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[Hannett, John], "John Andrews Arnett". An inquiry into the nature and form of the books of the ancients; with a history of the art of bookbinding, from the times of the Greeks and Romans to the present day..., 1st edition, London: Richard Groombridge, 1837, wood engraved frontispiece, plates and illustrations, small ink stamp to lower outer corner of title, initial leaves neatly strengthened to inner margins, original green cloth, rebacked preserving original spine, small area of wear to front board, 12mo in 6s, together with: Hannett (John). Bibliopegia; or, Bookbinding: in two parts. Part I. The books of the ancients, and history of the art of bookbinding. Part II. The practical art of bookbinding, 6th edition, London: Simpkin, Marshall, & Co., 1865, frontispiece, plates & illustrations, manuscript ownership to second part title and repaired to verso, toning and few marks, near-contemporary brown half morocco, spine rubbed, small 8vo, Hannett (John), The Forest of Arden, its towns, villages, and hamlets..., London: Simpkin, Marshall, and Co., 1863, half-title, folding map frontispiece, single-page map and wood engraved vignette illustrations, occasional spotting and light dust-soiling, original green cloth gilt, slight wear at head & foot of spine, light fading, 8voQty: (3)Footnote: The first title is the first work on the history of English bookbinding.

Landseer (John). Lectures on the art of engraving, delivered at the Royal Institution of Great Britain, London: Longman, Hurst, Rees, and Orme, 1807, bookplate to upper pastedown, contemporary calf, loss at head & foot of spine, worn, 8vo, together with: Bernard (Philippa & Leo and O'Neill, Angus), Antiquarian books. A companion for booksellers, librarians and collectors, Aldershot: Scolar Press, 1994, monochrome illustrations, original cloth in dust jacket, large 8vo, Lopez-Vidriero (Maria Luisa), Great Bindings from the Spanish Royal Collections 15th-21st centuries, Madrid: El Viso, Patrimonio Nacional, [2012], numerous colour illustrations, original cloth-backed pictorial boards, 8vo, Middleton (Bernard C.), A bookbinder's miscellany, Oxford: Alan Isaac Rare Books, 2015, colour portrait frontispiece and monochrome illustrations, original cloth, 8vo (plus a duplicate of the same work), Fahey (Herbert & Peter), Finishing in hand bookbinding, a reprint in facsimile of the 1951 edition with a new introduction by Alan Isaac and forward by Maureen Duke, Oxford: Alan Isaac Rare Books with Maureen Duke, 2014, monochrome portrait frontispiece and illustrations, original cloth, slim 8vo (limited edition of 500 copies printed, plus a duplicate of the same work), McKerrow (Ronald B.), An introduction to bibliography for literary students, 2nd impression, Oxford: Clarendon Press, 1928, original cloth in price-clipped dust jacket, 8vo, plus other miscellaneous books including some bibliography and book collecting reference etc.Qty: (2 cartons)

* Jazz & Blues Records. Collection of approximately 325 jazz and blues records, comprising of approximately 300 LPs and two dozen 10" records, example LPs include Elvin Jones "Dear John C." with Charlie Mariano, Hank Jones, Richard Davis and Roland Hanna (HMV CSD 3508, first HMV pressing), Bud Johnson "Blues á la Mode" with Ray Bryant, Al Sears and others (original 1958 LP, Felsted Records FAJ 7007), John Dankworth "The Zodiac Variations" (autographed LP, Fontana TL 5229), "Sonny Rollins" with Jay Jay Johnson, Thelonious Monk, Paul Chambers, Horace Silver and Art Blakey (1985 re-issue of Blue Note BST 81558), Bruce Turner Jump Band "Jumpin' at the NFT" (77 Records, 77 LEU 12-2), Anthony Braxton "Creative Orchestra Music 1976" (Arista Records AL 4080), Lee Konitz "Abstractions" (Atlantic Special 590020), Duke Ellington "Such Sweet Thunder" (Philips BBL 7203), The Coleman Hawkins Sextet "Desafinado" (HMV CLP 1630), Ry Cooder "Paradise and Lunch" (Reprise Records REP 44260), "Salute to Newport" featuring Pee Wee Russell (1978 promo 2-LP, ABC Impulse IA-9359), Keith Jarrett "Mysteries" (Japanese pressing, MCA Records VIM-4603), Benny Carter with the Oscar Peterson Quartet "Alone Together" (Verve 2304512) and Yoska Nemeth "Nuit Tzigane" (Festival FLD 145 S, French pressing), example 10" records include "Johnny Dodds Vol. 4" (10" London AL 3560), Lennie Niehaus "Vol. 1, The Quintet" (10" UK Vogue LDC 120 with Contemporary & Vogue yellow label), Coleman Hawkins "Tenor Sax Stylings Vol. 1" (10" Brunswick BL 58030), Muggsy Spanier "This Is Jazz" (10" UK Vogue LDE 015), "The Great Blues Singers" (10" London AL 3530, UK 1st) and "Louis Armstrong Plays the Blues" (10" London AL 3501, UK 1st)Qty: (2 cartons)

670x830mm. Framed. Oil on canvas. ARTIST STATEMENT: In this work, I draw from the Guernsey folktale Mrs Mahy's Cat. The tale follows a woman who transforms into a cat in order to eavesdrop on the gossip of towns washer-women and spreads the word once she has become a woman again, unbeknown to the washers. I love the tale as it stresses the value of the spoken word narrative, one which still exists today through the form of news and gossip albeit through phones, not shapeshifting cats. I painted it in a contemporary setting with people from my life - I like the idea that the relevance underlying the tale is still there within the people within the picture, who's ancestors would've grown up hearing such tales.  ABOUT THE ARTIST: Matt created this piece in 2021 while aged 21 and studying Fine Art at Camberwell College. He is a recipient of the Sovereign Art Foundation Guernsey Bursary in 2021.

