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Barr, Jr (Alfred H.). Picasso: Fifty Years of his Art, 1st edition, New York: Museum of Modern Art, 1946, colour and black & white illustrations throughout, ownership signature of Charles Tomlinson to front free endpaper, original decorative cloth, together with: Eluard (Paul), A Pablo Picasso, 1st edition, Geneva - Paris: Editions des Trois Collines, 1944, monochrome plates and illustrations, uncut and largely unopened, contemporary presentation inscription from Charles [Tomlinson] to his wife Brenda to front free endpaper, original printed wrappers, slightly rubbed and remains of sellotape repair at foot of spine, plus Preston (Kerrison), The Blake Collection of W. Graham Robertson, published for the William Blake Trust by Faber and Faber, 1952, monochrome plates at rear, presentation inscription from Brenda to Charles, original cloth in dust jacket, slightly rubbed and browned, all 4to, plus other assorted art reference and related, some with inscriptions and annotations by Charles Tomlinson, 4to/8voQty: (6 shelves)

Charleton (T.W.) The Art of Fishing. A Poem, 1st edition, North Shields: printed for the author, 1819, 80 pp. errata slip at end, some spotting, small tear and loss to front endpaper, presentation inscription, 1856, to front pastedown, contemporary half calf, upper joint cracked, a little rubbed and scuffed, 8vo, together with [Fitzgibbon, Edward, "Ephemera"]. A Handbook of Angling: Teaching Fly-Fishing, Trolling, Bottom-Fishing, and Salmon-Fishing, 2nd edition, improved and extended, London: Longman, Brown, Green & Longmans, 1848, wood-engraved illustrations, publisher's catalogue at end, a few light spots, bookplate, original blindstamped cloth, rebacked with original spine relaid, a little rubbed with some fading, 8vo, with four others including Christopher Idle's Hints on Shooting and Fishing, both on sea and land, and in the freshwater lochs of Scotland, 1855, Blacker's Art of Flymaking, 1855, Rambles and Recollections of a Fly-Fisher, by Clericus (i.e. William Cartwright), 1854, and Thomas Tod Stoddart's The Angler's Companion to the Rivers and Lochs of Scotland, 1847 (lacking the folding map in rear pocket)Qty: (6)Footnote: Westwood and Satchell p.58 & pp. 85-86 for first two works.

JOSÉ MALDONADO GÓMEZ (Madrid, 1962)."About 3", 1987.Oil on canvas.Signed and dated on the back.Exhibited at ARCO'87.With labels on the back from the Juana Mordó Gallery.Measurements: 200 x 200 cm.José Maldonado Gómez is a self-taught artist who began his artistic career in 1982, without interruption, creating as a painter, illustrator and teacher since then. Although in 1979 he began his professional career by organising a graphic design company project, which would become a company two years later, carrying out important work in graphic and scenographic design for the music industry. He has also worked as a lecturer at the Faculty of Fine Arts at the University of Castilla-La Mancha in Cuenca and at the Instituto Europeo di Design, among other centres, and was a guest DJ at the Ku in Ibiza between 1985 and 1987. Currently, it is worth highlighting his clear commitment to multidisciplinarity, working with music, sound, video, digital image, installations, etc., with a striking interest since 2009 in hybridising painting, drawing, process and concept art and new technologies.His work has been shown in numerous international galleries (Juana Mordo, Denise Van de Velde, etc.), as well as representing Spain in international exhibitions (EXPO Universal 1992, travelling exhibitions in Latin American museums...) and in a large number of exhibitions in Vitoria-Gasteiz, Madrid, Palma de Mallorca, Valencia, Vilafranca del Penedés, Barcelona, Belgium, Tarragona, Zaragoza, Burgos, Aalst (Belgium), etc.Maldonado's work is also held in important private collections and institutions such as the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Prospect in Frankfurt, the Institute of Contemporary Art in Lyon (France), the MACBA, etc.

MODEST CUIXART I TÀPIES (Barcelona, 1925 - Palafrugell, Girona, 2007)."Matéric", Paris, 1957-1959.Oil and material on canvas.With certificate on the back signed by the artist specifying that this work was originally marketed by the famous René Drouin gallery, located in rue Visconti in Paris.Measurements: 73 x 60 cm; 102 x 89 cm.This work is part of the stage developed by Cuixart in the fifties, marked by a deep and rich informalism. In these years the painter worked with the power of thick materials and "grattage" (from 1957), creating dense, baroque works in which he introduced all kinds of objects. His work from this period was recognised in 1959 with the Grand Prize for Painting at the 5th São Paulo Biennial. These deep, complex works reflect a darker and more critical vision of the society of the time than what we will see in his next period, which was closer to Pop Art. In this work we can see how he uses quick-drying plastic paints, a novelty at the time which he pioneered.Cuixart initially studied medicine, but soon abandoned his studies to devote himself to painting, and entered the Academia Libre de Pintura in Barcelona. In 1948 he took part in the founding of the group Dau al Set, together with Brossa, Ponç, Tàpies and Tharrats, among others. Concerned with the plastic value of the sign, his work has from the outset a strong kinship with surrealism, as well as a great sensitivity towards the expressive power of colour. Towards 1955 he immersed himself in material informalism, which led him to use "grattage" in works with a certain orientalist flavour. In 1959 he won first prize at the São Paulo Biennial and exhibited at the Documenta in Kassel, and the following year he took part in an exhibition of Spanish avant-garde works at the Tate Gallery in London and the Guggenheim Museum in New York. Cuixart introduced collage into his work in 1962, which gradually led him towards pop art. Enriched by all these experiences, he returned to flat painting, achieving a very personal critical realism, which synthesises expressionism with dramatically transformed figuration, always valuing chromatic qualities. In the seventies he exhibited in numerous national and international capitals, such as Paris, Madrid, São Paulo, Amsterdam, Tokyo, Basel, Barcelona and Milan, among others. In the following decade, Cuixart gradually freed his painting from its aggressive aspects to give it a more lyrical tone. He also took part in a group exhibition at the Palais de l'UNESCO in Paris, was awarded the Cross of Saint George by the Generalitat de Catalunya and the Cross of Isabella the Catholic. In 1988 he holds an anthological exhibition in Japan, in the cities of Kobe and Tokyo. He continues to work with exuberant colours and forms, and reincorporates a more material figuration into his work. In 1998 the foundation named after him was created in Palafrugell, and the following year he was awarded the Gold Medal for Merit in Fine Arts by the Ministry of Culture. He is represented in the Museo Nacional Centro de Arte Reina Sofía, the Tate Gallery in London, the Museo Nacional de Arte de Cataluña, the Contemporary Art Museums of Madrid, Barcelona and Saint-Etienne (France), the Patio Herreriano in Valladolid, the Museo de Grabado Español Contemporáneo in Marbella, the Museo de Arte de la Universidad de São Paulo, the Museo de Arte Abstracto in Cuenca and the Museo del Ampurdán, among many others.

ENRIQUE QUEJIDO (Seville, 1948)."Composition", 1985.Oil on canvas.Signed and dated, on the back.Provenance: by the author, commissioned by the parents of the present owner. Measurements: 60 x 130 cm; 68,5 x 139 cm (frame).Born in Seville in 1948. Younger brother of Manolo Quejido. In 1980 he obtained a scholarship from the Ministry of Culture. In 1989, after a trip to New York, he settles in Altea (Alicante), where he has a period of reflection of one year, so that he would begin a new series of paintings Icons (oil paintings 41x33 cm.) linked to the Neoplastic period of 1975. In the early nineties he alternated between Madrid and Soria with long periods in the Mediterranean, on the island of Formentera, where he currently has a studio. Municipal Collection of Contemporary Art, Madrid City Council.

ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005)."Le guettur", 1962.Patinated bronze, copy E.A.Signed and justified on the right side.Wooden base.Bibliography: Pierre Seghers "Clavé" Ed. Polígrafa, Barcelona 1971, reprod pg 173. Lluis Permanyer, "Clavé escultor", Ed. Polígrafa, Barcelona 1989, reprod pg 76-77.Size: 15,5 x 7,5 x 8 cm. + 8 cm. base.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 first devoted himself to advertising graphics, illustration and 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. He already enjoyed great international prestige at the time when he began to be recognised in Spain, with his exhibition at the Sala Gaspar in Barcelona in 1956. At the same time he produced illustrations for the work "Gargantua and Pantagruel", which led him to become familiar with medieval iconography. It was in the 1950s that he began his intense work in the world of ballet and theatre, achieving great fame in the world of international stage design. In 1952 he made the sets for the film "Hans Christian Andersen", by Charles Vidor, and was nominated for an Oscar award. In 1954 he abandoned set design to devote himself to painting. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennale in 1954 and at the Tokyo International Biennale 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 Museum of Modern Art in Paris, the British Museum in London, the Museum of Modern Art in Tokyo and the Reina Sofía Museum in Madrid.

D*FACE (London, 1978) & FRANK SHEPARD FAIREY (Charleston, South Carolina, U.S.A., 1970)."Wasted Youth/Your Eyes Here", 2015.Silkscreen, copy 125/250.Signed by both artists.Size: 61 x 46 cm; 73 x 57 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.

