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[Berkeley (George)] Alciphron: or, the Minute Philosopher. In Seven Dialogues, 2 vol., second edition, titles with engraved vignettes, contemporary ink inscription to front free endpaper of vol.1 identifies the author and quotes a mention of him in Pope's Dialogues, engraved bookplate of the Earl of Portsmouth, J.Tonson, 1732 § Nye (Stephen) A Discourse concerning Natural and Revealed Religion, paper flaw to K2 causing tear and loss of a few letters, a few minor marginal tears or creases, slight worming to lower margin towards end, contemporary panelled calf, pastedowns of printer's waste from 16th century work, rubbed, rebacked preserving old spine, corners worn, [Wing N1506], by T.W. for Jonathan Robinson, 1696 § H[arris] (J[ames]) Three Treatises... concerning Art...Music, Painting and Poetry...Happiness, first edition, engraved bookplate of Viscount Lymington (later Earl of Portsmouth), by H.Woodfall, jun. for J.Nourse...and P.Vaillant, 1744, the first and last contemporary calf, gilt, with gilt library numbers at head of spines, rubbed, the last with joints split, 8vo (4)⁂ The first item is Berkeley's defence of revealed religion and includes references to Rhode Island where Berkeley was living at the time.

NO RESERVE Foster (J.J.) British Miniature Painters and their works, number 29 of 125 large paper copies from an edition of 425, 60 plates, most with captioned tissue-guards, scattered faint spotting, contemporary half-morocco, gilt, lightly sunned top edge, 1898 § Warner (Sir George) Queen Mary's Psalter miniatures and drawings by and English artist of the 14th century ..., full-page illustrations, 2 photographic prints of the original Psalters binding inserted, scattered spotting, previous owner's ink inscription to blank, contemporary half-morocco, gilt, 1912 § Daems (Anne), Jean-Paul Deridder, Jikita Hanzlová & Marc Steculorum, Sunparks Art Project 1999, number 3 of 500 copies signed by artists, full-page illustrations, original boards, original cloth drop-back box, a little rubbed, together 4 vol. housed in drop-back box, [Oostende], 1999; and 8 others similar, v.s. (11)

Two reference books on silver comprising Jackson's Silver and Gold Marks and Identifying Antique British Silver (Poole), together with four books on Chinese Art to include Contemporary Chinese Painting (Hajek, Hoffmeister, Rychterova)

Collection of Three Australian Contemporary Prints, by Julie Nabangardi Shedden, of Australian Aboriginal Art. Prints measure 14" x 16", mounted, framed, and glazed. Overall size measures 20" x 22". Brightly coloured decorative prints.

A contemporary Alum Bay studio glass vase of ovoid form with tapering collar neck and wide flat rim, decorated with iridescent streaks over an opal interior ground, sticker to base, height 22.5cm, together with a Sozo Art glass vase, of ovoid form decorated with a mottled and streaked iridescent pattern over a deep blue ground, height 15cm.

SEGUNDO MATILLA MARINA (Madrid, 1862 - Teià, Barcelona, 1937)."Marina".Oil on cardboard.Signed in the lower right corner.Size: 33 x 40 cm; 54 x 61 cm (frame).In this work Segundo Matilla offers us an evocative landscape, a sample of the poetry hidden in what is closest to us. He develops a composition of great simplicity, based on a promontory behind which the bright strip of sea and the dawn sky open up. A landscape worked with exquisite sensitivity based on very slight tonal variations and points of light.Although he was born in Madrid, Matilla trained and developed his career in Barcelona. He studied at the Barcelona School of Fine Arts under the direction of Antonio Caba. An outstanding representative of Spanish Impressionism, he took part in numerous exhibitions and official competitions held in Barcelona, such as the group exhibitions organised by the Círculo Artístico (1895), the International Exhibitions of 1891, 1894, 1896 and 1898 (honourable mention in 1891) and the Art Exhibitions of 1918 and 1919. In 1897 he received an honourable mention at the National Exhibition of Fine Arts in Madrid for his painting "Lavanderas de Galicia" ("Washerwomen of Galicia"). He also showed his work in Paris, taking part in exhibitions such as the Salon des Artistes Français in 1897. His solo exhibitions included those held at the Salón Vilches in Madrid and, in Barcelona, at the Sala Parés (from 1907) and the Pallarés Galleries (1942), the latter a posthumous tribute. Several of his works exhibited there were bought by the Museum of Modern Art in Madrid, and many others were exported to America. Particularly successful was his very large exhibition (150 works) held at the Sala Parés in 1914, which was unanimously praised by the critics of the time. The following year he was shown in Madrid at the Salón Vilches, where all the works exhibited were sold. His landscapes of the Empordà, Camprodón, Port de la Selva and Cadaqués were a great success with the public and critics. A painter endowed with astonishing skill, a marked personality full of sensitivity, a mastery of drawing and painting technique and an overflowing capacity for work, Segundo Matilla was an excellent painter who cultivated absolutely all genres, being a great landscape and marine painter, painting portraits of great quality, especially of people from the world of show business, and his vases and still lifes were also highly appreciated. His paintings of bullfighting themes, painted with great spontaneity and full of movement, demonstrate his great fondness for the art of Cúchares. Within the landscape genre, Matilla showed a predilection for the evening hours, in the manner of Eliseo Meifrèn. He always painted in a totally intelligible manner and without any kind of reflective complications, ignoring absolutely all the artistic trends of his time. Segundo Matilla was also the teacher of outstanding painters of the following generation, including his nephew, Joaquim Terruella, and Antoni Rosell Altamira. His work is currently exhibited in various museums, such as the aforementioned Museum of Contemporary Art in Madrid, the Prado Museum (works on deposit at the Economic Court of the Central Administration and the Municipal Museum of Malaga), the Pablo Gargallo Museum in Zaragoza and the National Art Museum of Catalonia, as well as in important international private collections.

VALENTÍN DE ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963)."Basque characters".Oil on canvas.Signed in the lower right corner.Size: 70 x 60 cm; 90 x 80 cm (frame).We see in this painting a magnificent double portrait that shows the mastery and modernity of its author, a Valentín de Zubiaurre who knew how to represent the people of his time, especially Basques and Castilians. Here he shows us a young couple, two villagers with smooth complexions and expectant eyes who watch in amazement at what is happening before them. The male figure, wearing a txapela, rests his hands on a stick while she offers him a bowl of pears and other fruit. This is a type of folkloristic representation in which Valentín de Zubiaurre was particularly outstanding, extolling popular types and Basque corners that were about to disappear. His art fits into the framework of the rise of regionalism in fin-de-siècle Spain and the beginning of the 21st century. Realistic and meticulous, Zubiaurre developed his own style within this trend, which can be seen in the attenuated palette, the pre-eminence of the line and the expressiveness of the physiognomic features.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and dumb, as was his younger brother Ramón, also a painter. Of Basque origin although he settled in Madrid with his family, the young painter began his training with the painter Daniel Perea, who was also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a disciple of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time completed his solid training by visiting the Prado Museum, where he made copies of the great masters. After their time in San Fernando, in 1898 the two Zubiaurre brothers set out on a study trip that took them to France, Italy and the Netherlands. On their return to Spain, they were awarded a grant by the Diputación de Vizcaya in 1902, which enabled them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not receptive to its influence, owing mainly to the weight of their academic training and their admiration both for the Flemish and Italian primitives and for contemporary Spanish painters such as Darío de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts and was awarded several prizes; in 1908 he won the second medal and in 1917 the first. He was also distinguished with prizes from foreign institutions, and won prizes in important international competitions held in the first decade of the 20th century, including those of Munich, Buenos Aires, Brussels, San Francisco, San Diego and the University of Panama. From the 1920s until the Civil War, the Zubiaurre brothers experienced their period of greatest success and recognition, both in Spain and internationally. By then, both were clearly differentiated stylistically: Ramón was more colourist and Valentín more classicist, although without falling into academic rigidities. After the war, the elder brother remained in Madrid, while Ramón moved to America, where he remained until 1951. Valentín resumed his career in Spain, and his recognition became official with his appointment as a full member of the San Fernando Royal Academy of Fine Arts in 1945, culminating in the medal of honour awarded to him at the 1957 National Exhibition of Fine Arts, six years before his death. Valentín de Zubiaurre cultivated genre painting, focusing mainly on Basque and Castilian themes, and also dealt with landscapes. His masterly, intellectual painting is dominated by a certain melancholy that distinguishes his language from that of his brother Ramón. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Centre, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.