ROYAL WINTON; a six piece breakfast set decorated in the 'Tiger Lily' pattern, with two Carlton ware leaf bowls, a modern Art Deco style perfume bottle and stopper, contemporary glass vase.Additional InformationThe opaque glass vase with a few light surface scratches and some grubby marks which will need cleaning. The Art Deco style item with some slight surface chips and is grubby. All of the yellow glaze items are crazed throughout, the teapot heavily so which is stained and the two dishes with staining also. The three division toaster is broken into several pieces and poorly glue repaired, the foxglove leaf shaped dish has a chip to the rim.

TREVOR GRIMSHAW (1947-2001); a signed limited edition black and white print, published by Christie's Contemporary Art, printed by Grafik on R.K. Burt paper, signed lower right with blind stamp numbered 35/150 lower left, 43 x 33cm, framed and glazed. (D)Additional InformationImage appears generally clean and bright, however there are a couple of slight specks of dirt to the middle right of the image and to the outer area just above the left corner at about 10cm. There is some wear to the edge of the cut section of the mount along the bottom line where it meets the paper. This does not affect the paper. The mount with a few other slight specks of dust here and there. Frame with minor wear. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

TREVOR GRIMSHAW (1947-2001); a signed limited edition black and white print published by Christie's Contemporary Art, printed by Grafik on R.K. Burt paper, signed lower right with blind stamp numbered 110/150 lower left, the image 32.5 x 43cm, framed and glazed. (D)Additional InformationThe paper is slightly undulated in the frame and has a slight crease to the middle at the bottom and is lightly toned around the outer edge. There is a full stop sized mark to the right hand side the signature, but it may be part of the signature. Frame with some light scuffs. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

ALBERT RÀFOLS-CASAMADA (1923-2009)Partida 1990 signé et daté 90; signé, titré et daté 90 au reversacrylique sur toile signed and dated 90; signed, titled, and dated 90 on the reverseacrylic on canvas181 x 181 cm.71 1/4 x 71 1/4 in.Footnotes:ProvenanceGalería Joan Prats, BarcelonaCollection particulière, Etats-Unis (acquis auprès de celle-ci en 1990) Vente: Bonhams, Los Angeles, The Modern House: Contemporary Art + Design, 1 novembre 2016, lot 1017Collection particulière, Paris (acquis auprès de celle-ci)Puis par descendance au propriétaire actuelClick for an instant shipping quoteThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

ALBERT RÀFOLS-CASAMADA (1923-2009)Direcció Sud 1989 signé et daté 89; signé, titré et daté 89 au revers acrylique sur toile signed and dated 89; signed, titled and dated 89 on the reverseacrylic on canvas150 x 150 cm.59 1/16 x 59 1/16 in.Footnotes:ProvenanceGalería Joan Prats, BarcelonaCollection particulière, Etats-Unis (acquis auprès de celle-ci en 1990) Vente: Bonhams, Los Angeles, The Modern House: Contemporary Art + Design, 1 novembre 2016, lot 1014Collection particulière, Paris (acquis auprès de celle-ci)Puis par descendance au propriétaire actuelClick for an instant shipping quoteThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