NELSON DOMÍNGUEZ (Santiago de Cuba,1947)."Composition", 1994.Mixed media on canvas.Signed and dated in the upper right corner and on the back.Attached certificate of the artist.Measurements: 30 x 30 cm; 51 x 51 cm (frame).As the specialised critics predict, the multifaceted Cuban artist Nelson Domínguez will be remembered as one of the best artists of the Cuban plastic arts. Proof of this is the great appeal and presence of his works in the private collections of renowned personalities such as the Queen of Holland, Steven Spielberg, Robert Redford, Liv Ullmann, etc. Likewise, in 2009, the Cuban Ministry of Culture awarded him the National Prize for Plastic Arts, in recognition of his work as a whole and to raise him to the top of the country's art world. Domínguez has managed to combine the essences of contemporary art while creating an identifiable oeuvre rich in nuances.In Domínguez's work there is all the magic and warmth of the colours of the land where he was born, to which he often adds the colour black, when he wants to emphasise the drama and strength that transcends from the canvas. Another constant in his career is manifested in the permanent memory of the fertile land, the peasants and the aroma of the countryside along whose paths he walked during his childhood in his native Baire. In his works, as in his life, Domínguez flees from the hackneyed and anecdotal. With his characteristic expressionist strokes, impetuous and full of force, he manages to make his canvases brim with authenticity.Nelson Domínguez trained at the San Alejandro Academy of Fine Arts and at the Higher Institute of Art in Havana, where he has been a teacher and head of the Painting Department. He has been a member of the panel of judges in various national and international competitions and has won Cuba's National Prize for the Plastic Arts. He is a member of the Union of Writers and Artists of Cuba (UNEAC) and the International Association of Plastic Artists (AIAP). He has had more than one hundred solo exhibitions and has participated in art fairs and auctions in Cuba and in many countries on all continents. His works can be found in Cuba, Japan, Mexico, France, United States, England, Holland, India, Malaysia, Panama, Brazil, Colombia, etc... He has also obtained numerous prizes and mentions in Cuba and other countries. We cite: National Prize of Plastic Arts 2009 First Prize of Painting and Engraving. Second Salón Juvenil Ciudad de La Habana, Cuba. Prize in Linography. First Triennial of Engraving Víctor Manuel, Havana City, Cuba. First Prize in Painting and Engraving. First Teachers' Salon, Havana City, Cuba. Second Prize in Painting and Engraving (Xylography). Second Teachers' Salon, Havana City, Cuba. Second Prize for Painting and Engraving. III Salon of Teachers Havana City, Cuba. First Prize in Painting and First Mention in Engraving. 26th of July Salon, Havana City, Cuba. First Prize in Xylography. Second Salon of Engraving, Havana City, Cuba. Mention in Xylography and Linoleum. III Engraving Salon. Mention in Engraving. National Salon of Painting, Sculpture and Engraving. National Prize. International Painting Festival. Cagnes-sur-mer, France. Grand Prix. International Biennial of Wood Engraving, Banzka Bystrika, Czechoslovakia. Painting Prize. Triennial of Committed Realist Art. Sofia, Bulgaria. Award. Alejo Carpentier Cultural Promotion Centre, Havana, Cuba. III Honourable Mention. First International Exhibition of Graphic Art, Quito, Ecuador.

FRANCISCO BORES LÓPEZ (Madrid, 1898 - Paris, 1972)."Femme au citron", 1947.Gouache on paper.Signed and dated in the lower right corner.Preserves the Sala Dalmau label.It has a small tear on the left side.Measurements: 49 x 65.5 cm; 52 x 68.5 cm (frame).In spite of the evident avant-garde language of this work, Bores offers us an image that comes from the pictorial tradition. Both in the subject matter and in the composition of the scene. In the case of the theme, the author resorts to the classic still life structured around a table. The figure of a woman in profile can be seen in the right-hand corner, with her face turned towards the viewer. With regard to the above-mentioned composition, it is worth noting the frontalism with which the artist configures the scene, as well as the fact that the woman seems to be sticking out one of her legs through a frame delimited by the artist's painting. A device that creates a trompe l'oeil, typical of Baroque aesthetics.A contemporary Spanish painter belonging to the so-called New School of Paris, Francisco Bores trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid associated with ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended Julio Moisés's Academia Libre, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists, but the Madrid public's lack of interest in young art prompted him to leave for Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927, contracted by the Percier gallery. During these years, and through his friendship with Picasso, he began his relationship with the art critic Tériade, who devoted an extensive article to him in "Cahiers d'Art". It was at this point that his artistic career began to take off. In 1929 he took part in the exhibition "Pintores y escultores españoles residentes en París" (Spanish Painters and Sculptors Resident in Paris), held at the Botanical Gardens in Madrid. Around this time he also contributed to avant-garde magazines such as "Litoral", "La Bête Noire", "Martín Fierro", etc. In 1931 he had a solo exhibition at the Georges Bernheim gallery in Paris, and at the same time he signed a contract with the Swiss gallery owner Max Esiherberger. In 1932 and 1933 he exhibited at the Vavin-Raspail gallery in Paris, coinciding with the appearance of the first monograph on his painting. In the mid-1930s he was contracted by the Zwemmer gallery in London, where he held a solo exhibition. His work is influenced by Picasso's Cubism and, on occasions, by Surrealism and abstraction. Francisco Bores became a master in the use of colour, the application of which sometimes follows abstract criteria, to such an extent that it replaces drawing or line in defining objects, figures and the space in which they are inserted. There is also a clear tendency in his language towards experimentation with colour, which led him to pamper the chromatic semitones. In the 1930s, Bores himself defined his painting as "lyricism and sensuality (...) within a composition organised in pursuit of a synthesis analogous to the impression produced by a single visual instant". After the Second World War Bores resumed his exhibition activity, and in 1947 the French state acquired a work by Bores for the first time. In 1949 the Museum of Modern Art in New York bought his paintings. In the 1950s he continued to exhibit his works in many European galleries.

JOSÉ GARCÍA CORDERO (Dominican Republic, 1951)."Mediodía montecristi II".Acrylic on canvas.With certificate of authenticity issued by the Lyle O. Reitzel Gallery (Dominican Republic).Signed in the lower right corner.Measurements: 149,5 x 232 cm.This work has a certificate of authenticity issued by the Lyle O. Reitzel Gallery, which represents the artist. Close to a realist aesthetic, José García Cordero introduces distorting elements in his works, which lead to images of a highly enigmatic content that catch the spectator's interest. Through his habitual use of bichrome, black and white as an indispensable resource in his artistic production, García Cordero, brings us closer to an image populated by fish heads, which are structured around an empty and infinite space.José García Cordero is a Dominican artist who began his artistic training in his native country under the guidance of Gilberto Hernández Ortega, his first teacher, although he also studied architecture. However, due to the tense political situation in the Dominican Republic, José García Cordero moved to Paris because of his disagreement with the Balaguer government. In the French capital, García Codero continued his artistic education by enrolling at the University of Paris, where he studied Contemporary History. Throughout his long career, he has held numerous exhibitions both nationally and internationally, among which the following stand out; His solo exhibition "Caribbean Visions", held at the Smithsonian Museum in 1995, "Human Conditions", Museum of Latin American Art, Long Beach, California in 2007 and also at the MoLAA-Museum of Latin American Art, Long Beach, California. He has also participated in numerous international art fairs such as ARCO, Art Basel Miami Beach, Context Art Miami, Art Basel, ArteBA Buenos Aires, Argentina, MIArt Milan, Italy, Scope NY, and Scope Miami. Today his works are part of important art collections including the Permanent Collection of the Salon Vitry-Sur Seine, the collection of the Fondo Regional de Arte Contemporáneo, Martinique, the Fundación Colección Cortés, Old San Juan, Puerto Rico, the Museo de Arte Moderno, Santo Domingo, the Fundación Ortiz Gurdian, León, Nicaragua and the collection of the Museum of Latin American Art (MoLAA), among many others.

ALFREDO SOSABRAVO (Sagua la Grande, Cuba, 1930)."Pajarera", April 2006.Oil and collage on canvas.Signed and dated in the lower left corner. Signed, dated and titled on the back.Enclosed certificate signed by the artist.Measurements: 76,5 x 64 cm; 95 x 82 cm (frame).His constant desire for improvement has made Alfredo Sosabravo one of the most original artists of the two-dimensional expressions of Cuban plastic art. Dedicated to painting, drawing, engraving and ceramics, Sosabravo trained at the Escuela Elemental de Artes Plásticas Aplicadas Anexa a la Academia de Artes Plásticas San Alejandro, in Havana, Cuba. He held his first major solo exhibition in 1967 with oil-collages and ceramics in Galería Habana. As a tribute to his meritorious work, he received in 1988 the "Alejo Carpentier" Medal, in 1994 the "Félix Varela" Order and in 1997 the National Prize of Plastic Arts, the highest award given in Cuba. In 2008, the National Museum of Havana included his work in the anthological exhibition Cuba: Art and History, which is presented at the Museum of Fine Arts in Montreal, Canada. The Instituto Cervantes in Vienna held an exhibition of his work, which included paintings and sculptures in glass and bronze. Throughout his career he has participated in numerous exhibitions both nationally and internationally. He is included in the exhibition of masters of the Second Salon of Contemporary Art, Havana. 1999. He presented an anthological exhibition on the occasion of the Premio Nacional de Artes Plásticas, Centro de Arte. The publishing house Letras Cubanas publishes the monographic book SOSABRAVO, Havana. 2000. Exhibited at the Galería La Acacia, in homage to his seventy years of life, 2003. Inaugurated a personal exhibition at the Castel Dellovo, Naples, Italy. 2004. Solo exhibition of his drawings and collages, La Acacia Gallery, Havana. 2005. Carried out Recent Paintings, National Museum of Fine Arts, Havana. 2006. Designed the curtain for the ballet Pictures at an Exhibition, choreographed by Alicia Alonso for the National Ballet of Cuba. 2008. In homage to his eightieth birthday, the Centro Hispanoamericano de Cultura, Havana, presented his most recent sculptures, paintings and ceramics, all made in workshops in Italy.