ISMAEL DE LA SERNA GONZÁLEZ (Guadix, Granada, 1898 - Paris, 1968)."Saint George slaying the dragon". Oil on serge.It has holes in the canvas and restorations.Signed in the lower left corner.Measurements: 237 x 193 cm.This work reproduces the painting by Rubens "Fight between St. George and the dragon", painted between 1606-1608, which currently belongs to the collection of the Prado Museum. According to the specialist H. Vlieghe, Rubens' painting appears to be based on a work by Titian in the Graphische Sammlung in Munich. In the foreground we see the figure of Saint George on his horse, striking the dragon with his lance, while in the background on the left, the princess can be seen still holding the lamb that was to feed the beast.Ismael González de la Serna began his art studies in Granada and completed them in Madrid, at the San Fernando School of Fine Arts. In his early years he developed an eclectic pictorial style, drawing on impressionist, symbolist and modernist sources. One of the first examples of his youthful language can be found in the illustrations he made for his childhood friend Federico García Lorca, in what was to be his first book, "Impresiones y paisajes" (1918). That same year, Ismael de la Serna held his first exhibition in Granada, and shortly afterwards he presented his works at the Ateneo in Madrid. In 1921 he moved to Paris in order to broaden his artistic horizons, joining the circles of the School of Paris. Among his Parisian friends was Pablo Picasso, who influenced his work but was, above all, the Granada painter's protector. During this period De la Serna's style was permeable to the influences of the avant-garde, particularly Cubism and Expressionism, which he worked in a highly personal manner. Likewise, the initial influence of Impressionism was always evident in his work. The year 1927 marked the beginning of a period of strong influence on his work, which began with the painter's solo exhibition at the influential Paris gallery of Paul Guillaume. This exhibition was followed by many others, both in Paris and in Berlin, Brussels, Copenhagen, Granada and Mexico. In 1928 he was commissioned by the director of "Cahiers d'Art", Christian Zervos, to illustrate a special edition of twenty sonnets by Góngora. The key to his recognition lies in his sensual interpretation of the forms of Cubism, based on the relevance of a drawing with a sinuous and highly decorative line, combined with strong chromatic contrasts. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly depicted still lifes, in which he emphasised the sensory aspect of his painting with metaphorical sensory references such as music, fruit or open windows. He also worked on landscapes and portraits. After inaugurating the activities of the Asociación de Artistas Ibéricos in Madrid with a solo exhibition in 1932, the painter embarked on new avenues of artistic experimentation which, after the Second World War, led to a more schematic and simplified style of painting, close to contemporary abstract solutions. Ismael de la Serna is represented in the Patio Herreriano Museum in Valladolid, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Granada and Seville, the ARTIUM in Vitoria, the Popular Museum of Contemporary Art in Vilafamés and the Museum of Modern Art in Paris, among many others.

Harris (John). Lexicon Technicum, or, An Universal English Dictionary of Arts and Sciences, explaining not only the terms of Art, but the Arts themselves, 2 volumes, 2nd & 1st editions respectively, London: for Dan. Brown [et al], 1708-10, titles printed in red & black, engraved portrait frontispiece, 12 (of 14) plates, some folding, numerous engraved diagrams, illustrations and tables to text, generally browned, occasional spotting, volume 2 with some dampstaining at front and rear (mainly to margins), some folding plates with a short closed handling tear, hinges cracked, contemporary Cambridge panel calf, worn, joints cracked, folio, together with: A Supplement to Dr. Harris's Dictionary of Arts and Sciences, by A Society of Gentlemen, London: for the authors, 1744, title printed in red & black, 6 engraved plates, some dampstaining and browning, armorial bookplate 'John Somers, Lord Somers', rear hinge cracked, contemporary sprinkled calf, worn, front cover detached, folio, plus: [Gregoire, Gaspard], Explication des Ceremonies de la Fete-Dieu d'Aix en Provence, Aix: chez Esprit David, 1777, engraved portrait frontispiece, 13 engraved folding plates, scarce light spotting, one plate browned, near contemporary half calf, rubbed with some wear to extremities, 8vo, with 3 others: Le Parfait Indigotier ou Description de l'Indigo, by Elie Monnereau, 1748; Epitome Grammaticae Hebraeae, by Johann Buxtorf, 1646; Aeschyli Tragoediae quae extant septem, Cum versione Latina, et lectionibus variantibus, by Aeschylus, volume 2 only (of 2)Qty: (7)Footnote: Volume 2 of Lexicon Technicum contains the first printing of Isaac Newton's only paper in chemistry, together with its English translation.

Eygpt. The Art of Ancient Eygpt, London: Burlington Fine Arts Club, 1895, 27 mounted albumen photographs, spotting, armorial bookplate of Michael Tomkinson to front pastedown, hinges cracked, contemporary blue cloth, title lettered in gilt to front board, boards marked and stained (mostly to margins), joints worn, folioQty: (1)

Indian Textiles. Illustrations of Textile Manufactures of India, London: Science and Art Department of the Committee of Council on Education, South Kensington Museum, 1881, printed title, 86 chromolithograph plates of Indian textiles, including turbans, men's garments, embroidered scarfs and shawls, carpets, etc., some light soiling, mainly to margins, light oval ink stamp to upper outer corner of each plate, just touching image, tissue-guard to each, one or two short closed tears, title with some light marks and vertical creasing, original library bookplate to front pastedown of the Science and Art Department, South Kensington, top edge gilt, contemporary yellow cloth, rubbed and some soiling, some wear to joints and loss to head and foot of spine, large folio (47 x 34 cm)Qty: (1)Footnote: The India collection at the Victoria & Albert Museum (formerly known as the South Kensington Museum) originated in the East India Company's Museum, or Oriental Repository, founded in 1791. Caspar Purdon Clarke (1846–1911), who became keeper of the art collections and subsequently director of the museum, had arranged the new Indian section in 1880, and in 1881 was sent to India with instructions to collect objects in everyday production to encourage the 'native art manufactures' of India, and provide models of design and ornamentation for British manufacturers and students.

Binding. Wind Along The Waste, by Ethel Wedgwood, Oxford: Daniel Press, 1902, turn-ins offset to endpapers, all edges gilt, contemporary brown morocco gilt, signed with monogram to lower margin of rear pastedown by the binder Katherine Adams, gilt ruled outer borders and acorn device to each cover, spine in 6 compartments separated by raised bands, spine lettered in gilt, joints and edges rubbed and with slight wear, upper joint partly cracked, 8voQty: (1)Footnote: Tomkinson 52. 130 copies printed. This copy numbered 58. Bound by Katherine Adams, President of the Women's Guild of Art and a fellow of the Royal Society of Arts. Adams was commissioned to bind works for the royal family, and examples of her work are in the British Library and Bodleian Library.

LADY AIKO (Nakagawa, Japan, 1975)."Lady butterfly".Resin, in pink.Limited edition of 10 copies.With its original box.Measurements: 30 cm. high.One of Lady Aiko's most popular pieces, a fairy-tale being, sensual and fanciful sculpture, "Lady Butterfly", the butterfly girl, is shown here in its pink version. Lady Aiko is a Japanese street artist based in Brooklyn, New York. In the contemporary art world, she is one of the most important street artists of this millennium. "It's hard to be a girl and a graffiti artist", the artist has repeatedly said. However, Aiko manages to rival Banksy, being highly respected for her large-scale work, and for her ability to combine Western art movements and Eastern technical artistic skills. She received a BFA from Tokyo Zokei University in the field of graphic design and filmmaking, before taking her MFA at The New School, New York. While at university in Tokyo, he set up a pirate television station that broadcast his own music videos and short films. In the mid-1990s, he moved to New York, where he apprenticed at the Brooklyn studio of artist Takashi Murakami. He has worked with high-end fashion designer Louis Vuitton. Towards the end of the 1990s Aiko collaborated with artists Patrick McNeil and Patrick Miller The three formed the street art collective FAILE (then A-life) in 1998 Together the artists created "large-format, monochromatic, screen-printed female nudes". In 2013, she attended the international street art festival Nuart in Stavanger, Norway, along with fellow female graffiti artists Martha Cooper and Faith.

MATTEO BASILÉ (Rome, 1974)."Trans- Avanguardía Series", 2004-2005.Mixed media print on aluminium.Work referenced on the artist's website.Signed 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.

MANUEL SALINAS MILÁ (Seville, 1940- 2021)."Salinas".Oil on paper glued to board.Signed in the lower right-hand corner.Measurements: 50 x 65 cm; 71.5 x 89 cm (frame).A work of abstract aesthetics, where the author has used a pictorial language of open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms, the fruit of experimentation, pure stain and gestural brushstrokes, are not limited to a composition but go beyond it, indicating to the spectator that they are forms, ideas or suggestions that go beyond the frontiers of the purely pictorial.A self-taught painter, Manuel Salinas is one of the leading representatives of Spanish abstraction in the last twenty-five years. His first exhibition dates from 1962, and from then on he exhibited his work in Spain, Portugal, Morocco, Colombia, Sweden, the United States, Serbia, France, Greece, Bulgaria and Mexico. In 2003 two retrospectives were devoted to him, one in Seville, organised by the Caja San Fernando, and another travelling around Europe, with Sofia as the starting point, organised by the Ministry of Foreign Affairs. He has works in the Reina Sofía Museum, the La Caixa Foundation, the Andalusian Centre of Contemporary Art, the Contemporary Art Museums of Valladolid, Madrid and Tenerife, the Vázquez Díaz Museum and in the collections of the Bank of Spain, Olivetti, Argentaria, Endesa, BBV and Avianca (Barranquilla, Colombia). The artist also owns two works included in the book by the critic Francisco Calvo Serraller "Las cien mejores obras del siglo XX" (Madrid; TF and Sociedad Estatal España Nuevo Milenio, 2001).