BENJAMÍN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980)."Lilies", 1976.Oil on canvas.Attached certificate issued by the Benjamín Palencia Archive.Signed and dated in the lower left corner.Measurements: 54,5 x 46 cm.Founder of the School of Vallecas together with Alberto Sánchez, sculptor, Benjamín Palencia was one of the most important heirs of the poetics of the Castilian landscape typical of the Generation of 98. With only fifteen years Palencia leaves his native town and settles in Madrid to develop his formation through his frequent visits to the Prado Museum, since he always rejected the official teachings of the Royal Academy of Fine Arts of San Fernando. In 1925 he participates in the Exhibition of Iberian Artists held at the Retiro Palace in Madrid, and in 1926 he travels for the first time to Paris. There he met Picasso, Gargallo and Miró and came into contact with the collage technique, which he would later apply to his work, incorporating new materials such as sand or ashes. It will be from this Parisian stay when Palencia's work acquires a surrealist tone, evidenced in an increasingly greater expressive freedom that will reach its fullness in his period of maturity. On his return to Madrid he founded the Vallecas School (1927), and made his individual debut at the Museum of Modern Art (1928). Palencia will gradually abandon still lifes to take up again the Castilian landscape, capturing it through a magnificent synthesis between tradition and avant-garde. This personal aesthetic of the landscape will reach its culmination in the School of Vallecas and, after a brilliant surrealist incursion in the early thirties, at the outbreak of the Civil War Palencia remains in Madrid, suffering like his peers of his generation a period of deep crisis. After the war, between 1939 and 1940 his painting took a radical turn; he abandoned the cubist and abstract influences and even the surrealist aspects, in search of an art of strong chromatic impact, linked to Fauvism. Focused on his work as a landscape painter, in 1942 Palencia took up again the experience of the Vallecas School together with the young painters Álvar Delgado, Carlos Pascual de Lara, Gregorio del Olmo, Enrique Núñez Casteló and Francisco San José. His work will gather images of the Castilian countryside and its peasants and animals; his painting becomes a testimony of the rough, the coarse and the rural, of the subtle expressiveness of the Castilian sobriety. Already fully consolidated, in 1943 he obtains the first medal at the National Exhibition of Fine Arts and in 1944 he is selected to participate in the Salón de los Once de Eugenio D'Ors in Madrid. The following year he was awarded the medal of honor at the National Exhibition, although he gave it up in order to facilitate its concession to José Gutiérrez Solana, who died days before the jury's decision. From this decade on, his exhibitions in art centers and galleries such as the Círculo de Bellas Artes in Madrid or the Estilo gallery, and in 1946 he was once again selected for the Salón de los Once. He also began to participate in international exhibitions, such as those of Spanish Contemporary Art held in 1947 in Buenos Aires, Rio de Janeiro and Sao Paulo. He was also awarded the Grand Prize at the Hispano-American Biennial in Madrid (1951) and exhibited at the Museum of Modern Art in Paris (1951), the Venice Biennial (1956), the Princess of Paravinci's Palace in Rome (1965), etc. In 1973 he was appointed member of the Royal Academy of Fine Arts of San Fernando, and in 1978 he joined the Academy of San Jorge in Barcelona. That same year he was awarded the Gold Medal for Merit in Fine Arts. Benjamín Palencia is currently represented in the Reina Sofía National Museum, in the Patio Herreriano in Valladolid and in the Fine Arts Museums of Valencia and Albacete, among many others.

VALENTIN DE ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879-1963)."Basque old man", 1912.Oil on canvas.Signed, dated, located and dedicated in the lower right corner.Work referenced in "Valentín de Zubiaurre. Life and work", by Rebeca Guerra.Measurements: 59,5 x 46 cm.An elderly villager is represented in the foreground, in profile, opening behind him the partial view of his village, with whitewashed houses, arranged in ringlera. It is a type of folklorist representation in which Valentín de Zubiaurre especially excelled, exalting popular types and Basque corners, about to disappear. His art is inscribed within the framework of the rise of regionalism in fin-de-siècle Spain and the beginning of the 21st century. Realistic and meticulous, Zubiaurre developed his own style within this trend, which can be seen in the palette of intense contrasts, the preeminence of the line and the expressiveness of the physiognomic features.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and mute, as was his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea, also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a disciple of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time he completed his solid training by visiting the Prado Museum. In 1898 the two Zubiaurre brothers embarked on a study trip that would take them to France, Italy and the Netherlands. On their return to Spain they obtained a scholarship from the Diputación de Vizcaya in 1902, which allowed them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends that were then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not permeable to its influence, mainly due to the weight of their academic training and their admiration for the Flemish and Italian primitives as well as for contemporary Spanish painters such as Dario de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts, being awarded on several occasions; in 1908 he obtained the second medal, and in 1917 he was awarded the first medal. He was also distinguished with awards from foreign institutions, and won prizes in outstanding international competitions held in the first decade of the 20th century, among them those of Munich, Buenos Aires, Brussels, San Francisco, San Diego and the University of Panama. From the 1920s until the Civil War, the Zubiaurre brothers experienced their period of greatest success and recognition, both in Spain and internationally. After the war Valentín de Zubiaurre resumed his career in Spain, and his recognition became official with his appointment as a full member of the Royal Academy of Fine Arts of San Fernando in 1945, culminating with the medal of honor awarded to him at the National Exhibition of Fine Arts in 1957, six years before his death. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Center, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.

JOSÉ MARÍA MALLOL SUAZO (Barcelona, 1910 - 1986)."Nude lying".Oil on canvas.Signed in the lower right corner.With label on the back of the Sala Parés.Measurements: 73 x 100 cm; 102 x 133 cm (frame).Mallol Suazo was formed in the School of La Lonja, in Barcelona between 1929 and 1935. He was a cartoonist as well as a painter, and published humorous illustrations in "En Patufet", "Virolet" and "L'Esquitx". The first exhibition of his work took place at the Barcelona Contemporary Art Salon in 1936. That same year he received an award at the Spring Exhibition in Barcelona and, in 1938, the Nonell Painting Prize, awarded by the Tardor Gallery. In 1945 he became part of the group of artists of the Sala Parés, a gallery where he met the collector Josep Omar Gelpi, who became his dealer from then on. Mallol did not allow himself to be dragged along by the prevailing artistic trends, always remaining faithful to his own realistic-poetic language, in this work Mallol Suazo offers us a still life made up of fruit and various ceramic pieces arranged anarchically against a modern background of white and green stripes. The artist draws the forms with a broad, free and impastoed brushstroke and uses a chromatic range based on greens, grays, blues, among which the bright red of one of the vegetables stands out. In 1987, a year after his death, the Sala Parés dedicated a large exhibition in homage to Mallol. The artist is also represented in museums as important as the National Art Museum of Catalonia, the Museum of Valls, the Historical Archive of the City of Barcelona and the Abbey of Montserrat, as well as in important private collections.