Yunuene, (1975, Mexico City)."February/Aquarium".Twelve series.Oil on canvas accompanied by augmented reality.Signed.Size: 90 x 120 cm.Her collection of deconstructivist paintings emerge from a desire to inspire the viewer to discover the deeper meaning of the everyday, to ignite the search for creative ideas, and to celebrate the strength of individuality.Yunuene's artistic style involves a multitude of personal, aesthetic, and cultural references that reflect the plurality of her personal life and contemporary social issues. She often plays with the viewer's perceptions of the mundane and traditional, using augmented reality to complement her message. Yunuene lives and works in Mexico City. Esparza's contemporary art has been exhibited in landmark museums including Museo Soumaya, Museo Nacional de Arte MUNAL, Centro Nacional de las Artes, Museo de la Bolsa Mexicana de Valores MUBO and within the CDMX Metro system. She has exhibited internationally in New York, Austria, Spain, Germany, Israel, Mexico, Canada, China, Brazil and Italy.

Collection of books including; Photography retrospective of Elliot Erwitt Snaps (2003), A. Krase, Eugene Atget: Paris (2008), R. Doisneau: Paris: New Compact Edition (2010), F. Robert, The Americans (2008), C.Cotton, The Photograph As Contemporary Art - World of Art (2009) and six issues of The British Journal Of Photography  from volumes 161 and 162 (2015) (1 box)

A late 16th Century Augsburg marquetry table cabinet, with two cupboard doors enclosing fourteen various sized drawers framing two architectural cupboard doors, profusely inlaid throughout with densely scrolling foliage, monkeys, parrots, snails, squirrels, rabbits and grotesque masks, 92.75cm/Note: From the mid-sixteenth century, cabinet makers in the south German city of Augsburg specialised in table cabinets intended for the storage of small, precious objects such as exotic shells, medals and jewellery. These luxury cabinets were often profusely decorated with colourful marquetry depicting fantastical ruins, strapwork, a variety of animals, birds and insects and a range of ornamental motifs drawn from contemporary German prints/Literature: Riccardi-Cubitt, 'The Art of the Cabinet', 1992, plates 14 and 15/see illustration CONDITION REPORT: Timbers include sycamore, green stained sycamore known as harewood, ash, oak and birch. Front of cabinet has some sun bleaching. Vertical split to each panel doors, visible to interior and exterior. Overall condition of inlaid drawer fronts is good but the bottom row of drawers either have missing bottoms or with loose bottoms. Several drawer knobs replaced and one loose. Shrinkage cracks to top. Small 15cm long strip of veneer missing to lower edeg one side. Slight ripple to veneer at back. Overall this is a lovely cabinet but with knocks, minor patches and marks commensurate with age.

SOUL/JAZZ/FUNK - HIGH QUALITY MODERN TITLE/PRESSING LPs - An eclectic collection of 18 x LPs consisting of contemporary artists and classic reissues. Artists and titles are: Gogo Penguin - A Humdrum Star, Ronin Arkestra, Michael Kiwanuka, Grimace Federation, The Mauskovic Dance Band, Idris Ackamoor & The Pyramids - Shaman, Khurangbin & Leon Bridges - Texas Sun, Robert Glasper - F**k Yo Feelings, Al Kent, No Ordinary Game, Robert Ouimet, Contrepoint, Art Blakey and The Jazz Messengers, Ebo Taylor, Soul Brothers, Syl Johnson - Is It Because I'm Black, Orchestre Poly-Rythmo and Emma Jean-Thackray. All titles appear to be in fantastic condition.

A large three dimensional contemporary work of art. Indistinctly signed. 150x50cm

CONTEMPORARY ART DECO DESIGN SILK CARPET, 370cm x 245cm.

* GORDON K MITCHELL RSA RSW RGI (SCOTTISH b. 1952),RED RIBBON DAYoil on canvas, signed, titled and dated 1999 label versoimage size 38cm x 27cm, overall size 58cm x 48cm Framed and under glass.Handwritten label verso.Note: Prizes and Awards include: Borders Biennial Exhibition; First Prize, City Arts Centre, Open Exhibition; First Prize, Educational Institute for Scotland; Purchase Prize, Glasgow Mayfest Award, Royal Scottish Academy Award; First Prize, Royal Scottish Society of Painters in Watercolour; William Gillies Award, Scottish Drawing Competition, Paisley; Second Prize, Royal Scottish Academy; J. Murray Thompson Award, Scottish Artists and Artist Craftsmen; Arts Club Prize, Scottish Artists and Artist Craftsmen; Whyte & Mackay Award, Scottish Artists and Artist Craftsmen; Scottish Provident Award, Scottish Artists and Artist Craftsmen; Dunfermline Building Society Prize, Scottish Artists and Artist Craftsmen; SSWA Special Award. Solo Exhibitions include Dorothy Quinn Gallery, St. Andrews, Henderson Gallery, Edinburgh, Old City Art Gallery, Jerusalem, Traverse Theatre, Edinburgh, Open Eye Gallery, Edinburgh (biannually since 1992), Roger Billcliffe Fine Art, Glasgow (biannually since 1993), Atholl Gallery, Dunkeld (1993) Albemarle Gallery (biannually since 1997). Represented in Group Exhibitions in the United Kingdom, including:Allan Park Gallery, Stirling, Atholl Gallery, Dunkeld, Borders Biennial Exhibition, City Arts Centre, Edinburgh, Contemporary British Art Show, London, Contemporary Fine Art Gallery, Fine Art Society Galleries, Glasgow, Gracefield Art Centre, Dumfries, Hilton Hotel, Hong Kong, John Martin of London, Kirkcaldy Art Gallery, Mall Galleries, London, Morrison Scottish Portrait ExhibitionOpen Eye Gallery, Edinburgh, Paisley Art Institute, Portland Gallery, London, Richard Demarco Gallery, Edinburgh, Roger Billcliffe Fine Art, Glasgow, Royal Glasgow Institute, Royal Scottish Academy, Edinburgh, Royal Scottish Society of Painters in Watercolour, Scottish Arts Club, Edinburgh, Scottish Arts Council Gallery, Smith Art Gallery & Museum, Society of Scottish ArtistsSociety of Scottish Artists and Artist Craftsmen, Stirling Gallery, Talbot Rice Gallery, Edinburgh Group Exhibitions held abroad: Through the `Old City Gallery` Jerusalem, paintings have been included in group exhibitions in Israel, Australia, Canada, U.S.A. and Sweden. Blue and White Gallery, Jerusalem, Contemporary Scottish Art 1994, Hilton Hotel, Hong Kong Collections: Works held in a great many private and public collections, including; Alliance & Leicester Building Society, Edinburgh Distillers Co. Ltd, Edinburgh College of Art, Educational Institute for Scotland, Johnny Walker Whisky Co, Kansas City Art Institute, Macfarlane Group Plc, National Westminster Bank, Paisley Art Institute, Scottish Arts Council, Scottish Brewers Limited, Slottseal Forthside Limited, The Knesset, Israel, University of Edinburgh, Welcome Inns, Whyte & Mackay Group, William Teacher & Sons (Whisky). The most recent example of Gordon Mitchell's paintings we've offered was "Castaway" a 73 x 98cm oil on canvas which sold in The Scottish Contemporary Art Auction of 24th January 2021 for £8000 (hammer) setting a new auction world record for a work by the artist. Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues.

* GERARD BURNS (SCOTTISH b. 1961),UNTITLEDoil on canvas, signedimage size 120cm x 88cm, overall size 148cm x 117cmFramed.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

ERNI UPTON,JURA FROM KINTYRE (RONACHAN)oil on board, signed, further signed and titled versoimage size 44cm x 59cm, overall size 70cm x 85cmFramed.Artist's label verso.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery, Holyrood Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).