MIQUEL BARCELÓ ARTIGUES (Felanitx, Mallorca, 1957)."Dibuixant pintat" (Painted draughtsman), 20.2.1980.Mixed media (paint, gouache and charcoal) on paper.Signed, dated and titled in the lower margin.Work published in the artist's catalogue.Measurements: 37 x 27 cm; 53 x 39 cm (frame).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 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. Together with him and the photographer Antoni Catany, as a member of the group "Neón de Suro", he takes part in exhibitions in Canada and California, and collaborates with the publication of the magazine of the same name. 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 eighties, giving a definitive boost to his career with his participation in the São Paulo Biennial (1981) and the Documenta in Kassel (1982). In 1986 he was awarded the Premio Nacional de Artes Plásticas, and since then his work has been recognised by the most important 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.

MANUEL SALINAS MILÁ (Seville, 1940).Untitled, 2008.Oil on panel.Signed and dated on the back.Measurements: 40 x 40 cm.Oil on panel in which the artist has used a language of an abstract nature. The work is defined by an aesthetic in which the colour has been applied with wide and diverse brushstrokes, which transmit different qualities to the spectator. These qualities can be appreciated in the transparencies and conjunctions that occur between the different colours. Despite the appearance of randomness linked to attraction, in this case the author presents us with a composition where a certain tendency towards geometry can be appreciated. This characteristic can be seen not only in the physiognomy of the forms, but also in the presence of a line that limits the white colour.A self-taught painter, Manuel Salinas is one of the leading representatives of Spanish abstraction in the last twenty-five years. His first exhibition dates from 1962, and from then on he exhibited his work in Spain, Portugal, Morocco, Colombia, Sweden, the United States, Serbia, France, Greece, Bulgaria and Mexico. In 2003 two retrospectives were devoted to him, one in Seville, organised by the Caja San Fernando, and another travelling around Europe, with Sofia as the starting point, organised by the Ministry of Foreign Affairs. He has works in the Reina Sofía Museum, the La Caixa Foundation, the Andalusian Centre of Contemporary Art, the Contemporary Art Museums of Valladolid, Madrid and Tenerife, the Vázquez Díaz Museum and in the collections of the Bank of Spain, Olivetti, Argentaria, Endesa, BBV and Avianca (Barranquilla, Colombia). The artist also owns two works included in the book by the critic Francisco Calvo Serraller "Las cien mejores obras del siglo XX" (Madrid; TF and Sociedad Estatal España Nuevo Milenio, 2001).

TONY CRAGG (Liverpool, UK, 1949).Hand-signed invitation card from the Residens Academy Gallery in Salzburg, Austria.Hand signed.Size: 21,5 x 14,5 cm, 25 x 19 cm. (frame)Tony Craggse trained at Gloucestershire College of Art and Design, and then furthered his studies at Wimbledon School of Art (1969-73). He finally completed his training at the Royal College of Art (1973-77). In 1977 he left his native country and settled in Wuppertal, Germany, where he has lived and worked ever since. In 1988 he won the Turner Prize, in 2001 the CBE, in 2002 the Piepenbrock Prize for sculpture and in 2007 the Praemium Imperiale. In 2008 he opened a sculpture park in Wuppertal. He has exhibited in galleries and museums all over the world, and is represented at the Tate Gallery and the Royal Academy in London, the Hirshhorn Museum and Sculpture Garden in Washington D.C., the MoMA in New York, the Museum of Fine Arts in Houston, the National Galleries of Scotland in Edinburgh, the Cass Sculpture Foundation in Goodwood (UK), the Castello di Rivoli Museum of Contemporary Art in Turin, the Courtauld Institute of Art in London, the Harvard University Museum, the Kunstmuseum Wolfsburg in Germany, the Los Angeles County Museum of Art, the Fort Worth Museum of Art in Texas, the Ludwig Museum in Budapest, the Museum of Contemporary Art in Chicago, the Museum of Modern and Contemporary Art in Trento, the Palazzo del Stelline in Milan and the National Museum of Art, Architecture and Design in Oslo, among others.

JOSEPH BEUYS (Germany, 1921 - 1986)."Holzpostkarte, 1974.Silkscreen on pine wood.Size: 10,5 x 15 x 3,3 cm.References: The Multiples, Schellmann, fig 104., Joseph Beuys: Multiples. IVAM 2008, page 124.Joseph Beuys Multidisciplinary conceptual artist, today considered one of the most influential artists of 20th century Europe, his biography begins during the Second World War. Although his veracity has often been doubted, Beuys claimed that he fought as a pilot in the war, crashing in the Crimea. Near freezing to death, he was rescued by natives, who wrapped him in grease and felt to prevent his death. In any case, both elements appear constantly in his work. Between 1946 and 1951 he studied at the Düsseldorf School of Fine Arts, where he later taught sculpture and was subsequently expelled. His work produced during these years addresses the relationship between pedagogy and the study of art, as Beuys completely changed the approach to teaching that had been taken up to that time. In 1962 he began his activities with the neo-Dada Fluxus movement, of which he became the most significant member. His greatest achievement was the socialisation of art, bringing it closer to all kinds of audiences. His actions or "happenings" were not so much to do with neo-Dadaist fussiness to shock the bourgeoisie, but concealed a deeper meaning. Throughout his career the artist repeats many objects, which he uses in various works. They are objects that differ from the Duchampian "ready mades" not because of their poor and ephemeral nature, but because they are part of Beuys's own life, and he uses them after having lived with them and left his mark on them. Many are related to his biography, such as the honey or the fat used by the Tartars who saved him during the war. In 1979 the Guggenheim Museum in New York exhibited a major retrospective of his work, cementing his reputation as one of the most important artists of his time. Beuys used art, a dynamic, fluid and corrosive art to the point of becoming arti-art, to educate, heal and redeem mankind and society, spiritually sick and lost in the chaos of the world. Beuys is currently represented at the MoMA and the Guggenheim in New York, the Kunstmuseum in Basel, the Hamburger Banhof in Berlin, the Museum of Fine Arts and the Guggeheim in Bilbao and the Tate Gallery in London, among many other contemporary art museums around the world.

LUIS FEITO (Madrid, 1929-2021).Untitled, 1956.Oil on canvas.Work published in the Catalogue of the exhibition: Feito. Work 1952-2002. Retrospective of the artist at the Museo Nacional Centro de Arte Reina Sofía, Madrid. 2002. P. 114.Presents stamp on the frame of the Egam Gallery (Madrid).Signed in the lower left corner. Signed and dated on the back.Measurements: 57 x 57 cm; 79 x 79 cm (frame).In this work the author conceives the image only through scarce colors, giving prominence to white, red and black, typical of his works of the sixties. These become aware of each other, merging to show a subtle range of shades referring to each of the colors, creating in turn a play of light and shadow that starts from the texture of the work itself. This characteristic denotes the great technical skill of the author, who not only plays with the aesthetic result but also with the symbolic charge associated with each of the colors. 56 was a year of great relevance in the artist's career, since it is when he moved to Paris and settled in the city, thanks to a scholarship. The works of this period show a great tension between the empirical and the theoretical world. Close to abstraction, his compositions still show a certain trace of the physical, which he tried to eliminate. During 1956 and 1958, his works aesthetically approached informalism, although without completely abandoning geometry.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, with non-figurative works, at the Buchholz gallery in Madrid. From that moment on Feito exhibited regularly in the most important cities of the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor of the School of Fine Arts of San Fernando in 1954, two years later he leaves teaching and goes to Paris with a scholarship, in order to study the current avant-garde movements. 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 are inscribed within figurative painting, to then go through a phase in which he experiments with cubism, and finally fully enter into abstraction. At the beginning he only used black, ochre and white colors, but when he discovered the potential of light, he began to use more vivid colors and smooth planes. He evolved to use red as a counterpoint in his compositions (since 1962) and, in general, more intense colors. In his abstract phase, which includes the 1970s, Feito shows 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, so they are usually recognized by a number assigned to them. Among his awards is his appointment as Officer of the Order of Arts and Letters of France in 1985. In 1998 he received the Gold Medal of Fine Arts in Madrid, and was appointed Full Member of the Royal Academy of Fine Arts of San Fernando. 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 relevant 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 around the world.

BANKSY (Bristol, England, 1975)."Souvenir Wall Section, Palestine, 2019.Piece of concrete painted with graffiti and miniature figure in mixed media.With original payment receipt issued by "Walled Off Hotel".Size: 15 x 13 x 7 cm.Sculpture made by Banksy with a piece of the Gaza wall, accompanied by a small miniature figure of a graffiti artist. In March 2017, the "Walled Off Hotel" was inaugurated in the Gaza Strip. (Walled Off) in the Palestinian city of Bethlehem. With a slogan announcing it as the hotel with "the worst view in the world", it is located in front of the Israeli separation wall in the West Bank. All of its rooms are decorated by Banksy, and its stated aim is both to attract tourists to the city and to expose works by Palestinian artists to an international and Israeli audience. In a small museum inside the hotel is a statue of Lord Balfour signing his famous declaration.Banksy, the British artist whose identity is still unknown, is considered one of the leading exponents of contemporary street art. According to a study by Queen Mary University of London published in March 2016, Robin Gunningham, a resident of Bristol, is the artist behind the Banksy pseudonym. His works address universal themes such as politics, culture and ethics, mostly from a satirical and ironic point of view, combining graffiti writing with the use of stencil stencils. This technique is similar to that used by Blek le Rat, who began working with stencils in 1981 in Paris. In fact, Banksy acknowledged Blek's influence by stating that "every time I think I've painted something slightly original, I realise that Blek le Rat did it better, only twenty years earlier".