JOSEP MARIA TAMBURINI DALMAU (Barcelona, 1856 - 1932)."Day in the countryside.Oil on canvas.Signed in the lower left corner.It carries a label of Barrachina & Ramoneda.Measurements: 42 x 64 cm; 68 x 89 cm (frame).Tamburini remains in this work halfway between the contemporary costumbrista representation and the symbolist evocation, in a typically fin-de-siècle image that transcends the realistic portrait to enter a lyrical scenario, of poetic echoes both in the feminine figure and in the own way of capturing the landscape.Painter and art critic, and a leading figure of Catalan modernism, Tamburini began his training at the Escuela de La Lonja in Barcelona, and later completed his studies in Paris, with L. Bonnat, and Rome. He collaborated as a cartoonist, art critic and poet with the magazine "L'Avenç", one of the most outstanding artistic publications of Catalonia at the turn of the century. He also wrote for "La Vanguardia". As a painter, he began his career in history painting and anecdotal realism, to later evolve along the lines of symbolism, strongly influenced by English pre-Raphaelism. Recognition came in 1888, when he won a silver medal at the Universal Exposition in Barcelona. He continued to participate in official exhibitions in Barcelona and Madrid, and was again awarded at the Barcelona Exhibition in 1898, where he received the Queen Regent's Extraordinary Prize. In 1911 he received the Prize of the Kings of Spain. As a mature painter, he worked on placidly fantastic, detailed and precious themes, as well as religious themes and some portraits. He was also a member of the Board of Museums of Barcelona, advisor to the Academy of Fine Arts, professor at the School of La Lonja and co-founder of the Artistic and Literary Society of Catalonia (1911). He is represented in the MACBA, the National Museum of Art and the Library of Catalonia, the Royal Academy of Sant Jordi, the Casa Lis Museum in Salamanca and the Fine Arts Museums of Valencia and Seville, as well as in numerous private collections.

SEGUNDO MATILLA MARINA (Madrid, 1862 - Teià, Barcelona, 1937)."Port of Barcelona.Oil on canvas.Retains label on the back of Barrachina and Ramoneda.Signed in the lower right corner.Measurements: 27 x 35 cm; 44 x 52 cm (frame).Segundo Matilla made numerous views of the port of Barcelona, capturing the landscape from numerous perspectives. In this particular case, the artist configures the landscape in different horizontal sections, to which he gives independent spaces that harmonize and merge with each other, forming a landscape of pastel tones that provide a quality and relaxing atmosphere.Despite being born in Madrid, Matilla trained and developed his career in Barcelona. He studied at the School of Fine Arts in Barcelona, under the direction of Antonio Caba. He participated in numerous exhibitions, such as the International Exhibition of Barcelona in 1891, 1894, 1896 and 1898 (honorable mention in 1891), the Art Exhibitions of the same city in 1918 and 1919, and in the Paris Salon of 1897. That same year he obtained an honorable mention at the National Exhibition of Fine Arts in Madrid. Among his individual exhibitions were those held at the Salón Vilches in Madrid (1915) and, in Barcelona, at the Sala Parés (1914) and the Pallarés Galleries (1942), the latter a posthumous tribute. Several of his works exhibited there were bought by the Museum of Modern Art in Madrid, and many others were exported to America. He achieved great public and critical success thanks to his landscapes of the Empordà, Camprodón, Port de la Selva and Cadaqués. A painter endowed with astonishing skill, a marked personality full of sensitivity, a mastery of drawing and pictorial technique and an overflowing capacity for work, Segundo Matilla was an excellent painter who cultivated absolutely all genres, being a great landscape and marine painter, painting portraits of great quality, especially of people from the world of show business, and his vases and still lifes were also highly appreciated. His paintings of bullfighting themes, painted with great spontaneity and full of movement, demonstrate his great fondness for the art of Cúchares. He always painted in a totally intelligible way and without any kind of reflexive complications, ignoring absolutely all the artistic trends of his time. His work can be found in various museums, such as the aforementioned Museum of Contemporary Art in Madrid, the Prado Museum, the Pablo Gargallo Museum in Zaragoza and the National Art Museum of Catalonia, as well as in important international private collections.