* GRAEME WILCOX (SCOTTISH b. 1967),FAITH HEALERoil on canvas, signed and titled versoimage size 102cm x 112cm, overall size 116cm x 126cmFramed. Note: Painted in the early 2000s this work was completed during a time of self-reflection and meditation for the artist, and a desire to "fix ourselves". The painting represents the same figure as both patient and healer in an attempt to represent this process of human reflection. After graduating from Glasgow School of Art in 1993, Wilcox continues to prosper as a painter based in Glasgow. He exhibits regularly in solo shows and group exhibitions throughout the UK and Europe. Recent work depicts people and events experienced in public spaces around the city. These paintings show figures engaged in ambiguous actions in half-remembered spaces. These situations and scenes have lodged in the memory due to some resonance or poignancy that can't quite be dismissed. The resulting paintings are partly an attempt to balance a sense of stillness with a sense of movement; a tension that hopefully generates a heightened feeling of the strangeness of everyday life and those around us. Graeme has collaborated on a number of multimedia projects with Mischief-la-bas-performance group and with other artists, culminating in projects at the Arches and Tramway in Glasgow and the Albany Theatre in London. He has also organised two large scale mural projects in collaboration with the East End Community Arts for Glasgow Health Board and devised and ran "Face to Face" photography project in Glasgow. This Arts Council funded project culminated in a temporary public artwork at the East End Festival in Glasgow. In 2011 he completed a prestigious portrait commission for the newly opened Conway Hall in London. Graeme's work is held in private collections in Europe, the USA and Canada and in public collections in Petrezovodsk, Russia and the Gulf State of Qatar. He is also held in the Corporate Collection of the Royal Bank of Scotland, Edinburgh. The most recent example of Graeme Wilcox's work we have offered was "On the Same Page" (a 112 x 102 cm oil on canvas) which was sold in The Scottish Contemporary Art Auction of 28th March 2021, lot 722 for £5000 (hammer).

* JAMES SOMERVILLE (SCOTTISH CONTEMPORARY b. 1936),VILLAGE FROM THE SHOREoil on canvas, signed, titled versoimage size 61.5cm x 74.5cm, overall size 73cm x 85cmFramed.Note: Originally from Fife, Jimmy went to Edinburgh College of Art, then returned to Fife in 1960 where he became a Principal Teacher of Art in Glenrothes High School. He held various posts on secondment as National Development Officer for Art and Design, was Principal Examiner with the Scottish Examination Board, and was involved in the introduction and implementation of Standard Grade Art & Design in schools. James retired from this work many years ago and began painting and exhibiting on a full-time basis. Slightly abstracted in style, and although always starting from drawings of specific places, they are taken well beyond the picturesque. The finished paintings show a concentration on atmosphere, mood, and response to things seen rather than mere representation of actual places. James Somerville's paintings are held in the collections of: The Scottish Arts Council, Edinburgh Hospitals Collection, Pitlochry Festival (Harry Cruden) Collection, Fife Regional Council, and numerous private collections at home and abroad.

* KIRSTY WITHER (SCOTTISH b. 1968),WHERE YOU TAKE MElimited edition lithograph on paper, signed and numbered 78/875, titled label versoimage size 28cm x 40cm, overall size 53cm x 64cm Mounted, framed and under glass.Label verso: Eastwood Fine Arts.Note: Scottish artist Kirsty Wither is one of Britain's best known contemporary artists and her work is in constant demand from the most prestigious galleries. She has had more than thirty major Solo Exhibitions since 1997 including numerous shows at The Portland Gallery (London), The Open Eye Gallery (Edinburgh), The Gatehouse Gallery (Glasgow) and Duncan R Miller Fine Art (London).

* HANNAH FRANK (SCOTTISH 1908 - 2008), GARDEN (1932)lithograph on paper, signed in pencil, titled and dated 1932image size 31.5cm x 27.5cm, sheet size 43cm x 32cm, overall size 46cm x 36cmFramed and under glass.Note: "Garden (1932)" is one of the rarest Hannah Frank signed prints. A previous example of this print was sold (by McTear's) for £650 (lot 526 The Scottish Contemporary Art Auction 27th September 2020). Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than three times higher than those achieved less than a decade ago. Note: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of prints of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy demand for her work after exhibitions in Edinburgh and Glasgow. Only a few of these prints were ever signed by Hannah who found the task of numbering and signing "tiresome". A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues.

* RYAN MUTTER (SCOTTISH b. 1978),UNTITLEDoil on canvas, signedimage size 58cm x 28cm, overall size 77cm x 47cm Framed.Note: Ryan Mutter was born in 1978, he studied at The Glasgow School of Art, where he graduated in 2001. He has now won many distinguished awards, including four from the Royal Glasgow Institute of Fine Arts (RGI). His inspiration comes from Britain's industrial heritage and its connection between man and the sea. In Glasgow alone shipbuilding provided work for 70,000 men in more than 50 yards spread along 11 miles of quayside. But today these yards sit empty, a shadow of their former self. The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant. This is what drives Ryan as he looks to capture and remind people of how important this workforce was in the development of the modern world. A new UK auction record was established for a Ryan Mutter painting when "The Launch" was sold in McTear's Scottish Contemporary Art Auction on 2nd July 2017 (lot 39) for £2600 (hammer). However, in The Scottish Contemporary Art Auction of 28th March 2021, two new Ryan Mutter records were set at £2800 and £3000 (both hammer prices).Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues.

* JOHN HASKINS (BRITISH b. 1938),SUMMER ON THE FARMoil on board, signedimage size 40cm x 54cm, overall size 56cm x 70cm Framed.Note: John Haskins is a contemporary painter with vibrant flair and an impressionist style and remains a firm favourite among collectors. With a successful career spanning decades, Haskins has firmly established himself among some of the country’s most popular and collectible artists of today. He began his artistic career in illustration. After gaining his City and Guilds Diploma in illustration at art school, Haskins had a successful early career as a Chief Technical Illustrator with British Aerospace, Rolls Royce and NASA. Today, from his home studio in the heart of the English countryside, Haskins continues to create paintings that reflect all the atmosphere and colour of his surroundings. His life-long attention to detail lends an authenticity to the rural scenes he depicts in his landscapes. His figurative work too remains equally authentic; occasionally using his daughters and grandchildren as models, his figurative paintings vividly evoke intimate memory and nostalgia. John Haskins’ long and established career as an artist has seen great success. The universal popularity of his work has yielded successful exhibitions and one-man shows over the years in London, Frankfurt, Paris, Edinburgh, Los Angeles, Melbourne and Sydney, among others. His paintings can be found in major galleries and private collections around the world, and continue to be sought-after by a wide range of collectors. His published work also continues to thrive, with many international publishers specially commissioning his work for prints, limited editions and greeting cards.

* RYAN MUTTER (SCOTTISH b. 1978),UNTITLEDoil on canvas, signedimage size 49cm x 39cm, overall size 71cm x 61cmFramed.Note: Ryan Mutter was born in 1978, he studied at The Glasgow School of Art, where he graduated in 2001. He has now won many distinguished awards, including four from the Royal Glasgow Institute of Fine Arts (RGI). His inspiration comes from Britain's industrial heritage and its connection between man and the sea. In Glasgow alone shipbuilding provided work for 70,000 men in more than 50 yards spread along 11 miles of quayside. But today these yards sit empty, a shadow of their former self. The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant. This is what drives Ryan as he looks to capture and remind people of how important this workforce was in the development of the modern world. A new UK auction record was established for a Ryan Mutter painting when "The Launch" was sold in McTear's Scottish Contemporary Art Auction on 2nd July 2017 (lot 39) for £2600 (hammer). However, in The Scottish Contemporary Art Auction of 28th March 2021, two new Ryan Mutter records were set at £2800 and £3000 (both hammer prices).

* GERARD BURNS (SCOTTISH b. 1961),WINTER WALKoil on canvas, signed. titled label versoimage size 61cm x 48cm, overall size 87cm x 75cm Framed. Label verso: The Contemporary Fine Art Gallery, Eton.

* RYAN MUTTER (SCOTTISH b. 1978),UNTITLEDoil on canvas, signedimage size 98cm x 78cm, overall size 123cm x 103cm Framed.Note: Ryan Mutter was born in 1978, he studied at The Glasgow School of Art, where he graduated in 2001. He has now won many distinguished awards, including four from the Royal Glasgow Institute of Fine Arts (RGI). His inspiration comes from Britain's industrial heritage and its connection between man and the sea. In Glasgow alone shipbuilding provided work for 70,000 men in more than 50 yards spread along 11 miles of quayside. But today these yards sit empty, a shadow of their former self. The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant. This is what drives Ryan as he looks to capture and remind people of how important this workforce was in the development of the modern world. A new UK auction record was established for a Ryan Mutter painting when "The Launch" was sold in McTear's Scottish Contemporary Art Auction on 2nd July 2017 (lot 39) for £2600 (hammer). However, in The Scottish Contemporary Art Auction of 28th March 2021, two new Ryan Mutter records were set at £2800 and £3000 (both hammer prices).Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues.

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

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),RONDA, SPAIN IIoil on board, signed and dated 2001image size 38cm x 44cm, overall size 55cm x 61cm Framed and under glass.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In The Scottish Contemporary Art Auction of 24th October 2021, lot 510A "RONDA, SPAIN" a marginally larger picture of fundamentally the same view and painted on the same trip (2001) by Macmillan sold for £1700 (hammer).

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),WINTERFIELD, KILBARCHANoil on board, signed, titled labels versoimage size 35cm x 44cm, overall size 49cm x 59cmFramed.Artist's label verso.Handwritten label verso.Label verso: The Open Eye Gallery, Edinburgh.Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule, and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.