RENÉ PORTOCARRERO (El Cerro, Cuba, 1912 - Havana, Cuba, 1985)."Portrait of a woman", 1963.Ink on Arches paper.Signed and dated in the lower left corner.Size: 50 x 33 cm; 60 x 43 cm (frame).Ink on paper, in which the artist represents one of his famous female silhouettes. The woman is dressed with large floral headdresses, which gives rise to the interpretation of the same as representations of Flora, a theme that was recurrent in the life and work of the author.René Portocarrero is best known for his colourful abstract paintings, although he was also a sculptor, ceramist, scenic designer, muralist and book illustrator. He began painting at a very young age, and at the age of fourteen he entered the San Alejandro Academy of Fine Arts. However, he soon dropped out of his studies, as his strong temperament did not fit in with the rules of the institution. His training thereafter was self-taught. He exhibited his work for the first time at the Salón de Bellas Artes in Havana, and in 1934 he held his first personal exhibition at the Lyceum in the same city. The success of this exhibition was a great boost to his career, which enabled him to work at the Estudio Libre para Pintores y Escultores de La Habana (Free Studio for Painters and Sculptors of Havana), together with Mariano Rodríguez. Linked to the generation of poets of the so-called "Grupo de Orígenes", he published drawings in several literary magazines of the time, as well as two books. In 1943 he became a teacher of free drawing at the Havana Prison, and during these years he began several cycles of paintings. The following year he exhibited his work in New York at the Julian Levy Gallery and the Museum of Modern Art. He also began several trips that took him to paint in Haiti, Europe and the United States. Around 1950 he began to work on the decoration of ceramic pieces at the Taller Experimental de Santiago de Las Vegas, alongside other artists such as Wifredo Lam, Amelia Peláez and Mariano Martínez. In 1951 he received the National Painting Prize for the first of his so-called "Havana Landscapes". He participated in the São Paulo Biennial in 1957 and 1963, and in the Venice Biennial in 1952 and 1966. Throughout his career, Portocarrero received numerous prizes and distinctions, including the International Sambra Prize (São Paulo Biennial, 1963), etc. In 1985, the year of his death, he held a travelling exhibition with a large part of his work, which toured several European countries and definitively consolidated his already internationally recognised artistic legacy. René Portocarrero is currently represented in major centres of artistic relevance, including the MoMA in New York, the National Museums of Fine Arts in Havana, Santiago de Chile and Argentina, the Spanish Museum of Contemporary Art, the Museum of Modern Art in São Paulo, the Museum of Contemporary Art in Santiago de Chile and many others, as well as in important private collections.

D*FACE (London, 1978)."End to those dogs", 2015.Silkscreen, copy 25/25.Signed and justified by hand.Dry Stamp.Size: 99,5 x 42 cm; 101 x 43 cm (frame).D*Face is a British street artist known for his distinctive graffiti, stickers and posters placed in various cities around the world. With recurring celebrity imagery and punk iconography, D*Face's work is characterised by his bright graphic aesthetic, his focus on consumerism and the ways in which he shapes everyday life. His diverse range of influences includes skate culture, early New York underground graffiti, pop art and Shepard Fairey's Obey campaign. D*Face's identity was a mystery until 2008, when he revealed his name to the public. "I don't think it's necessarily relevant that you know who I am in regards to my work," he once explained. "The work speaks for itself, and if it doesn't speak for itself, then I like people to reinterpret it according to their own views." The artist lives and works in London. An admirer of Henry Chalfant's graffiti on the New York underground, and the skateboard drawings published in Thrasher magazine, he dabbled in the world of skateboard fanzines. He attended an illustration and design course and worked as a freelance illustrator/designer while honing his street work. His influences include Shepard Fairey's "Obey Giant" art campaign, Jim Philips, hip hop, punk music and cartoons. His first major solo exhibition in London, Death & Glory, was held at Stolenspace Gallery in 2006. This first event sold out. Since then, his exhibitions have included a solo show, Eyecons, at the O Contemporary gallery in Brighton in March 2007, which was overwhelmingly well attended. This included new paintings, an installation and two prints: Kurt "Kant Complain" and Cli-Che. D*Face was director and curator of the Outside Institute, London's first contemporary art gallery focusing on street art. In 2005 the Outside Institute moved and changed its name to become the Stolen Space Gallery. In 2010, he collaborated with Christina Aguilera, on the cover of her album Bionic. In October 2013, D*Face participated in Art Wars at the Saatchi Gallery, curated by Ben Moore. He participated in the 2015 edition of the All City Canvas Global Series, with a mural on the façade of the Hotel Lisboa in Colonia Roma. This project was part of the artistic activities of the Dual Year Mexico-UK. In 2016, he designed the cover of Blink-182's album California.

RENÉ PORTOCARRERO (El Cerro, Cuba, 1912 - Havana, Cuba, 1985)."Portrait of a woman", 1963.Ink on Arches paper.Signed and dated in the lower left corner.Size: 50 x 33 cm; 60 x 43 cm (frame).René Portocarrero is known for his colourful abstract paintings, although he was also a sculptor, ceramist, scenic designer, muralist and book illustrator. He began painting at a very young age, and at the age of fourteen he entered the San Alejandro Academy of Fine Arts. However, he soon dropped out of his studies, as his strong temperament did not fit in with the rules of the institution. His training thereafter was self-taught. He exhibited his work for the first time at the Salón de Bellas Artes in Havana, and in 1934 he held his first personal exhibition at the Lyceum in the same city. The success of this exhibition was a great boost to his career, which enabled him to work at the Estudio Libre para Pintores y Escultores de La Habana (Free Studio for Painters and Sculptors of Havana), together with Mariano Rodríguez. Linked to the generation of poets of the so-called "Grupo de Orígenes", he published drawings in several literary magazines of the time, as well as two books. In 1943 he became a teacher of free drawing at the Havana Prison, and during these years he began several cycles of paintings. The following year he exhibited his work in New York at the Julian Levy Gallery and the Museum of Modern Art. He also began several trips that took him to paint in Haiti, Europe and the United States. Around 1950 he began to work on the decoration of ceramic pieces at the Taller Experimental de Santiago de Las Vegas, alongside other artists such as Wifredo Lam, Amelia Peláez and Mariano Martínez. In 1951 he received the National Painting Prize for the first of his so-called "Havana Landscapes". He participated in the São Paulo Biennial in 1957 and 1963, and in the Venice Biennial in 1952 and 1966. Throughout his career, Portocarrero received numerous prizes and distinctions, including the Sambra International Prize (São Paulo Biennial, 1963), etc. In 1985, the year of his death, he held a travelling exhibition with a large part of his work, which toured several European countries and definitively consolidated his already internationally recognised artistic legacy. René Portocarrero is currently represented in major centres of artistic relevance, including the MoMA in New York, the National Museums of Fine Arts in Havana, Santiago de Chile and Argentina, the Spanish Museum of Contemporary Art, the Museum of Modern Art in São Paulo, the Museum of Contemporary Art in Santiago de Chile and many others, as well as in important private collections.

ORLAN (Saint-Étienne, France, 1947)."Disfiguration-Refiguration, Pre-Columbian Self-hybridizations, No. 21, 1999.Photograph. Copy 3/7.Work reproduced on the artist's website.With a bump on the frame.Signed, dated, justified and titled on the back.Size: 90 x 57 cm; 125 x 94 cm (frame).Orlan is known for intervening her own body, carrying out different aesthetic operations on herself. In this particular case, the piece preserves this idea of body modification and manipulation, however, in this work, the artist goes a step further. She not only questions her own identity, but also appropriates another culture. To do so, she makes use of an iconography associated with different pre-Columbian vestiges, such as the necklace, the shape of the hairstyle, the facial tattoos, and even the physiognomy of the nose, which is reminiscent of some profiles found in Aztec reliefs.ORLAN's career as a performance artist began in 1964, when he performed Marches au ralenti (slow motion walks) in his hometown of Saint-Étienne. During these performances, he walked as slowly as possible between two central parts of the city. In 1965, ORLAN produced MesuRages, in which he used his own body as a measuring instrument. With his "ORLAN-body" as a unit of measurement, he assessed how many people could fit into a given architectural space. This was the first time he used his body in a performance piece. ORLAN reused this concept in several subsequent projects. Between 1964 and 1966, ORLAN produced Vintages, a series of black and white photographic works. She destroyed the original negatives of these pieces and today only one copy of each photograph remains. In this series, she posed nude in various yoga-like positions. One of the most famous images from this series is ORLAN accouche d'elle m'aime.Between 1967 and 1975, ORLAN produced a body of work entitled Tableaux Vivants. He based them on the works of baroque artists such as El Greco and Gericault. He used inmates as models, wore exaggerated imitation baroque costumes and was inspired by Caravaggesque stereotypes. In 1971, ORLAN "christened itself" Sainte-ORLAN, adorning itself in black corrugated vinyl and white faux leather. Colour photographs of Sainte-ORLAN were subsequently incorporated into photo-collages, videos and films tracing a fictitious hagiography. During the 1977 FIAC International Contemporary Art Fair in Paris, ORLAN performed the controversial performance piece The Artist's Kiss (Le baiser de l'artiste). Outside the Grand Palais in Paris, a life-size photo of his torso was turned into a slot machine. Spectators could watch the coin inserted into the torso descend into a groin before receiving a kiss from the artist.ORLAN founded the International Performance Symposium in Lyon. In 1982, he collaborated with artist Frédéric Develay to create the first online contemporary art magazine, Art-Accès-Revue, on the French precursor of the Internet, the Minitel. In 1990, ORLAN initiated the Reincarnation of Sainte-ORLAN. This is a series of plastic surgeries through which the artist transformed herself into elements of famous paintings and sculptures of women. As part of her manifesto "Carnal Art", these works were filmed and shown in institutions around the world, such as the Centre Georges Pompidou in Paris and the Sandra Gehring Gallery in New York. ORLAN's goal in these surgeries is to acquire the ideal of female beauty as depicted by male artists. When the surgeries are completed, she will have the chin of Botticelli's Venus, the nose of Jean-Léon Gérôme's Psyche, the lips of François Boucher's Europe, the eyes of Diana (and the forehead of Leonardo da Vinci's Mona Lisa. ORLAN chose these characters, "not because of the canons of beauty they represent... but because of the stories associated with them".