VALENTIN DE ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963)."Basque types".Oil on canvas.Signed in the lower left corner.With label on the back of the XXemeExpositionBiennaleInternationale des Beaux-Arts, Venice, 1936.Measurements: 101 x 101 cm; 123 x 123 cm (frame).Valentín de Zubiaurre demonstrates in this painting his superb gifts as a portraitist, reflecting with naturalism and closeness to the three main characters, perfectly individualized in their attitudes and features. Zubiaurre, who knew like no one else how to represent the people of his time, especially Basques and Castilians, takes pleasure in the attitudes of the figures, with serious and measured gestures. The young girl, dressed in popular Basque clothing, is presented in strict profile, holding a basket of fruit in her right hand. Her gaze is directed to the old man in front of her, whose reflective face alludes to hard work and life in the countryside. In his right hand he holds a walking stick, revealing his advanced age, while in his left he holds a jar. Like him, the villager behind him, with an imperturbable gesture, wears popular clothes and a txapela. Special mention should be made of this last character, who looks directly at the viewer, an aspect that departs from what is usual in contemporary Spanish genre painting, where the characters usually ignore the painter's presence (as, in this composition, the other two villagers do). Behind this monumental group portrait, we see a group of houses of the village unfold. The white walls and gabled roofs tell us that we are in a small village in the Basque Country, full of life according to the locals who invade its streets.The son of the musical composer of the same name, Valentín de Zubiaurre was born deaf and dumb, as was his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea, also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a disciple of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time he completed his solid training by visiting the Prado Museum. In 1898 the two Zubiaurre brothers embarked on a study trip that would take them to France, Italy and the Netherlands. On their return to Spain they obtained a scholarship from the Diputación de Vizcaya in 1902, which allowed them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends that were then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not permeable to its influence, mainly due to the weight of their academic training and their admiration for the Flemish and Italian primitives as well as for contemporary Spanish painters such as Dario de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts, being awarded on several occasions; in 1908 he obtained the second medal, and in 1917 he was awarded the first medal. He was also distinguished with awards from foreign institutions, and won prizes in outstanding international competitions held in the first decade of the 20th century, among them those of Munich, Buenos Aires, Brussels, San Francisco, San Diego and the University of Panama. From the 1920s until the Civil War, the Zubiaurre brothers experienced their period of greatest success and recognition, both in Spain and internationally. After the war Valentín de Zubiaurre resumed his career in Spain, and his recognition became official with his appointment as a full member of the Royal Academy of Fine Arts of San Fernando in 1945, culminating with the medal of honor awarded to him at the National Exhibition of Fine Arts in 1957, six years before his death. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Center, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.

FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972)."Nature morte et bleu composition/ composition in blue", 1960.Oil on canvas.Work reproduced in the Catalogue Raisonné, Volume II, 1945-1972, p. 408.Provenance: Simon Collection (USA), bought directly from the artist.Signed and dated in the lower right corner.Measurements: 81 x 100 cm; 107 x 126 cm (frame).Lyricism and color are the undisputed protagonists of this piece, in which blue dominates the entire composition, creating the forms of this synthetic still life, through tonal gradations. The subtlety of the blues, added to the elements of fluid and clear geometries, show us the characteristic style of the painter's last stage, which was called "the white manner". The white manner includes works after 1955, which the artist himself contextualized as follows: "I continued to aspire to greater luminosity, disembodying the figures more and more at the same time. An attempt, in a certain way, to approach what the abstractionists aspired to by purely figurative means and, above all, to achieve something different from all those schools or movements, to achieve a special transparency. I wondered inwardly where such experiences would lead me... I think I know now: for the last two years I have returned to my first attempt to achieve a plastic synthesis of the true. My painting, which was once dark, is today clear".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 related to ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" or "Revista de Occidente", and attended the Academia Libre de Julio Moisés, where he coincided with Dalí and Benjamín Palencia. In 1922 he participates for the first time in the National Exhibition of Fine Arts, and three years later he will show his work in the first Exhibition of the Society of Iberian Artists, but the lack of interest of the Madrid public for young art drives him to go to 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 begins his relationship with the art critic Tériade, who dedicates an extensive article to him in "Cahiers d'Art". It was at this moment that his artistic career began to take off. In 1929 he participates in the exhibition "Spanish painters and sculptors living in Paris", held at the Botanical Garden in Madrid. Also around this time he collaborated in 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-thirties he is hired by the Zwemmer Gallery in London, where he holds a solo exhibition. His work is influenced by Picasso's cubism and, at times, by surrealism and abstraction. Francisco Bores became a master in the use of color, whose application sometimes follows abstract criteria, to such an extent that it replaces drawing or line when defining objects, figures and the space in which they are inserted. There is also a clear tendency in his language to experiment with color, which leads him to pamper the chromatic semitones. In the 1930s, Bores himself defined his painting as "lyricism and sensuality (...) within a composition organized in pursuit of a synthesis analogous to the impression produced by a single visual instant".

An upholstered armchair,mid-20th century, with kilim-printed upholstery, on square tapering legs terminating in brass castors,80cm wide75cm deep75cm highBelieved to date from the mid-20th century and European (possibly German) in manufacture, this button back armchair features brass castors. This classic chair has been re-upholstered in a kilim fabric, giving it a contemporary ‘country house’ look.Condition report: This lot was featured on 'Salvage Hunters: The Restorers' (Discovery Network - Quest).Salvage Hunters: The Restorers is a popular prime time show broadcast on the Discovery Network (Quest), where industry experts seek out lots in need of a little TLC and restore them to their former glory. We are delighted to now offer these restored lots for sale. The lots here are presented with stills from the programme.All details were true at the time of transmission. All items are bought as seen at the auction only and Discovery Corporate Service Limited and its affiliates make no representations or warranties as to the condition, suitability or at all in relation to any lot offered for sale; and no further documentation can be provided. All valuations stated herein are given by Sworders Fine Art Auctioneers at the time of printing, please note that these may differ to the valuations given to the items within the programme which was broadcast at an earlier time.