* ELEANOR CHRISTIE CHATTERLEY (SCOTTISH b. 1929),UNTITLEDcomposite sculpture, 160cm highNote: Eleanor Munro was born (1929) and educated in Scotland. She studied sculpture at The Glasgow School of Art and Camberwell School of Art. She taught Sculpture at London Marylebone Institute (St John's Wood Sculpture School) from 1970 - 84 and at Blackheath School of Art from 1987 - 93. In 1952 she married the artist Fyfe Christie (1918 - 1975). Some eighteen years after the death of her first husband (1993) Eleanor married the music producer Albert "Jack" Chatterley (died 2016). Eleanor Christie-Chatterley has exhibited her sculptures at numerous venues including Woodlands Art Gallery (London), Blackheath Gallery (London), Old Cattan House Gallery (Norwich), Buckenham Galleries and at Cyril Gerber Fine Art (Glasgow). Her sculptures are in numerous private collections in the UK, the US and in France. Eleanor Christie-Chatterley lives on the west coast of Scotland and is almost certainly Scotland's oldest living sculptor. In The Scottish Contemporary Art Auction of 24th October, "Green Man Walking" by Christie-Chatterley sold for £3800 (hammer) and three small stoneware sculptures sold for hammer prices of £480, £500 & £500. In the SCA Auction of 5th December, "Woman of the North" sold for £5000 (hammer).SHIPPING: Aardvark Art Services Ltd have quoted £150 to collect this sculpture and deliver it to most (except the more remote) UK mainland locations (further details on request).

Max Neumann. (1949 Saarbrücken - lebt in Berlin und Paris). o.T. (Figur mit Vogelkopf). 1995. Leimtempera auf Leinwand. 98 x 80 cm. Signiert und datiert. - An den unteren Kanten lagerungsbedingt mit kleinen Stellen von Farbabrieb (Motiv nicht betroffen) sonst guter Zustand. Neumann studierte an der Akademie der Bildenden Künste in Karlsruhe und an der Hochschule der Bildenden Künste in Berlin. Seine Werke sind in wichtigen Sammlungen wie dem LACMA - Los Angeles County Museum of Art, im Hara Museum of Contemporary Art Tokyo sowie in der Sammlung zeitgenössischer Kunst der Bundesrepublik Deutschland in Bonn vertreten. Glue tempera on canvas. Signed and dated. - At the lower edges with small spots of paint abrasion due to storage (motif not affected) otherwise good condition.

Attributed to Hitoko Urago, contemporary, Untitled, oil on canvas, 180 x 200cm, unframed. Provenance: According to the family this was purchased at Chelsea College of Art Graduate show, circa 2001

NO RESERVE Cookery.- [King (William)] The Art of Cookery, in Imitation of Horace's Art of Poetry, first edition, half-title, tiny rust-hole affecting odd letter (K5-6), light browning, previous owners ink signature, contemporary calf, rebacked, old stain to upper cover, neat repairs to corners, for Bernard Lintott, [1708] § The Breakfast Book, original embossed cloth, slight bumping to spine extremities, 1865; and a tenth edition of Farley's 'The London Art of Cookery', 8vo (3).

NO RESERVE [Dubreuil (Jean)] The Practice of Perspective: or, an Easy Method of Representing Natural Objects According to the Rules of Art, third edition, 2 folding engraved plates, 150 full-page illustrations, lacking the 'Table' and 'Contents', title in red and black, title laid down, previous owner's ink signature, scattered very faint spotting, contemporary calf, rebacked, gilt, 4to, for Tho. Bowles and John Bowles, 1739.

NO RESERVE Bindings.- Dictionnaire Technologique ou Nouveau Dictionnaire Universel des Art et Métiers, 22 vol., half-titles, scattered spotting, contemporary calf-backed boards, gilt, a little rubbed, 8vo, Paris, 1822-35.

Contemporary Art - Damien Hurst, British Born 1965, Signed - Skull Sketch on Paper, Framed, No Condition Issues. Size of Sketch Only 11,5 x 8.25 Inches - 28.75 x 20.65 cms.

§ DUNCAN SHANKS R.S.A., R.S.W., R.G.I. (SCOTTISH 1937-) GREEN FIELD, 1990 Signed lower right, inscribed with title verso, oil on card laid on board(146cm x 110cm (57.5in x 43.25in))Footnote: Exhibited: 'Contemporary Art Season, 1990', Glasgow Museums and Art Gallery, 1990

§ PAUL NEAGU (ROMANIAN/BRITISH 1938-2004) ONGOING HYPHEN, 1992 Signed with initials and dated '92, gesso, pencil and wood(63cm x 23.3cm x 30cm (24.75in x 9.25in x 11.75in))Provenance: Gifted by the artist to the Romanian art historian, critic and curator Ruxandra Garofeanu c. 2000; gifted by Garofeanu to the current ownerFootnote: Note: Paul Neagu’s legacy within the UK artworld is one of quiet but profound impact, with the generation of students he taught – Rachel Whiteread, Antony Gormley and Anish Kapoor (who authored his obituary), attesting to his influence on their own work. His artistic practice was underpinned by his personal philosophical theory of the world; a sophisticated if esoteric approach which, though valued by curators, institutions and centres of education here from the early stages of his career, was out of step with his contemporaries at the time. As a Romanian émigré, Neagu’s output inevitably had a cross-cultural outlook, and his sculpture, drawings and performances were underpinned by an exploration of the metaphysical, and can be described as straddling craft and conceptualism. Though these features distinguished him and set his work apart, it also meant he did not fit within the general trends in the British art world at this point, to the detriment of his standing amongst collectors of British sculpture today. Kapoor in his tribute remarks that, “…inevitably, he struggled against a British art world that preferred to see the artist as a maker of things rather than, as he saw it, art, and therefore the artist, as a generator of a philosophical world view.” Growing up in tough conditions behind the Iron Curtain, the young Neagu enrolled at the Bucharest Institute of Fine Art in 1963. Social Realism was the official visual language under the Communist regime, and so he was forced to make forays into abstraction in secret. These constraints ultimately led to the development of his core belief that art is an expression of 'desire in the face of the systems that attempt to inhibit it'. Throughout the 1960s he developed his ‘palpable objects’: construction-like box assemblages made out of humble materials and traditional Romanian woodworking techniques; a thread to his practise which he never abandoned and can be observed in the work offered here for sale, ‘Ongoing Hyphen’. His ticket to the West came in the form of an invitation from the now legendary art impresario Richard Demarco to exhibit at his gallery in 1969. A powerhouse behind the Edinburgh Art Festival, Demarco was extraordinarily outward looking for the time and made it his mission to discover and expose talent from Eastern Europe over in the West (other names he is responsible for championing include Marina Abramovich and Joseph Beuys). Neagu settled in the UK permanently in 1970, making London his home. Before long he became a well-respected teacher, most notably lecturing at the Hornsey, the Slade and the Chelsea School of Art, and in 1976 becoming Associate Professor at the Royal College of Art. His work encompassed aspects of performance as well as drawing and construction, and explored the relationship between ritualism and sculpture, as well as spirituality. Sculpture, as Neagu saw it, was to be experienced by all five senses and had the potential to have a profound, spiritual, and potentially healing impact on its audience. In order to convey these aims, he developed specific totemic symbols which he then continued to re-work over the course of his career. The first and most significant of these was the Hyphen form. As Kapoor describes, “…in 1975, Neagu made his first Hyphen - it started life as a three-legged workbench assembled somewhat in the folk tradition of Romanian furniture. Quickly Neagu understood the immense metaphysical potential of this tripod structure. From it he evolved a complete anthropocosmic view which, in parallel with Joseph Beuys in Germany and, previously, Yves Klein in France, suggested a spiritual remedy for the ills of contemporary man.” These reference points are notably European, again underpinning that Neagu’s process was something of an anomaly within the British art movements of the period. This though, as I alluded earlier, is to the advantage of discerning collectors with a more internationalistic outlook today, as his work remains accessibly priced. Lyon & Turnbull are pleased to offer for sale ‘On-going Hyphen’, from 1992. Crafted in some of Neagu’s traditional materials, wood and gesso, it represents a later iteration of the original hyphen form, which Neagu approached again with vigour in this year. We are also pleased to offer one of his ‘human cell’ drawings, ‘Human Foot Shadow’, from 1973 – a further aspect of his ‘Anthropocosmic’ concept which he developed in the early 1970s. In 2003 Tate Britain acquired Neagu’s 30-year archive and exhibited some of his work from the 1970s and 1980s, and his work can be found in public collections including, among others, the British Museum, London, le Fond départemental d'art contemporain, Seine Saint-Denis, Bobigny, France, the Hugh Lane Municipal Gallery of Modern Art, Dublin, the Musee Cantonal de Beaux Arts, Lausanne, Switzerland, the National Museum of Art of Romania, Bucharest, the Philadelphia Art Museum, Philadelphia, USA, and the Tate Gallery, London.