JOSEPH BEUYS (Germany, 1921 - 1986)."Filzpostkarte, 1985.Silkscreen on felt.Size: 10.5 x 15 x 1 cm.References: The Multiples, Schellmann, fig. 539.Joseph Beuys Multidisciplinary conceptual artist, today considered one of the most influential artists of 20th century Europe, his biography begins during the Second World War. Although his veracity has often been doubted, Beuys claimed that he fought as a pilot in the war, crashing in the Crimea. Near freezing to death, he was rescued by natives, who wrapped him in grease and felt to prevent his death. In any case, both elements appear constantly in his work. Between 1946 and 1951 he studied at the Düsseldorf School of Fine Arts, where he later taught sculpture and was subsequently expelled. His work produced during these years addresses the relationship between pedagogy and the study of art, as Beuys completely changed the approach to teaching that had been taken up to that time. In 1962 he began his activities with the neo-Dada Fluxus movement, of which he became the most significant member. His greatest achievement was the socialisation of art, bringing it closer to all kinds of audiences. His actions or "happenings" were not so much to do with neo-Dadaist fussiness to shock the bourgeoisie, but concealed a deeper meaning. Throughout his career the artist repeats many objects, which he uses in various works. They are objects that differ from the Duchampian "ready mades" not because of their poor and ephemeral nature, but because they are part of Beuys's own life, and he uses them after having lived with them and left his mark on them. Many are related to his biography, such as the honey or the fat used by the Tartars who saved him during the war. In 1979 the Guggenheim Museum in New York exhibited a major retrospective of his work, cementing his reputation as one of the most important artists of his time. Beuys used art, a dynamic, fluid and corrosive art to the point of becoming arti-art, to educate, heal and redeem mankind and society, spiritually sick and lost in the chaos of the world. Beuys is currently represented at the MoMA and the Guggenheim in New York, the Kunstmuseum in Basel, the Hamburger Banhof in Berlin, the Museum of Fine Arts and the Guggeheim in Bilbao and the Tate Gallery in London, among many other contemporary art museums around the world.

RICHARD STIPL (Czech Republic, 1968)."Tribute to Ron Mueck's dead dad", 2005.Polychrome resin.Signature on the base of each piece.Size: 52 x 17 x 7 cm.The sculpture "Tribute to Ron Mueck's dead dad" presented in our auction is a tribute to Ron Mueck's work "Dead dad" (1996). A reproduction of the nude body of his dead father, reduced to two thirds of its actual size, and exhibited in the controversial exhibition "Sensation: Young British Artists from Saatchi Collection" at the London Royal Arts Academy. This hyper-realistic sculpture leaves no one indifferent, and leads the viewer to reflect on the ephemeral and the proximity of death from its physical side.Richard Stipl is a Czech visual artist based in Prague. He graduated from the Ontario College of Art with an honours degree in 1992 and in the same year received the prestigious Governor General's Award.Although he began as a painter, he has devoted himself to sculpture. Using himself as a model, his busts and figures present a marked expressiveness, symbolism and disturbing hyperrealism, and develop various contemporary themes such as consumerism, totalitarianism and the consequences of globalisation. In recent years, the interest in Stipl's work and its impact have been on the rise. He has been presented at art fairs such as Frieze Art Fair in London, Art Basel Miami, Armory in New York, Volta Art Fair, TIAF and ARCO Madrid among others. Today it is part of numerous private collections around the world, such as the Collette Collection, Robert Runtak Collection, SOLO Madrid Collection, Sherringa Museum for Realism, Hugo Voeten Art Center, etc.

JOAN GARCÍA RIPOLLÉS (Castellón, 1932)"Boy running".Polychrome resin, copy 27/33.Signed and numbered.Measurements: 51 x 24 x 42 cm.Presents original certificate of authenticity of the artist.Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, while still very young and in the middle of the post-war period, he started working in an industrial painting workshop. From then on he devoted himself to painting at night, and later took drawing classes at the Ribalta secondary school in Castellón. After his debut in a group exhibition held in 1951 at the Caja de Ahorros de Castellón, 1954 was a turning point in his career, as a result of a trip to Paris where he made contact with the city's artistic circles. However, he was unable to give up industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organised his first major solo exhibition at the Museum of Contemporary Art in Barcelona in 1962, and in 1967 he travelled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse gallery, acquired all his work, something which was repeated on his trip to Japan. From that moment on he embarked on a dazzling international career that has taken his work all over the world. He has organised solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, various American cities, Germany and Japan. He is currently the exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Premio de las Artes de la Comunidad Valenciana. Ripollés defines himself as an "immature adult" and, above all, "light-hearted, a little mischievous and with some naivety", words that reflect his exuberant creative spirit, his simple and extroverted character and his childlike soul. Ripollés is, today, one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. He is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the Museum of Contemporary Art in Barcelona.

ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005)."Tête au Fond Blanc", 1972.Mixed media on marbled paper on canvas.Signed in the lower right corner.Enclosed certificates of authenticity issued by the artist and by Nathalie Clavé.Measurements: 54 x 76 cm; 80,5 x 103,5 cm (frame).Work catalogued in the Antoni Clavé Archives with the number 72 TMCMT 7.In this work Antoni Clavé proposes an autonomous scenography in itself, which transcends painting, confusing the eye, to construct a dialogue between reality and what is painted by means of the union of colour, stain and stroke with a real object, clearly recognisable as such, which, however, is only present in the form of a trace: a crochet handkerchief. The play of illusions is reinforced by the treatment of this handkerchief print; Clavé respects its outlines, the smallest detail of its design, works it in white and highlights it over black stains that emphasise its three-dimensionality much more effectively than if it had been painted directly on the neutral tone, of a disturbing flesh colour, which occupies the background of the work.Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop a work marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He was already enjoying great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In 1952 he made the sets for the film "Hans Christian Andersen", by Charles Vidor, and was nominated for an Oscar. In 1954 he gave up decorating to devote himself to painting. In the 1960s he painted a tribute to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. Of particular relevance is the theme of the knight with his hand on his chest, a reference that would be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage, and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. In the 1980s he dedicated a series of works to Picasso under the title "To Don Pablo". His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the Tokyo International Biennial in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.

A 20th century metal Art Deco two tier occasional table together with a further contemporary tubular metal glass topped table

OF COLLECTORS' INTEREST: A late George II carved mahogany drop-leaf table1755-1760, the oval top above a plain arched frieze, on opposing C-scroll, rocaille and acanthus clasped cabriole legs with foliate scrolled ears, terminating in claw and ball feet, 54cm wide x 116cm deep x 74cm high, (21in wide x 45 1/2in deep x 29in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. The offered drop-leaf table is illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. III, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 26, p. 220. It is even noted in the Dictionary as being 'from Mr Ralph Edwards' and is dated therein to circa 1750.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to aid the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

OF COLLECTORS' INTEREST: A William and Mary walnut, oyster veneered and sycamore banded chest1690-1705, the top with an ovolo edge and inlaid with concentric roundels and pollard oak, flanked by two circular tablets and quarter spandrels, above two short and three long graduated oak-lined drawers, on later (probably 18th century) bracket feet, 96cm wide x 59cm deep x 92cm high, (37 1/2in wide x 23in deep x 36in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. Significantly, the offered chest is illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. II, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 29, p. 40. It is even noted in the Dictionary as being 'from Mr Ralph Edwards' and is dated therein to circa 1715, although it perhaps more accurately belongs to a slightly earlier era which is essentially 1690-1710.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to aid the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than no... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

OF COLLECTORS' INTEREST: A George I giltwood and gilt gesso girandole or mirrorCirca 1725, the bevelled plate within a rosette-embedded and entwined strapwork moulded surround, surmounted by a shaped shallow-relief carved acanthus and punched pediment carved with foliate wrapped volute scrolls and two opposing eagle busts, centred by an overlapping scallop shell cresting, with a similar shaped apron centred by a scallop shell mounted with two later brass scrolled candle arms, 127cm high x 78cm wide.Footnotes:ProvenanceThe present mirror formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings on the wall is the offered mirror, which is located above the chimneypiece. An original of this striking photograph is available for the eventual buyer of this lot. A further image of Edwards whilst he was in Venice is also on our website. This mirror appears illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. II, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 51, p. 332. The mirror is even noted in 'The Dictionary' as belonging to 'Mr Ralph Edwards' and is dated there to circa 1715, although it is perhaps more realistically circa 1725 in line with more modern analysis of such pieces.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