A wing back armchair, by Axel Vervoordt, contemporary, Belgian, with grey stuff-over upholstery and raised on bleached oak cabriole legs,82cm wide72cm deep112cm highInterior designer, antique and art dealer, Axel Vervoordt, started his fifty-year career at age 21 by buying and restoring a row of 16th century houses in his hometown of Antwerp. His empire now stretches a little further, with an interior design practice, an antiquaire, a private foundation, and two art galleries in Antwerp and Hong Kong. Listed in Architectural Digest’s inaugural AD100 Hall of Fame, Vervoordt has built a reputation as one of the world’s leading connoisseurs of style, working with clients such as Robert De Niro, Sting and Calvin Klein. His interiors are clean and serene, with every piece carefully chosen for its presence and story, often fusing heritage with the contemporary.Condition report: Good order, upholstery clean and unmarked, legs with very light cosmetic wear.

A pair of contemporary slate and oak side tables,by Axel Vervoordt, contemporary, Belgian, with applied maker's label beneath the marble and with a brand to the underside,57cm wide57cm deep60cm high (2)Interior designer, antique and art dealer, Axel Vervoordt, started his fifty-year career at age 21 by buying and restoring a row of 16th century houses in his hometown of Antwerp. His empire now stretches a little further, with an interior design practice, an antiquaire, a private foundation, and two art galleries in Antwerp and Hong Kong. Listed in Architectural Digest’s inaugural AD100 Hall of Fame, Vervoordt has built a reputation as one of the world’s leading connoisseurs of style, working with clients such as Robert De Niro, Sting and Calvin Klein. His interiors are clean and serene, with every piece carefully chosen for its presence and story, often fusing heritage with the contemporary.Condition report: Lightly faded, the stone tops with slight variation in colour in places, stand-level and stable.

Harold Knight RA, ROI, RP, RWA (1874-1961) - Study of an Unknown Boy, head and shoulders, charcoal, 43 x 29.5cm, unframed Provenance: Frederick Riley (1867-1915) an art teacher, by whom acquired from the artist when he was a student at Nottingham School of Art, 1888-1895; thence by descent to the present vendor This meticulous and empathetic portrait of an unknown boy is reminiscent of the contemporary artist-photographers of the Linked Ring of the 1890's. The angle of the head and expression, suggestive of pity, or pathos, so ably rendered in the present example was attempted by many other British artists of the period, notably Walter Langley RI and other early members of the Newlyn School. To be included in the catalogue raisonne currently being compiled by Dame Laura Knight's great nephew R John Croft FCA (who's assistance is gratefully acknowledged in the cataloguing of this lot) Good condition

A contemporary ceramic art vase by Bernard Rooke. Stamped Rooke no obvious damage Hight 28cm.

Two contemporary table lamps, one set on a green marble base with brass column and shade, the other of art deco design and partial chrome finish

An extensive collection of good quality contemporary and other art books, subjects include sculpture, weaving, drawing, the applied arts, etc (approx 70)

An extensive collection of good quality contemporary and other art books (approximately 60)

A pair of contemporary Art Deco style light beige coloured stitched leather upholstered club armchairs

A collection of good quality art reference books about contemporary female artists - Anne Redpath, Mary Fedden, Eva Hesse, Elizabeth Blackadder, etc (21), plus loose catalogues

An unusual contemporary sheet metal work low corner stand in the form of fish, together with a matching wall mirror, tubular rail and wall art plaque (4)

A pair contemporary silver Art Nouveau style stud earrings. The earrings having plique a jour enamelling, and being set with marcasite's. Marked 925. Measures 2.7cm. Weight 3.6g. 

* A contemporary pure silver tumbler, of bulbous form, with naturalistic spiral reeding, 8.2oz, maker William Lee, London 2019, with 999 pure silver stamp, h.7cmNote: Willilam Lee graduated from the Camberwell College of Art and studied under Hiroshi Suzuki, who's work has been highly influential. Examples of Lee's work can be found in Cambridge Colleges, prestigious collections, and museums including the V&A. His makers mark "SHL", Sang Hyeob Lee, his name, is registered at the Assay Office.Condition report: From the collection of the late Robin Butler, further information here

Contemporary Art, a circular canvas, applied with rope, signed Simmone, 107cm diam

After Amleto dalla Costa (Italian, born 1929) A post modernist geometric and abstract flat study of a female visage, simultaneously facing the viewer and in profile, offset lithograph, dated 1979, in card mount and painted frame under glass, 56 cm x 73 cm [Amleto dalla Costa is an Italian artist best known for his flat, figurative paintings and silkscreen prints of women that directly reference art history. Born in 1929 in Milan, Italy, Costa's compositions absorb and translate the aesthetic styles of both contemporary and Modern artists like Tom Wesselmann, Alex Katz, and Gustav Klimt. His oeuvre is prolific, although his subject matter is almost entirely devoted to the depiction of the female form, often flattened and stylized to create fluctuation between linear form and representational imagery. Costa currently lives and works in Milan.]