§ PAUL NEAGU (ROMANIAN/BRITISH 1938-2004) HUMAN FOOT SHADOW, 1973 Signed, inscribed with title and dated '73 lower left, further inscribed 'Human Foot, 35 cells, GENERATIVE ART GROUP', mixed media on paper(39cm x 27cm (15.25in x 10.5in))Provenance: Gifted by the artist to Silvia Radu and Vasile Gorduz, Romanian artists and close friends of Neagu (work bears inscription from Neagu to the pair verso); Gifted by Silvia Radu to the present ownerFootnote: Note: Paul Neagu’s legacy within the UK artworld is one of quiet but profound impact, with the generation of students he taught – Rachel Whiteread, Antony Gormley and Anish Kapoor (who authored his obituary), attesting to his influence on their own work. His artistic practice was underpinned by his personal philosophical theory of the world; a sophisticated if esoteric approach which, though valued by curators, institutions and centres of education here from the early stages of his career, was out of step with his contemporaries at the time. As a Romanian émigré, Neagu’s output inevitably had a cross-cultural outlook, and his sculpture, drawings and performances were underpinned by an exploration of the metaphysical, and can be described as straddling craft and conceptualism. Though these features distinguished him and set his work apart, it also meant he did not fit within the general trends in the British art world at this point, to the detriment of his standing amongst collectors of British sculpture today. Kapoor in his tribute remarks that, “…inevitably, he struggled against a British art world that preferred to see the artist as a maker of things rather than, as he saw it, art, and therefore the artist, as a generator of a philosophical world view.” Growing up in tough conditions behind the Iron Curtain, the young Neagu enrolled at the Bucharest Institute of Fine Art in 1963. Social Realism was the official visual language under the Communist regime, and so he was forced to make forays into abstraction in secret. These constraints ultimately led to the development of his core belief that art is an expression of 'desire in the face of the systems that attempt to inhibit it'. Throughout the 1960s he developed his ‘palpable objects’: construction-like box assemblages made out of humble materials and traditional Romanian woodworking techniques; a thread to his practise which he never abandoned and can be observed in the work offered here for sale, ‘Ongoing Hyphen’. His ticket to the West came in the form of an invitation from the now legendary art impresario Richard Demarco to exhibit at his gallery in 1969. A powerhouse behind the Edinburgh Art Festival, Demarco was extraordinarily outward looking for the time and made it his mission to discover and expose talent from Eastern Europe over in the West (other names he is responsible for championing include Marina Abramovich and Joseph Beuys). Neagu settled in the UK permanently in 1970, making London his home. Before long he became a well-respected teacher, most notably lecturing at the Hornsey, the Slade and the Chelsea School of Art, and in 1976 becoming Associate Professor at the Royal College of Art. His work encompassed aspects of performance as well as drawing and construction, and explored the relationship between ritualism and sculpture, as well as spirituality. Sculpture, as Neagu saw it, was to be experienced by all five senses and had the potential to have a profound, spiritual, and potentially healing impact on its audience. In order to convey these aims, he developed specific totemic symbols which he then continued to re-work over the course of his career. The first and most significant of these was the Hyphen form. As Kapoor describes, “…in 1975, Neagu made his first Hyphen - it started life as a three-legged workbench assembled somewhat in the folk tradition of Romanian furniture. Quickly Neagu understood the immense metaphysical potential of this tripod structure. From it he evolved a complete anthropocosmic view which, in parallel with Joseph Beuys in Germany and, previously, Yves Klein in France, suggested a spiritual remedy for the ills of contemporary man.” These reference points are notably European, again underpinning that Neagu’s process was something of an anomaly within the British art movements of the period. This though, as I alluded earlier, is to the advantage of discerning collectors with a more internationalistic outlook today, as his work remains accessibly priced. Lyon & Turnbull are pleased to offer for sale ‘On-going Hyphen’, from 1992. Crafted in some of Neagu’s traditional materials, wood and gesso, it represents a later iteration of the original hyphen form, which Neagu approached again with vigour in this year. We are also pleased to offer one of his ‘human cell’ drawings, ‘Human Foot Shadow’, from 1973 – a further aspect of his ‘Anthropocosmic’ concept which he developed in the early 1970s. In 2003 Tate Britain acquired Neagu’s 30-year archive and exhibited some of his work from the 1970s and 1980s, and his work can be found in public collections including, among others, the British Museum, London, le Fond départemental d'art contemporain, Seine Saint-Denis, Bobigny, France, the Hugh Lane Municipal Gallery of Modern Art, Dublin, the Musee Cantonal de Beaux Arts, Lausanne, Switzerland, the National Museum of Art of Romania, Bucharest, the Philadelphia Art Museum, Philadelphia, USA, and the Tate Gallery, London.

AKIRA KUROSAKI (Japan, 1937-2019) “Mythology" Woodblock print 1972 Hand signed Note: Print artist. Kurosaki's work became justly admired internationally in the later 1960s and 70s for his darkly reverberant colours, smooth technique and for his imaginative and disturbing semi-Surrealistic images. His prints since around 1980 have become darker and more purely abstract, with occasional forays into the semi-representational which have been generally considered less successful. His reputation was built especially on his earlier series “The Holy Night”, “Allegory”, “Les Ténèbres Vermeilles”, “Closed Room” and “Lost Paradise”. A leading contemporary Japanese artist, his enigmatic works are in the collections of the British Museum, The Museum of Modern Art in New York (MoMA of NY), National Museum of Art in Tokyo etc.Provenance: PROPERTIES FROM A FRENCH COLLECTOR 

CONTEMPORARY LARGE ART GLASS VASE UNSIGNED

Rostand (Edmond). Cyrano de Bergerac, 1st edition, Paris: Charpentier et Fasquelle, 1898. 8vo, bound in 1898 by Riviere and Son in red crushed morocco, Art Nouveau leaf-spray devices gilt to spine and covers, top edge gilt, others untrimmed, original wrappers bound in at rear, together with 9 others (not collated, including: Mortimer, Twenty Great Horses, 1967, 4to, contemporary orange morocco gilt for Asprey; Crankshaw, The Habsburgs, 1st edition, 1971, 4to, contemporary red half morocco gilt for Asprey; William Watson, Wordsworth’s Grave and Other Poems, London: T. Fisher Unwin, 1890, printed on japon, number 24 of 30 copies signed by the publisher and author) (qty: 9)

"The Studio" Year-Book of Decorative Art, 53 vol., a broken run, lacking 1913, 1915-17, 1923 & 1944-48, plates and illustrations, occasional marginal finger-soiling, ex-library with usual stamps and labels, first 7 vol. in contemporary morocco-backed boards, rubbed and worn, small loss to spine extremities, the rest in contemporary or original cloth, rubbed, bumping to corners and extremities, 14 vol. with dust-jackets, rubbed and worn, loss to corners and extremities, 1906-69; sold as a periodical not subject to return

NO RESERVE Collections.- Radnor (Helen Matilda, Countess) & W.B.Squire. Catalogue of the Pictures in the Collection of the Earl of Radnor, 2 vol., number 178 of 200 copies on handmade paper, original buckram, privately printed at the Chiswick Press, 1909 § Weale (James) & Dr.Jean Paul Richter. A Descriptive Catalogue of the Collection of Pictures belonging to the Earl of Northbrook, original vellum, 1889 § Waagen (Dr. G.) Treasures of Art in Great Britain, translated by Lady Eastlake, 3 vol., original cloth, tear to spine of vol.1, 1854 § Graves (Algernon) Summary of and Index to Waagen, number 9 of 125 copies, contemporary half morocco, 1912, the first four with plates, most t.e.g., others uncut, most a little rubbed; and others on art collections including a few marked sale catalogues from the 1920s, 4to & 8vo (12)

Veterinary & Farriery.- Reeves (John) The Art of farriery both in theory and practice containing the causes, symptoms, and cure of all diseases incident to horses, first edition, 4 engraved plates, of which 1 folding, errata f. at end, plate at p.30 bound in upside down, occasional spotting or light staining, contemporary speckled calf, gilt, spine in compartments and with later gilt and burgundy leather label, joints splitting, but holding firm, corners worn, rubbed and scuffed, [Roscoe A434/1; Perkins 1424 (2nd edition); Rothamsted p.125 (4th edition], 8vo, Printed for J. Newbery & B. Collins, 1758.⁂ Scarce at auction. The 'eminent physician' named as contributing part of the text has been identified as Dale Ingram (c.1710-1793).

Sir Francis Chantrey RA (1781-1841) - After William Wyon RA (1795-1851), a silver presentation medallion, Art Union of London, unnamed and undated, obv: portrait profile bust and inscribed Chantrey Sculptor et Artium Fautor, rev: Chantrey's sculpture of Watt and inscribed Francisci Chantrey Opus, exergue dated 1846, 55mm, 82g, contemporary fitted morocco case en suite, [1]

An assembled group of metal works of art, including: an Edwardian bronze campana vase, 24cm high; a bronze desk standish with twin inkwells, 26cm wide; a copper bed warming pan with turned wood handle, 104cm long; a contemporary wrought iron fire poker and similar tongs, 67cm and 69cm long; and a 20th century brass three-branch ceiling light with vaseline glass shades (one shade damaged), 47cm across, 33cm drop.Condition report: Campana vase: minor/negligible signs of age.Desk standish: minor signs of age and use.Bed warmer: significant signs of age and use throughout.Fire tools: signs of use throughout.Ceiling light: one shade broken at the top with section missing. Surface dulling/patina throughout. Branches a little loose and need tightening. One lamp head has a bulb which appears to be stuck.