OF COLLECTORS' INTEREST: A Regency mahogany Pembroke tableThe top with a reeded edge above one frieze drawer, on ring turned tapering legs terminating in castors, 53cm wide x 87cm deep x 73cm high, (20 1/2in wide x 34in deep x 28 1/2in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor.A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to aid the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history. LiteratureN. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316 & 319.... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

OF COLLECTORS' INTEREST: A George II painted pine dummy board1720-1750, the shaped board decorated with an elegantly attired young lady holding a fan in one hand, later reduced in height, 94cm high.Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor.A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website. Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history. LiteratureN. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316 & 319.... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

OF COLLECTORS' INTEREST: A late George II carved mahogany concertina-action card table1755-1760, the hinged crossbanded top enclosing a baize playing surface, above one mahogany-lined frieze drawer, on four scallop shell and bellflower clasped cabriole legs each carved with C-scroll ears and scrolled foliate spandrels, 87cm wide x 42cm deep x 71cm high, (34in wide x 16 1/2in deep x 27 1/2in high)Footnotes:ProvenanceThe present lot formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor.A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings is the George I giltwood and gilt gesso mirror which is lot 127 in this sale. A copy of this striking photograph is available upon request. A further image of Edwards whilst he was in Venice is also on our website.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph Edwards was almost always able to accurately date a work of art or object, and more often than not suggest an attribution to a certain artist or maker where relevant and possible. His natural affinity for British and European history, allied to his supreme level of connoisseurship, has meant that even today he maintains his position among the very highest echelons of academia within the broad domain that is art history. LiteratureN. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. ... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Attributed to Thomas Compigne (Franco-Italian, fl. late 18th century): A collection of six Louis XVI embossed gilt, silver and polychrome tinted and varnished, decorated foil pictures of topographical views together with a similar circular embossed gilt profile miniature bust portraitcirca 1775-1790the topographical panels comprising three rectangular pictures comprising a view of The Chateau De Saint Hubert, a view of The Palais Bourbon and a view of The Palais Royal, the latter two within decorative mounts, and three circular topographical views comprising two pictures depicting views of The Chateau Des Tuileries and a further unknown view of a river bank scene with buildings and a ruin, the bust portrait depicting a profile of a gentleman, possibly Voltaire, all mounted in later glazed frames, the view of The Chateau De Saint Hubert probably trimmed, the rear backboard of its frame with old titled ink inscription dated 1871 and with references to Madam Dubarry and the Baron de Pauville, largest two pictures, 28.cm x 35.5cm overall, the smallest circular profile portrait, 8.5cm diameter overall (7)Footnotes:Famed for his jewel-like pictures, Thomas Compigne depicted castles, town views, pastoral scenes and real and exotic imagined 'capriccio' harbour and landscape views executed in gold, silver and various coloured varnishes on pewter foil or tortoiseshell grounds. Originally from Italy, Compigné worked in the Rue Grenetta, Paris at the 'Roi David' and attracted a fashionable clientele with his precious works of art which include caskets and all manner of 'objets de vertu'. He was listed in various contemporary gazettes published between 1766 and 1773 which described his wares as 'très beau' complimenting on their precious metallic and polychrome decoration and his his success was further re-enforced in 1773 when Compigné presented Louis XV with views of his favourite hunting lodge, Saint-Hubert which he subsequently reproduced in an edition series for his patrons.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Arnaldo Pomodoro (Italian, b.1926): A plated mounted wooden trinket box and coverof rectangular form, the cover with applied plated mounted abstract decoration, the underside of the cover signed Arnaldo Pomodoro, 5cm high, 14cm wide, 11cm deepFootnotes:Born in Morciano, in the Italian region of Emilia Romagna, the young Arnaldo Pomodoro originally trained as a stage designer and goldsmith whilst earning a living as a consultant on the restoration of public buildings. In 1954 he moved to Milan where he began to move in avant-garde circles getting to know many artists, most importantly Lucio Fontana, whom Pomodoro credits with first inspiring his creativity, describing him recently as something of a father figure. Within a year of arriving in the city, Pomodoro's work was being exhibited in the renowned Galleria del Naviglio, a centre for Milan's vibrant artistic community with an international reputation. Pomodoro's travels during the late 1950s were to prove vitally important to the evolution of his practice. In 1956 he reached New York, visiting museums and galleries there, as well as fraternising with the city's many artists. In the years that followed he visited America numerous times, also organizing exhibitions of contemporary Italian art at the Bolles Gallery in New York and San Francisco.Since the 1960s he has become an icon of Italian contemporary art and is now recognised around the world, and as well as being held in the collections of many major museums. His large-scale sculptures are sited in public spaces across the globe including Amalienborg Square in Copenhagen (1982–83), the Belvedere Fortress in Florence (1984), the Cortile della Pigna in Vatican City (1989–90), the United Nations Plaza in New York (1996) and the Palais Royal in Paris (2002) Still living and working in Milan, his position as director of the Fondazione Pomodoro over the last two decades has allowed him to promote the exhibition and funding of numerous artists, and also secured his own artistic legacy.For further information on this lot please visit Bonhams.com

AFTER PREISS; a contemporary Art Deco style figure of a dancing girl raised on stepped rectangular plinth, height approx 31cm.

DEAKIN & FRANCIS; an Edward VII hallmarked silver dish of oval form with cast Art Nouveau style decoration surrounding a planished centre, Birmingham 1905, length 23cm, together with a further hallmarked silver oval dish and a contemporary easel back photograph frame, weighable 3.8ozt/118g (3).Additional InformationTarnishing and wear to each piece especially the Art Nouveau dish which is bending at the edges.

A 1930s art deco mahogany Yacht lamp, set to a plinth base, together with a post war art deco walnut mantel clock by metamec, Bakelite encased windup movement and a contemporary bracket clock by Woodford having battery movement. Measures 42cm long.

CONTEMPORARY ART DECO DESIGN CARPET, 300cm x 240cm.

A selection of Polish advertising posters comprising: MIEDZYNARODOWY DZIEN DZIECKA (INTERNATIONAL CHILDREN'S DAY) (1952) - special poster - for the holidays that was introduced to Poland in 1952 which takes place on June 1st - coincides with beginning of Summer and is usually treated as a special day free of lessons; INWENCJA LUDOWA WE WZORNICTWIE (1970) (FOLK INVENTION IN DESIGN) - Polish exhibition poster; SALON SZTUKI WSPOTCZESNEJ (CONTEMPORARY ART EXHIBITION, APRIL 1978) - advertising poster and PRZEZ ŚWIAT IDĄCE WOŁANIE - POKÓJ (A CRY THROUGH THE WORLD - PEACE) Polish one sheet propaganda poster - all four feature artwork by WALDEMAR ŚWIERZY - various conditions - rolled (4)

James Bond Goldfinger - Mondo Alamo Drafthouse poster from 2007, artwork by Todd Slater, signed in pencil and numbered 30 of 300, rolled, 17.75 x 33.75 inches. Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings. This poster was produced in a limited edition of 300 for a special screening of Goldfinger at Fort Knox, Friday 3 August, 2007. Condition Report: Near mint condition.

Niceron (Jean François) Thaumaturgus opticus..., first edition in Latin, half-title, engraved additional pictorial title by Audran after Voüet and 42 engraved plates, woodcut head- & tail-pieces, initials and diagrams in text, contemporary ink signatures of Bertherand at head and foot of engraved title, text lightly browned, plates 4 & 32 with slight oxidisation, later half calf, preserving old morocco label on spine, rubbed, new endpapers, folio, Paris, F.Langlois, 1646.⁂ Influential work on the practical applications of perspective, catoptrics, dioptrics, and the illusory effects of optics then traditionally associated with natural magic. First published in French in 1638 as Perspective Curieuse ou Magie Artificielle, this Latin edition is an expanded version with more illustrations. Niceron was an artist and a Minim friar and was interested in the use of anamorphosis in religious art. In attempting to find a scientific solution to the problems presented by perspective he worked out the geometrical algorithms for producing anamorphic art. Several of the plates depict artists using perspective machines for painting murals and plate 2 includes an early illustration of a camera obscura.

Agriculture & Cookery.- Plat (Sir Hugh) The Jewel House of Art and Nature, [second edition], title within typographic border and woodcut of ear of barley to verso, woodcut illustrations, X2 with clean tear into text but not affecting legibility, F4 repaired tear through text, some light marginal soiling and water-staining, contemporary sheep, rebacked, corners rubbed, [Wing P2390; Duveen 476; Bitting p.373; Cagle 935; Simon BG 1186; Kress 889; Goldsmiths' 1294], 4to, Printed by Bernard Alsop, 1653.⁂ Second edition (first published in 1594) of this compendium of useful household information including instructions on storing fruit and flowers, 'how to carry gold in a most secret manner', brewing, 'how to speak by signs onely', stealing bees, preventing drunkenness, 'keeping oysters good ten or twelve days', distilling, alchemy, a portable pump, oilskin clothing, sign language, bridge building, fishing, reviving colours of old pictures and much more.