Dorothy Bruce (contemporary, USA and Scotland) "Kipford" and "Rockcliffe", south Galloway Scottish coastal studies, watercolour tinted lithographic prints, pencil signed and titled, in card mounts and parcel gilt frames under glass, 42 cm x 54 cm [Dorothy Bruce was born in Wisconsin, USA, gaining her Bachelor of Art from the Minneapolis School of Art. She has lived and worked in Scotland for over 40 years, painting the landscapes and coastal scenes that are so distinctive to this country. The continually changing light and austerity of much of the Northern Highlands and the West Coast of Scotland are recurring themes in much of her work. During these years she has exhibited throughout Scotland including The Royal Society for Painters in Watercolour.]

Inscribed and dated 1957 on contemporary label verso, oil on canvas61cm x 41cm (24in x 16in)Footnote: Provenance: From the collection of the late Dr Angus Gibson, to be sold to support the University of Edinburgh Art Collection

Signed, oil on canvas91cm x 71cm (36in x 28in)Provenance: The Collection of the late R. L. MacDonaldFootnote: Note: Crozier's death at the age of thirty-three meant that his career was short and his oeuvre is small. A French Sunlit Market is a rare example of the work with which he nevertheless established a reputation as a key member of the Edinburgh School. This group of artists included William Gillies and William MacTaggart amongst others and rose to prominence during the inter-war period. They met as students at Edinburgh College of Art (ECA) with Crozier eventually sharing a studio with MacTaggart.Following studies under André Lhote in Paris, Crozier and MacTaggart spent several winters together in France during the 1920s. The present work is thought to have been inspired by one such trip. Its low-toned palette and geometrical simplication of form, particularly obvious in architectural terms, shows Crozier's sensitive handling of light and colour, as well as an awareness of Cubism.Crozier died following a fall in his studio. His ECA contemporary, Harold Harvey Wood, later recalled 'Scottish painting suffered a very severe loss in the premature death of Wiliam Crozier, who, quite apart from his considerable gifts as a painter, represented a kind of oasis in the illiterate and philistine deserts of the Scottish studios' (as quoted in Ann Simpson, William Crozier 1893-1930, Edinburgh 1995, p.8).

Signed and dated '26, pencil on buff paper15cm x 12.5cm (6in x 5in)Footnote: Provenance: From the collection of the late Dr Angus Gibson, to be sold to support the University of Edinburgh Art CollectionExhibited: Cyril Gerber Fine Art, Glasgow, William McCance, September 1989Note: McCance was a major proponent of the modern movement during the inter-war period. He lived in London during the 1920s with his wife, the artist Agnes Miller Parker. They became involved with the English avant-garde art world whilst maintaining links with Scotland. Their assimilation of Surrealism and Cubism was unusual amongst their Scottish contemporaries and can be seen in this rare, complex and fully-realised drawing. Such works led Hugh MacDiarmid to describe the couple in 1925 as 'unquestionably the most promising phenomena of contemporary Scotland in regard to art' (quoted in Alice Strang, A New Era: Scottish Modern Art 1900-1950, Edinburgh 2017, p.10).

GESNER [or GESSNER], Conrad (1516-65). Vogelbuch, Zürich, 1557, 219 fine woodcut illustrations of birds, in an EXCEPTIONALLY FINE contemporary pigskin binding. FIRST GERMAN EDITION.GESNER [or GESSNER], Conrad (1516-65).  Vogelbuch. Darin die art, natur und eigenschafft aller vöglen. Zürich: Christoffel Froschouer, 1557. Folio (384 x 245mm). Woodcut illustration on title, initials, 219 fine woodcut illustrations of birds, most attributed to Lukas Schan or Schram of Strasbourg (a few small holes to title not affecting letters or illustration, 3 leaves torn without loss not affecting illustrations, marginal stain starting at LXXXVI and expanding towards the end, but not affecting text or illustration, a few other mainly marginal stains and spots). EXCEPTIONALLY FINELY BOUND IN ELABORATE CONTEMPORARY BLIND-STAMPED PANELLED PIGSKIN, with small figures of the Apostles, and old, probably original, engraved clasps, the upper cover with the initials "VGGJEFZA" and the date "1561" stamped in black, the spine with 5 raised bands (some light staining and rubbing). Provenance: later pencil inscription on the front pastedown explaining the initials on the front cover: "V(on) G(ottes) G(naden) J(oachim) E(rnst) F([illegible word]) Z(u) A(nhalt)";  later illegible pencil signature on front free endpaper; Edwin Schindler 1950 (marginal stamp on title). THE FIRST GERMAN EDITION of the second volume (on birds) of Gesner's monumental work of natural history, often regarded as "the starting-point of modern zoology" (Anker). "Conrad Gesner was one of the great polymaths of the Renaissance ... His 'History of Animals' is an encyclopedia of contemporary knowledge, intended to replace not only medieval compilations but even Aristotle's work of the same title ... The work consists of five large volumes [of which the present volume is the second] ... The first four volumes deal with quadrupeds, birds and fishes; the posthumous fifth volume with snakes and, in an appendix, scorpions ... Although the Historia animalium does not yet show any recognition of a connexion between different forms of living nature and fails to conform to our modern ideas of biological research, it was a great step forward and remained the most authoritative zoological book between Aristotle and the publication of Ray's classification of fauna in 1693" (PMM). Anker p.10-11: "The volume dealing with birds ... was [first] published in 1555. It gives descriptions and pictures of a large number of birds (altogether 217 figures) material for which was drawn from many different sources ... But this volume also contains original observations made by the author or by his contemporary and fellow zoologists, from whom he procured information ... Gesner's encyclopedic work acquired such prestige and importance during the following period that it is often regarded as the starting-point of modern zoology. Its great reputation and wide circulation were largely due to the fact that it was decorated with so many pictures in the form of woodcuts that it marked a new departure in the field of zoological illustration"; Brunet II, 391-392 (citing the full work "Historia animalium" of 5 vols., but not mentioning this edition of the ornithological volume, or erroneously dating it to 1554): "Pendant près de deux siècles ce grand ouvrage a été le livre le meilleur et le plus complet que l'on eût sur la zoologie générale, et sous plus d'un rapport il mérite encore une place distinguée dans la bibliothèque du naturaliste curieux de suivre l'histoire des progès de la science"; Nissen IVB 350; PMM 77 (citing the full work "Historia animalium" of 5 vols.); Wood p.356.