An Art Deco living room seating suite, comprising Sofa and two chairs; burr maple exposed wood extending from arms with curved base, the front with exposed burr maple, one chair with casters, upholstered in contemporary fabric. Chairs Height 71 cms, Width 90 cms, Width of seat 59 cms, Depth 97 cms. Sofa: Length 180 cms, Depth 97 cms [3]

PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973).Untitled, Vallauris, 4-1-1953.Lithograph, copy 7/50.Signed and justified by hand. Dated and located by hand.Measurements: 56 x 38 cm.Creator of Cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first individual exhibition in the café "Els Quatre Gats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. Painting in these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange shapes. Picasso is represented in major museums around the world, including the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.

FERNANDO COBO (Madrid, 1975)."Madrid from the Círculo".Oil on canvas.Signed in the lower right corner.Measurements: 81 x 60 cm.His work shows influences of both the master from Tomelloso and the American hyperrealism of Richard Estes and his contemporaries. Although his brushstrokes are far removed from the photographic obsession that confuses painting with snapshots, in the artist's words: "when you get close to the painting the brushstroke can be appreciated, that is the greatness of painting; it would be unthinkable not to see brushstrokes in a Velázquez, a Caravaggio or a Renoir", which is why his works, normally in large format, can be contemplated in the dramatic aspect close to photography, in the distance and in the artisan aspect showing strokes and paint, in the proximity.Hyperrealist painter, specialising in urban landscapes, as a result of his belonging to the group that opted for urban realism thanks to the influence of Antonio López in the 1990s. Fernando Cobo began his training at the age of fifteen, studying drawing and painting with the master landscape painter Machado de Camas. This apprenticeship came to an end nine years later, and it was then that he began to hold his first solo exhibitions. At the same time, Cobo studied Library Science and Documentation, and later Journalism, at the Carlos III University in Madrid. He thus combined his pictorial activity with his literary activity, another of his passions, the result of which is a novel published in 1999 and various contributions to literary magazines. Since his first exhibition, held in 1995, Cobo has held more than thirty personal exhibitions, mainly in Madrid and Barcelona, in galleries such as Victoria Hidalgo, Galileo Galilei, Iris, Dionís Bennassar, etc. He has also participated in the Lineart International Fair in Belgium (2008) and in the V Exhibition of Modern and Contemporary Art Arte Genova in Italy (2009). Fernando Cobo is one of the artists who form part of the Worldgallery label, which focuses on the dissemination of works of art in hotel environments, together with artists of the stature of Subirachs and Lorenzo Quinn, among others. His work is currently represented in various private collections in Spain, as well as in prestigious offices, hotels, private clinics, law firms, legal and judicial institutions, foundations, etc.

AGUSTÍN ÚBEDA ROMERO (Herencia, Ciudad Real, 1925 - Madrid, 2007)."Bird that turns into gold".Oil on canvas.Signed in the lower right corner and titled on the back.Measurements: 64 x 80 cm; 78 x 94 cm (frame).A large format work which presents us with a discordant world, where through a realistic language, the author constructs a fantasy.a surrealist painter, framed within the so-called Spanish School of Paris, Agustín Úbeda was a great connoisseur of the History of Art and a man of wide culture. He entered the San Fernando School of Fine Arts in Madrid in 1944, where he was a disciple of Vázquez Díaz, Eugenio Hermoso and Joaquín Valverde, receiving the title of professor of drawing in 1948. He made his individual debut in 1949 at the Casino of Alcázar de San Juan, and in 1952, at the age of twenty-seven, he held his first personal exhibition in Madrid, which took place at the Xagra gallery. The following year he moved to Paris, thanks to a grant from the French Institute. After winning two consecutive prizes in the Certamen de Joven Pintura Francesa, a second prize in 1956 and a first prize the following year, the doors of the prestigious Drouant-David gallery in Paris were opened to him, where he regularly exhibited his work from then on. In 1960 he received the Molino de Oro at the XXI Exposición Manchega de Valdepeñas, and three years later he was awarded the bronze medal at the V Biennial of Alexandria. It was shortly before he made the leap, from the Biosca gallery in Madrid, to the United States, the world centre of art at that time. Professor Emeritus of the Complutense University of Madrid and Full Member of the Royal Academy of Doctors, Úbeda continued to receive important awards throughout his long career, especially the Grand Prize for Painting of the Círculo de Bellas Artes in 1980. Likewise, in 1998 the Centro Cultural de la Villa in Madrid exhibited a retrospective that covered his work between 1944 and 1998. That same year Úbeda held an anthological exhibition at the Caja de San Fernando in Seville comprising thirty-five paintings devoted to three of his constant themes: landscape, the female nude and the still life. Úbeda has held solo exhibitions in various Spanish cities, as well as in France, Switzerland and the United States. He is currently represented in the Museums of the City of Geneva and Paris, the Fine Arts Museum of Jaén, the Contemporary Art Museum of Badajoz, the Modern Art Museum of Valdepeñas, the Engraving Museum of Marbella, the Municipal Museum of Toledo, the National Museum of Contemporary Art, the Camón Aznar Museum of Zaragoza, the Provincial Museum of Ciudad Real and, in the United States, the museums of New Mexico, San Diego, Phoenix, Lowe of Miami and Evansille of Indiana.

JOAQUÍN TORRES GARCÍA (Montevideo, Uruguay, 1874 - 1949)."Fructus espiritus".Pencil on paper.Certificate of the Torres García Foundation, 1990, enclosed.Measurements: 16.5 x 13 cm; 38 x 35 cm (frame).After beginning his training as a self-taught artist, in 1890 Torres García decided to emigrate in order to train as a painter. He travelled to Europe with his family the following year, at the age of seventeen. In 1892 he settled in Barcelona and enrolled at the School of Fine Arts. There he came into contact with French Impressionism, the main influence at that time on him and other famous pupils, such as Mir, Sunyer, Canals and Nonell. He combined this school with classes at the Baixas Academy, the most renowned at the time. From 1894 he took part in the General Exhibitions of Fine Arts, in the foreign section. During this decade he published several drawings in newspapers and magazines such as "La Vanguardia", "Iris", "Barcelona Cómica" and "La Saeta". In 1901 he began to paint in fresco, attracted by the timeless spirit of the ancient works executed in this technique, and entered a group work dynamic in which painters, musicians, sculptors and poets collaborated. Years later he travelled to Italy to perfect his knowledge of this discipline. He also worked in decoration, a field in which his collaboration with Antoni Gaudí in the cathedral of Palma de Mallorca stands out. Around 1910 he began to introduce formal elements typical of Catalonia into his work, imbued with the spirit of vindication of the Catalan identity of the time. Several official commissions are related to this new approach, among which the mural decoration of the Salón de Sant Jordi at the headquarters of the Diputación Provincial de Barcelona (Barcelona Provincial Council) was a turning point in his career. In 1920 he moved to New York and came into contact with artists of the stature of Max Weber, Man Ray and Marcel Duchamp. Shortly afterwards he returned to Europe and settled in Paris, where he frequented the meetings of the group led by Mondrian, thus coming closer to abstraction and constructivism. In 1934 he finally decided to return to Montevideo, where he was received as a member of the European artistic elite. There he creates the Sociedad de las Artes del Uruguay, whose aim is to integrate all the arts and act as a link between artists and the public. He came into contact with Uruguayan pre-Columbian and indigenous art, and this aesthetic, new to him, was to have a crucial influence on his thinking. He claimed that artists did not need to renounce being Latin American by pretending to be contemporary, and he brought a new dimension to the construction of the modern American language. Moreover, from this moment on, the cultural symbolism of his homeland took on a decisive importance in his work. His work can be found in the Thyssen-Bornemisza Museum, the museums of Modern Art in New York, San Francisco and Lille, the Museo Nacional Reina Sofía, the Museo Nacional de Arte de Cataluña, the Museo Torres García in Montevideo, the Fine Arts Museums of Houston, Philadelphia and Santa Barbara, the Museo Nacional de Bellas Artes in São Paulo, the Hirshhorn and Art of the Americas Museums in Washington DC, the Albright-Knox Gallery in Buffalo and the Los Angeles County Museum, among others.