Dress.- Duties of a Lady's Maid (The); with Directions for Conduct, and Numerous Receipts for the Toilette, only edition, engraved frontispiece, contemporary calf, gilt, spine faded, 1825 § Whole Art of Dress! (The) or, The Road to Elegance and Fashion...Gentleman's Costume...By a Cavalry Officer, first edition, hand-coloured lithographed frontispiece, 6 lithographed plates of coats, neckwear, hats, boots etc., 36pp. publisher's catalogue at end, frontispiece with tape stain to foot and defective at upper inner corner (repaired and loss to corner supplied in watercolour), stain to lower margin of title and some other leaves, modern boards preserving original pictorial wrapper to upper cover, rubbed and stained, 1830 § Holt (Ardern) Fancy Dresses Described; or, What to Wear at Fancy Balls, fifth edition, plates, 16 chromolithographed, original cloth, gilt, Debenham & Freebody, [1887], all a little rubbed, 8vo (3)⁂ The first is scarce, with only 6 copies listed by Library Hub.

Wecker (Johann Jacob) Eighteen Books of the Secrets of Art & Nature, being the Summe and Substance of Naturall Philosophy, Methodically Digested, first edition in English, fine etched additional title by Richard Gaywood with 7 portraits including including Alexis of Piedmont, Albertus Magnus, William Harvey, Francis Bacon and Raymond Lull, title with woodcut printer's device, woodcut head- & tail-pieces, initials and diagrams, 3pp. bookseller's catalogue at end, lightly browned, a few rust spots, Macclesfield Library copy with small embossed stamp to title and South Library label to front pastedown, contemporary sheep ruled in blind, rubbed, scuffs to lower cover, some splits to joints, [Duveen p.613; Ferguson II 534; Krivatsky 12628; Wing W1236], folio, for Simon Miller, 1660.⁂ A good copy of this encyclopaedia of arts and sciences, first published in Latin in 1582. Wecker was born, studied and worked in Basel, firstly as professor of logic and Latin, before graduating as a physician. His wife Anna (a daughter of Isaac Keller) published a cookery book in 1600. The work includes sections on fire, cosmetics, wines, poultry, trees, herbs, fruits, metals, gardens, glass, fountains, the occult, painting and sports.

[Savile (George, Marquess of Halifax)] The Lady's New-years Gift: or, Advice to a Daughter, second edition, engraved frontispiece depicting a young girl reading the work, near contemporary ink signatures of Mary Isham & Mary Brooke to title and earlier ones "Jane Isham her Booke 1706" (?presumably Mary's mother) to endpapers, frontispiece with faint ink stain, lightly browned, G6 lacking lower outer corner not affecting text, contemporary sprinkled calf, a little rubbed, slight wear to head of spine, [Heltzel 726; Wing H305], 12mo, for Matt. Gillyflower...and James Partridge, 1688.⁂ Written by Halifax for the benefit of his daughter Elizabeth, later the mother of the 4th Earl of Chesterfield, who in turn wrote his famous Letters to his Son on the Art of Becoming a Man of the World and a Gentleman, published in 1774. First published without the author's permission due to a corrupt scrivener selling the manuscript, this edition has been corrected from the original and a frontispiece added. ESTC records 6 UK copies and 5 in America.

Millingen (James) Ancient Unedited Monuments. Painted Greek Vases; Statues, Busts, Bas-reliefs..., Series I & II bound in 1 vol., first edition, engraved title-vignettes and 62 engraved or lithographed plates, Series I with 40 fine aquatints of vases printed in terracotta and black with several finished by hand and 5 double-page, Series II with 22 plates of statues etc., some lithographed on india paper and mounted, others aquatint (one hand-coloured), 3 double-page, paper guards, with 5 additional engraved plates of coins bound in after dedication, a few pencil annotations, some foxing, mostly to text and final few plates, plates of vases generally very clean, contemporary half red morocco, g.e., a little rubbed, [Blackmer 1135], 4to, 1822-26. ⁂ This series was of considerable value in bringing to light the wealth of archaeological treasures in private collections in England. The archaeologist James Millingen had originally, and reluctantly, been a banker but willingly followed medical advice to ease his asthma with the Italian climate. "There he wrote and compiled valuable works in French and Italian on coins, medals, Etruscan vases, and related subjects, and also contributed articles to learned journals in Britain and on the continent. He bought antiquities with considerable discernment, and supplied private collections and most of the important museums of Europe, including the British Museum, with fine examples of ancient art." (DNB).

[Essex (John)] The Young Ladies Conduct: or, Rules for Education...with Instructions upon Dress, both before and after Marriage. And Advice to Young Wives, only edition, woodcut head- & tail-pieces, factotum initials, paper flaw tear to fore-margin of H3 not affecting text, very occcasional soiling but generally an excellent clean and tall copy, engraved bookplate (Henry Streatfeild of Chiddingstone Castle, Kent), contemporary blind-panelled calf with double gilt fillet border, a little rubbed and marked, rebacked preserving old gilt spine, corners repaired, [Heltzel 553], 8vo, John Brotherton, 1722.⁂ John Essex (c.1680-1744) was a dancer, choreographer, and dance & music instructor who became a moderniser in the art of dance teaching and brought French ideas to the London studios. This work is addressed to the parents of young ladies, advocating good conversational skills, wisdom and honesty, and the importance of both dance and music in their education. Like Mary Astell he warns young women to be shrewd in choosing a husband.Rare in commerce.

Nutrition.- Boyle (Godfrey) A Treasure of useful discoveries...Containing, remarks on divers aliment and eatables, where by to know which are not digested by our stomachs; and those unfit for our bodies are pointed out, Dublin, Printed for and sold by James Hunter, 1761 bound after Samson (William) Rational physic; or, the art of healing: founded and explained on principles of reason and experience. To which is added, a family dispensatory, Dublin, Printed for J. Exshaw, and Tho. Ewing, 1765 and 3 other 18th century medical works, including Cornaro and Theobald, together 5 works in 1 vol., some spotting and water-staining, mostly lightly browned, contemporary mottled calf, spine ends chipped, upper corners worn, rubbed, 8vo⁂ I: Rare. ESTC records only two copies (Royal College Physicians and Congress). II: Rare. ESTC records only four copies.

Valencian school of the last quarter of the 16th century."Procession of Benedictine Saints".Oil on panel.With ribbons on the back. It shows some signs of woodworm. With repainting, a crack in the upper area and a tear in the lower margin.Measurements: 117 x 67 cm; 121 x 71 cm (frame).The one we present here is a monumental composition, of a clear devotional character reinforced by the marked scenographic sense. It is organised in two planes, the lower earthly and the upper heavenly, clearly differentiated as usual in the Spanish school of the 16th century. The figures are grouped on the earthly plane, with a line of Benedictine monks walking towards the front, in procession, with imploring gestures of great pathos; the heavenly plane is dominated by an angel who guides them, showing them the way to salvation, placing the halo on the monk in the foreground. The Valencian school is different from other contemporary Spanish artistic centres, thanks to the fact that during most of the 15th and 16th centuries there was an important settlement of Italian and Flemish painters. Thus, throughout the history of art, Valencia has been an important focus of Spanish art, together with other schools such as Andalusia and Madrid. In Valencia, the change from the 17th to the 18th century was not a break with the previous tradition, but a continuation of it. In 1768 the Royal Academy of Fine Arts of San Carlos was created, and this institution would determine a change towards a Baroque-rooted classicism. Through it, young artists were trained by José Vergara, Manuel Monfort, José Camarón, Vicente Marzo, Vicente López and Mariano Salvador Maella. On the other hand, the economic recovery led to a thriving industrial and commercial bourgeoisie, which sought to distinguish itself socially through artistic patronage. At the same time, the Church gradually lost its monopoly as the only client of artists. All this led to a definite change in taste and also in the genres treated: religious painting now coexisted with bourgeois portraiture, still life, landscape, historical and mythological themes and genre painting.

