creating vibrant contrasts of pure colour, line and tone. In the winter months within his studio he delves deeply into the still life genre, creating some of his most stunning compositions, always with colour the dominant theme but reflecting the heightened sense of atmosphere and passion that comes directly from painting in the beauty of the Mediterranean. Recently, hugely successful exhibitions in London have allowed Peter to take on extra studio space and his work is being enthusiastically exhibited by many of the UK's most prestigious galleries.

* ELEANOR CHRISTIE-CHATTERLEY,MAIDEN OF THE NORTH sculpture, 155cm highProvenance: The family of Eleanor Christie-Chatterley.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. Eleanor Christie-Chatterley lives on the west coast of Scotland and is almost certainly Scotland's oldest living sculptor. In The Scottish Contemporary Art Auction of 24th October, "Green Man Walking" by Christie-Chatterley sold for £3800 (hammer) and in the same auction on 5th December 2021 "Woman of the North" sold for £5000 (hammer). 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).

* GERARD BURNS (SCOTTISH b. 1961),RED COAT, MERCHANT CITYoil on canvas, signedimage size 60cm x 60cm, overall size 83cm x 83cm 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.

* PAUL REID (SCOTTISH b. 1975),FIGURE STUDYpastel and pencil on paper, signedimage size 48cm x 25cm, overall size 70cm x 45cm Mounted, framed and under glass.Note: Paul Reid is undoubtedly one of the great figurative painters to have emerged out of Scotland in recent years. His personalized interpretations of ancient myths have attracted a growing and enthusiastic audience, with highly successful exhibitions recently held in Edinburgh and Harrogate. A major publication of his work was published by 108 Fine Art in 2006, with an introduction written by His Royal Highness The Prince of Wales and essay by Laura Gascoigne. Paul Reid studied at Duncan Of Jordanstone College Of Art, Dundee from 1994 – 1998. He was awarded a Carnegie Trust Vacation Scholarship and the John Kinross Scholarship. His work is held in numerous public and private collections including JK Rowling and HRH Prince of Wales. In 2002, The New Statesman named him as one of the "Best of New British under the age of 35". In 2004 Paul accompanied HRH The Prince of Wales on a trip to Turkey and Jordan, completing a series of paintings and drawings based on the landscape and people of the areas visited. In 2009 he again accompanied HRH on a visit to Canada. His first public art gallery exhibition was arranged by 108 Fine Art, and toured the UK in late 2007 / 2008. The exhibition charted the development of his work over the previous ten years, with the emphasis on his series of paintings, based on ‘The Minotaur’ and, ‘Circe’. In a review by Iain Gale, “Six of the best painters point the way forward”, in Scotland on Sunday: “Since he burst on to the British art scene three years ago, shaking up received notions of what contemporary art was about, Paul Reid has been gathering a loyal audience with his unique take on the apparently redundant tradition of neo-classical painting. His art is unlike anything else you will see on the contemporary scene. While some others might imitate the old masters, Reid creates his own vocabulary and towers over his rivals through his sheer draughtsmanship and feel for paint. But there is nothing reactionary about this work. Reid is not attempting single-handedly to subvert the current trend for conceptualism, some of which he admits is powerful and valid. Rather he sees himself as part of a bigger picture, using Greek myth as it was originally intended to be used, as a metaphor through which to tap into basic human truths and mysteries.” Paul Reid is represented by The Scottish Gallery and his next solo show there will take place in 2022.

Oil painting on canvas 46x56 cm, framed 57x67 cm 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 patterns 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 is instead 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.

Water-based paint on masonite 32x40 cm in frame 34x42 cm 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 patterns 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 is instead 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.

Ink drawing on paper 29x19 cm, framed 54x44 cm The 1960 painting is exhibited in the collection Azienda Provinciale Turismo di Catania. Giovanni Alicò was born in Catania in 1906. A 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 patterns 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 is instead 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.

Water-based paint on masonite 38x47 cm in frame 51x41 cm, 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, indulges in 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.

Tempera on paper 24x32 cm, framed 36x44 cm Signed Alicò '64 bottom right Giovanni Alicò was born in Catania in 1906. A 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 patterns 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 is instead 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.

Oil painting on canvas 35x60 cm in frame 50x75 cm Signed lower left and dated 1956. Giovanni Alicò was born in Catania in 1906. A 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 patterns 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 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 is instead 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

Oil painting on wood 50x60 cm, framed 71x81 cm Signed Alicò bottom right and dated 1958. 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 patterns 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 is instead 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.

Oil painting on masonite 50x60 cm, framed 71x81 cm Alicò signed lower left and dated. Giovanni Alicò was born in Catania in 1906. A 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 patterns 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 is instead 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 Chris Thornton contemporary art glass vase signed and dated '85 - height 24cm

A rare Maori anthropomorphic hei-tiki pendant, green nephrite jade, possibly pounamu, the head tilted right, evidence of suspension holes at the back worn through cultural use, height 96mm, width 66mm, depth 10mm.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: Please see new images uploaded for this lot. There is a natural fissure on the back of the head. There are some very old edge chips. Age related wear to the carved decoration.We have viewings on Saturday 26th February 9-1pm. Monday-Wednesday 9-5pm.

An extremely rare Maori human form hei-tiki pendant, green nephrite jade, possibly pounamu, the head tilted right, the left hand is placed on the torso, height 100mm, width 53mm, depth 14mm.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: The condition is good. There is no repairs, major chips or breaks. These Tiki's were brought back to England at the start of the 20th century and have been in the same family since then.We are able to ship internationally.

A Victorian silver mounted glass claret jug by Roberts & Belk Ltd, the hinged lid with ball finial and with scroll handle over an ovoid fluted body, Sheffield 1901, height 26cm.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A George V silver George III style oval section tea caddy by George Nathan & Ridley Hayes, the slightly boat shaped hinged lid with flame cast finial, Chester 1913, height 11cm, width 10cm, weight 6 toz.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A George VI silver plain sugar bowl by James Dixons & Sons, Sheffield 1943, diameter 9cm, weight 4.95 toz.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A pair of George V silver four section toast racks by William Hutton & Sons, Sheffield 1917, width 8cm, weight 5.28 toz.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A set of four George V Scottish silver teaspoons and sugar tongs by James Weir, Glasgow 1926, weight 2.15 toz.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A Victorian Scottish silver Queens pattern teaspoon, Glasgow 1862, together with a pair of Victorian Glasgow fiddle pattern teaspoons, 1869, a pair of George III fiddle pattern teaspoons and one other spoon, weight overall 3.60 toz (6)Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A Persian silver olive spoon with peacock finial, makers mark, length 20.5cm; together with a Victorian silver napkin ring, London 1892, and one other napkin ring, weight overall 88g (3)Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A George V heavy silver wine taster quaich by Robert Stewart of Glasgow, London 1915, diameter 13cm, weight 7.5 toz.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: There is tarnishing throughout. There are some dark spots in the interior which we think is pitted marks the metal and with light polishing they can't be removed. Light scratches throughout. Please see images.

A George V silver cigarette box, engraved monogram to the hinged lid, London 1913, width 14.5cm, gross weight 470g.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A George V silver mounted glass claret jug by John Grinsell & Sons, Birmingham 1913, height 19.5cm.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

A George V silver batchelor teapot, maker DH & S, Birmingham 1930, height 14cm, weight 9.30 toz.Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Frazer was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. There are fine pieces in our March Antiques sale that were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.