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Maeght Gallery, 1978.Avant la lettre lithograph, copy H.C.Signed and justified by hand.Work referenced in Mourlot 1171.Size: 78 x 57 cm; 85 x 63 cm (frame).Joan Miró trained in Barcelona, between the Escola de la Lonja and the Galí Academy. Already in the early years of 1918 he held his first exhibition, in the Galerías Dalmau in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective to him which was to be his definitive international consecration. During the 1950s he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

JUAN MANUEL DÍAZ CANEJA (Palencia, 1905 - Madrid, 1988)."El palomar".Oil on canvas.Work reproduced in the catalogue of the exhibition J.D.CANEJA (1905-1988), Ed. Artes Graficas S.A, 1994, p.50.Signed in the lower right-hand corner. Signed, titled and located on the back.Measurements: 65 x 92,5 cm; 81 x 108,5 cm (frame).This work is reproduced in a photograph on page fifty of the J.D. Caneja catalogue. In this image, the author, Díaz Caneja, can be seen leaning out of the window of a gallery in Paris, inside which the presence of this particular piece can be appreciated.Famous landscape painter Díaz Caneja was able to create a completely personal space in his works, in which the fields played a major role. A classical theme treated from a contemporary perspective, with cubist overtones. This work in particular has similarities with the landscapes of 1958 and 1962, which belong to the collection of the Reina Sofia Museum and Art Centre.Juan Manuel Díaz Caneja was a Cubist painter, known and appreciated above all for his settings in the Castilian landscape. In 1923 he began his university studies in architecture in Madrid, and attended classes in the studio of Daniel Vázquez Díaz to prepare for the subject of drawing. He soon discovered his passion and left his studies to devote himself to painting. He took an active part in avant-garde cultural life, especially while living in the Residencia de Estudiantes in the capital. In 1927 he met the members of the Vallecas School, Benjamín Palencia and Alberto Sánchez Pérez, and saw and studied Cubism at first hand when he spent the winter of 1929 in Paris. In 1930 he settled in Zaragoza, where he shared a studio with Manuel Corrales and González Bernal. A year later, in Madrid, he published with Herrera Perete an anarchist, Dadaist and surrealist magazine called "En España ya todo está preparado para que se enamoren los sacerdotes" ("In Spain everything is ready for priests to fall in love"), and began his long list of exhibitions with his first solo exhibition three years later. After meeting his future partner Isabel Fernández Almansa, he joined the Communist Party of Spain, an affiliation he would maintain throughout his life, and joined the National Confederation of Labour, and served on the Republican side during the Civil War, after which he lived and worked in Madrid. In order to avoid censorship, his main theme was landscape, for which he became so well known. He was arrested and imprisoned in 1948 for his links with the Republicans, spending three years in prisons (Carabanchel and Ocaña), but never stopped painting.His work was, however, recognised with various awards (National Painting Prize in 1958; First Medal at the National Exhibition of Fine Arts in 1962; Spanish National Plastic Arts Prize in 1980; Castilla y León Prize for the Arts in 1984) and with the creation in Palencia, in 1995, of a foundation named after him, which has its headquarters in the Museum of Contemporary Art of that city, His work has been exhibited in Madrid, Santander, Bilbao, Paris, Copenhagen, Zaragoza, Pamplona, León, Valladolid, Rome, etc., and is held in important private collections all over the world and in leading institutions (his aforementioned foundation, the Museo Centro de Arte Reina Sofía in Madrid, the Guggenheim Museum in New York, the Museo Patio Herreriano in Valladolid, the Museo de Bellas Artes in Bilbao, etc.).

MATÍAS SÁNCHEZ (Germany, 1972)."Multitude". Seville 2004.Oil on canvas.Signed with initials in the lower corner. Signed, dated and located on the back.Measurements: 55 x 46 cm.Painting with expressionist roots, characterised by the thick line and the chromatic contrast. Matías Sánchez draws here from several sources: history painting, caricature, comic strips... A painter of German origin, Matías Sánchez has developed a highly personal oeuvre, free of fashions, which was influenced by his self-taught training. He held his first exhibition at Cavecanem in 2001, and a year later, his work was exhibited at the Arco Fair in Madrid, where it was well received by the critics. In 2003 he repeated his experience at the Contemporary Art Fair, and his work was reviewed and published in the newspaper El País. This was a turning point in his career and he went on to hold numerous solo and group exhibitions, both nationally and internationally. Among those that stand out the exhibition in the gallery Begoña Mallone (Madrid), Javier Marín (Málaga), Valle Ortí (Valencia), Espacio Liquido (Gijón), "Christopher Cutts Gallery" (Toronto - Canada) and Costantini Art Gallery (Milan - Italy), his work has been exhibited in various reference space of contemporary art example of this are the CAAM - Centro Atlántico de Arte Moderno (Las Palmas de Gran Canaria) or the CAC Malaga. In addition to ARCO, MACO 2013 - Mexico Arte Contemporáneo, Art Stage Singapore 2013, Art Monaco 2013, India Art Fair 2013, Contemporary Istanbul 2012, Art Toronto 2012, Art Moscovo 2012 and Beirut Art Fair 2012.

RAFAEL CANOGAR GÓMEZ (Toledo, 1935)."Composición, El consuelo", 1973.Work registered on the artist's website.Mixed media (oil, fibreglass and polyester) on wood panel. Copy 7/25.Measurements: 73 x 70 x 12 cm; 75 x 73 x 12 cm.During the 70's Canogar dedicated his work to the investigation of the human figure, showing it through emotions, he developed numerous works that speak of human relationships, sadness, fraternity, or as in this specific case, consolation. An artistic resource that he used as a social denunciation, in a period in which the dictatorship was about to fall, although it was still effective in Spanish society at the time.Rafael Canogar trained with the painter Daniel Vázquez Díaz between 1949 and 1954. During these years he worked along the lines of the avant-garde, soon moving towards abstraction. Co-founder of the group "El Paso" in 1957, during the fifties he developed a fully informalist work, which in the sixties became an increasingly complex narrative figuration. From the 1960s onwards he achieved international recognition as a guest professor at the Milles College in California to teach the art course 1965-66, and as a guest artist at the Tamarind Lithography Workshop in Los Angeles in 1969. Between 1972 and 1974 he was also invited by the D.A.A.D. in Berlin as an artist in residence. During his mature period, from 1975 onwards, Canogar invented a new iconography, his own and personal, which he expressed through the mask, the head, the face, as a representation of man who loses his individuality and becomes a plastic sign. His work was also recognised in Spain, and during the 1980s he was a member of the Advisory Council of the General Directorate of Fine Arts of the Ministry of Culture, of the Board of Trustees of the National Museum of Contemporary Art in Madrid, and a member of the Board of Directors of the National Heritage. Throughout his career, Canogar has held countless solo and group exhibitions. Among the personal exhibitions, several have been retrospectives, including: Museo Nacional de Arte Contemporáneo and Biblioteca Nacional de Madrid, Musée d'Art Moderne de la Villa de Paris, Sonia Heine Foundation in Oslo, Konsthalle de Lund in Sweden, Paris Art Center, Bochum Art Museum in Germany, Istituto di Storia dell'Arte de Parma, Museo de Bellas Artes de Bilbao, Fundación Casa del Cordón de Burgos, Museo de Santa Cruz de Toledo, Museo Reina Sofía in Madrid, etc. Canogar has given workshops and lectures in several European and American countries, and has participated in juries of international prizes and biennials. He has also been awarded various prizes and distinctions, including the Grand Prize at the São Paulo Biennial (1971), the Grand Prize at the Sofia International Painting Triennial (1982), the National Prize for the Plastic Arts in Madrid (1982), etc. He has also been named Chevalier de l'Ordre des Artes et Lettres of France, has received the Encomienda de la Orden de Isabel la Católica, is a numerary member of the Academia de San Fernando and Doctor Honoris Causa by the U.N.E.D. Canogar is currently represented in the most important modern art collections around the world, such as the Museo Reina Sofía, the MoMA in New York, the Neue Nationalgalerie in Berlin, the Carnegie Museum in Pittsburgh, the Museo Rufino Tamayo in Mexico and the Chicago Art Institute, among many others.

FERNANDO COBO (Madrid, 1975)."Manhattan brigde from Washington St".Oil on canvas.Size: 73 x 100 cm; 79 x 105 cm (frame).A hyperrealist painter, specialising in urban landscapes (as a result of his belonging to the group that turned to urban realism thanks to the influence of Antonio López in the 1990s), Fernando Cobo began his training at the age of fifteen, studying drawing and painting with the master landscape painter Machado de Camas. This apprenticeship came to an end nine years later, and it was then that he began to hold his first solo exhibitions. Now in his twentieth year, his work shows influences of both the master from Tomelloso and American hyperrealism (Richard Estes and his contemporaries), although his brushstrokes are far removed from the photographic obsession that makes one confuse painting with snapshots (in the artist's words: "It would be unthinkable not to see brushstrokes in a Velázquez, a Caravaggio or a Renoir"), which is why his works, usually large format, can be seen in the gimmicky side (close to the photographic, in the distance) and in the artisanal side (showing strokes and paint, in the proximity). His abundant production has allowed him to work on a wide variety of urban landscapes, both national (Madrid, Barcelona, etc.) and international. At the same time, Cobo studied Library Science and Documentation, and later Journalism, at the Carlos III University of Madrid. He thus combined his pictorial activity with his literary activity, another of his passions, the result of which is a novel published in 1999 and various collaborations in literary magazines. Since his first exhibition, held in 1995, Cobo has held more than thirty personal exhibitions, mainly in Madrid and Barcelona, in galleries such as Victoria Hidalgo, Galileo Galilei, Iris, Dionís Bennassar, etc. He has also participated in the Lineart International Fair in Belgium (2008) and in the V Exhibition of Modern and Contemporary Art Arte Genova in Italy (2009). Fernando Cobo is one of the artists who form part of the Worldgallery label, which focuses on the dissemination of works of art in hotel environments, together with artists of the stature of Subirachs and Lorenzo Quinn, among others. His work is currently represented in various private collections in Spain, as well as in prestigious offices, hotels, private clinics, law firms, legal and judicial institutions, foundations, etc.