Isobel Atterbury HEATH (c.1909-1989)Wash DayOil on canvasSigned51 x 65cmThe Personal Collection of Jonathan Grimble Part IIJonathan Grimble (1942 - 2021) was well known in Cornwall as an art dealer and collector. Jonathan started collecting Cornish art in the mid-1980s with his wife Ann.Ann passed away in 2000, and Jonathan moved to Marazion where he successfully ran the Market House Gallery and brought many modern and contemporary artists to further prominence. He later ran the Porthminster Gallery and Westcotts Gallery in St Ives.Jonathan was heavily involved in the modern British and Cornish art scene and was an agent for the executors of Sandra Blow’s estate, which he ran from Sandra’s studio in St Ives.During his time as an art dealer, Jonathan put together his own incredibly impressive collection of Cornish and contemporary art, featuring artists such as Sandra Blow, Terry Frost, Alexander Mackenzie, Paul Feiler, Wilhelmina Barns-Graham, Fred Yates, Jack Pender, Trevor Bell, Paul Mount, John Milne, Denis Mitchell, Peter Lanyon and many more.David Lay Auctions were honoured to be asked by the executors of Jonathan’s estate to catalogue, market and sell Jonathan’s remarkable collection of Cornish and modern British art. After the huge success of the first sale, held in situ, in Jonathan's stylish seafront home overlooking Mounts Bay, we now have the pleasure of selling Part II, which will be sold in our auction rooms as part of our February Cornish & Fine Art sale. Condition report: This is in good original unvarnished condition

Marjorie MORT (1906-1989)From the DeckWatercolour and pencilSignedInscribed to verso26 x 36cmThe Personal Collection of Jonathan Grimble Part IIJonathan Grimble (1942 - 2021) was well known in Cornwall as an art dealer and collector. Jonathan started collecting Cornish art in the mid-1980s with his wife Ann.Ann passed away in 2000, and Jonathan moved to Marazion where he successfully ran the Market House Gallery and brought many modern and contemporary artists to further prominence. He later ran the Porthminster Gallery and Westcotts Gallery in St Ives.Jonathan was heavily involved in the modern British and Cornish art scene and was an agent for the executors of Sandra Blow’s estate, which he ran from Sandra’s studio in St Ives.During his time as an art dealer, Jonathan put together his own incredibly impressive collection of Cornish and contemporary art, featuring artists such as Sandra Blow, Terry Frost, Alexander Mackenzie, Paul Feiler, Wilhelmina Barns-Graham, Fred Yates, Jack Pender, Trevor Bell, Paul Mount, John Milne, Denis Mitchell, Peter Lanyon and many more.David Lay Auctions were honoured to be asked by the executors of Jonathan’s estate to catalogue, market and sell Jonathan’s remarkable collection of Cornish and modern British art. After the huge success of the first sale, held in situ, in Jonathan's stylish seafront home overlooking Mounts Bay, we now have the pleasure of selling Part II, which will be sold in our auction rooms as part of our February Cornish & Fine Art sale.

Edward H. ROGERS (1911-1994)Abstract - SeitaMixed media collageSigned and datedSigned, inscribed and dated 3/9/1961 to verso21 x 32cm The Personal Collection of Jonathan Grimble Part IIJonathan Grimble (1942 - 2021) was well known in Cornwall as an art dealer and collector. Jonathan started collecting Cornish art in the mid-1980s with his wife Ann.Ann passed away in 2000, and Jonathan moved to Marazion where he successfully ran the Market House Gallery and brought many modern and contemporary artists to further prominence. He later ran the Porthminster Gallery and Westcotts Gallery in St Ives.Jonathan was heavily involved in the modern British and Cornish art scene and was an agent for the executors of Sandra Blow’s estate, which he ran from Sandra’s studio in St Ives.During his time as an art dealer, Jonathan put together his own incredibly impressive collection of Cornish and contemporary art, featuring artists such as Sandra Blow, Terry Frost, Alexander Mackenzie, Paul Feiler, Wilhelmina Barns-Graham, Fred Yates, Jack Pender, Trevor Bell, Paul Mount, John Milne, Denis Mitchell, Peter Lanyon and many more.David Lay Auctions were honoured to be asked by the executors of Jonathan’s estate to catalogue, market and sell Jonathan’s remarkable collection of Cornish and modern British art. After the huge success of the first sale, held in situ, in Jonathan's stylish seafront home overlooking Mounts Bay, we now have the pleasure of selling Part II, which will be sold in our auction rooms as part of our February Cornish & Fine Art sale.

Julian DYSON (1936-2003)Carharrack & St Day Band HeadquartersPencil drawingSigned and dated 02.0029 x 40cmThe Personal Collection of Jonathan Grimble Part IIJonathan Grimble (1942 - 2021) was well known in Cornwall as an art dealer and collector. Jonathan started collecting Cornish art in the mid-1980s with his wife Ann.Ann passed away in 2000, and Jonathan moved to Marazion where he successfully ran the Market House Gallery and brought many modern and contemporary artists to further prominence. He later ran the Porthminster Gallery and Westcotts Gallery in St Ives.Jonathan was heavily involved in the modern British and Cornish art scene and was an agent for the executors of Sandra Blow’s estate, which he ran from Sandra’s studio in St Ives.During his time as an art dealer, Jonathan put together his own incredibly impressive collection of Cornish and contemporary art, featuring artists such as Sandra Blow, Terry Frost, Alexander Mackenzie, Paul Feiler, Wilhelmina Barns-Graham, Fred Yates, Jack Pender, Trevor Bell, Paul Mount, John Milne, Denis Mitchell, Peter Lanyon and many more.David Lay Auctions were honoured to be asked by the executors of Jonathan’s estate to catalogue, market and sell Jonathan’s remarkable collection of Cornish and modern British art. After the huge success of the first sale, held in situ, in Jonathan's stylish seafront home overlooking Mounts Bay, we now have the pleasure of selling Part II, which will be sold in our auction rooms as part of our February Cornish & Fine Art sale.

Charles Walter SIMPSON (1885-1971)Haze & SunshineOil on canvasSigned30 x 39cmThe Personal Collection of Jonathan Grimble Part IIJonathan Grimble (1942 - 2021) was well known in Cornwall as an art dealer and collector. Jonathan started collecting Cornish art in the mid-1980s with his wife Ann.Ann passed away in 2000, and Jonathan moved to Marazion where he successfully ran the Market House Gallery and brought many modern and contemporary artists to further prominence. He later ran the Porthminster Gallery and Westcotts Gallery in St Ives.Jonathan was heavily involved in the modern British and Cornish art scene and was an agent for the executors of Sandra Blow’s estate, which he ran from Sandra’s studio in St Ives.During his time as an art dealer, Jonathan put together his own incredibly impressive collection of Cornish and contemporary art, featuring artists such as Sandra Blow, Terry Frost, Alexander Mackenzie, Paul Feiler, Wilhelmina Barns-Graham, Fred Yates, Jack Pender, Trevor Bell, Paul Mount, John Milne, Denis Mitchell, Peter Lanyon and many more.David Lay Auctions were honoured to be asked by the executors of Jonathan’s estate to catalogue, market and sell Jonathan’s remarkable collection of Cornish and modern British art. After the huge success of the first sale, held in situ, in Jonathan's stylish seafront home overlooking Mounts Bay, we now have the pleasure of selling Part II, which will be sold in our auction rooms as part of our February Cornish & Fine Art sale. Condition report: Good original, unrestored condition

Four posters for The Kilkenny Art Gallery Society 1995 exhibition 'Paintings - Patrick Heron', held at The Butler Gallery, Kilkenny Castle, Ireland.Each 51.5 x 42cm.The Personal Collection of Jonathan Grimble Part IIJonathan Grimble (1942 - 2021) was well known in Cornwall as an art dealer and collector. Jonathan started collecting Cornish art in the mid-1980s with his wife Ann.Ann passed away in 2000, and Jonathan moved to Marazion where he successfully ran the Market House Gallery and brought many modern and contemporary artists to further prominence. He later ran the Porthminster Gallery and Westcotts Gallery in St Ives.Jonathan was heavily involved in the modern British and Cornish art scene and was an agent for the executors of Sandra Blow’s estate, which he ran from Sandra’s studio in St Ives.During his time as an art dealer, Jonathan put together his own incredibly impressive collection of Cornish and contemporary art, featuring artists such as Sandra Blow, Terry Frost, Alexander Mackenzie, Paul Feiler, Wilhelmina Barns-Graham, Fred Yates, Jack Pender, Trevor Bell, Paul Mount, John Milne, Denis Mitchell, Peter Lanyon and many more.David Lay Auctions were honoured to be asked by the executors of Jonathan’s estate to catalogue, market and sell Jonathan’s remarkable collection of Cornish and modern British art. After the huge success of the first sale, held in situ, in Jonathan's stylish seafront home overlooking Mounts Bay, we now have the pleasure of selling Part II, which will be sold in our auction rooms as part of our February Cornish & Fine Art sale.

Dora HOLZHANDLER (1928-2015)Mother and Child IVGouacheSigned and dated '87Inscribed to verso41 x 35cmThe Personal Collection of Jonathan Grimble Part IIJonathan Grimble (1942 - 2021) was well known in Cornwall as an art dealer and collector. Jonathan started collecting Cornish art in the mid-1980s with his wife Ann.Ann passed away in 2000, and Jonathan moved to Marazion where he successfully ran the Market House Gallery and brought many modern and contemporary artists to further prominence. He later ran the Porthminster Gallery and Westcotts Gallery in St Ives.Jonathan was heavily involved in the modern British and Cornish art scene and was an agent for the executors of Sandra Blow’s estate, which he ran from Sandra’s studio in St Ives.During his time as an art dealer, Jonathan put together his own incredibly impressive collection of Cornish and contemporary art, featuring artists such as Sandra Blow, Terry Frost, Alexander Mackenzie, Paul Feiler, Wilhelmina Barns-Graham, Fred Yates, Jack Pender, Trevor Bell, Paul Mount, John Milne, Denis Mitchell, Peter Lanyon and many more.David Lay Auctions were honoured to be asked by the executors of Jonathan’s estate to catalogue, market and sell Jonathan’s remarkable collection of Cornish and modern British art. After the huge success of the first sale, held in situ, in Jonathan's stylish seafront home overlooking Mounts Bay, we now have the pleasure of selling Part II, which will be sold in our auction rooms as part of our February Cornish & Fine Art sale. Condition report: We have not examined this out of its glazed frame but it appears to be in very good condition