MISCELLANY - ALBERTUS MAGNUS ([?]1193-1280, attrib.). De secretis mulierum, Amsterdam, 1740, contemporary calf. With 14 other books. (15)MISCELLANY - ALBERTUS MAGNUS ([?]1193-1280, attributed).  De secretis mulierum libellus. Amsterdam: [no publisher], 1740. 12mo (141 x 90mm). Woodcut ornament on title, initial (some light spotting and staining). Contemporary calf (head of spine worn, rubbed and scuffed). Provenance: "Sigillum Residentiae, Mariagyud" (stamp on title). cf. Brunet I, 51 (not citing this edition); Caillet 129 (attributing the work to Henri de Saxe or Thomas de Cantipré); Verminelli 7; Wellcome II, p.24 (all references for earlier editions). With 15 other miscellaneous books including Simon Verepaeus's De epistolis Latine conscribendis libri V (Antwerp, 1614, title trimmed and laid down, later half calf, worn), Lazarus Rivière's Medicina practica in succinctum compendium redacta (Basel, 1663, lacks portrait, contemporary printed parchment over boards), Antoine Banier's Explication Historique des Fables, Où l' on découvre leur origine et leur conformité avec l' Histoire ancienne (The Hague, 1713, 2 vols bound in one, contemporary vellum), Tomasso Tomai's Idea del Giardino del Mondo (Bologna, 1742, modern vellum), Manuel des Rio's Arte de Reloxes[sic] de Ruedas para Torre, Sala, I Faltriquera (Santiago, 1759, vol. one only (of 2, ends on p. 359 with "Finis primi tomi"), 10 mostly horological engraved plates, contemporary vellum), de Romas's Mémoire, sur les Moyens de se Garantir de la Foudre dans les Maisons (Bordeaux, 1776, lacks the 2 plates, contemporary vellum), Giacomo Barozzi da Vignola's Regles des Cinq Ordres d' Architecture (Paris, [c. 1790], engraved title and 50 plates, many cropped, contemporary vellum), [Author unknown:] Der Selbstlehrende Uhrmacher (Frankfurt, 1791, 10 folding horological plates, contemporary paper boards), Jacob Bernoulli's Q. D. B. U. Solutionem tergemini problematis arithmetici, geometrici et astronomici (Basel, [n.d.], full-page woodcut diagram, old marbled wrappers), Abbé Lyonnois's Traité de la Mythologie ... Cinquième Éditon (Mannheim, 1804, 15 folding plates at the end [some bound out of sequence], contemporary half calf) and Boitard and Canivet's Manuel du Naturaliste Préparateur, ou l' Art d' Empailler les Animaux et de Conserver les Végétaux et les Minéraux ... Deuxième Édition (Paris, 1828, contemporary calf). Provenance: from the Collection of Peter and Margarethe Braune. The lot sold not subject to return. (16)

WHISTLER, James McNeill (1834-1903) - Sheridan FORD (d. 1922, editor). The Gentle Art of Making Enemies, New York [?but Antwerp], 1890, contemporary full vellum. Pirated Edition.WHISTLER, James McNeill (1834-1903) - Sheridan FORD (d. 1922, editor).  The Gentle Art of Making Enemies. "New York" [?but Antwerp]: "Frederick Stokes and Brother" [but pirated]. 8vo (172 x 110mm). Contemporary [?or original] full vellum, the upper cover lettered in red, the lower cover with a variant of Whistler's monogram stamped in red, top edges gilt, others uncut, marbled endpapers. Provenance: Caleb Margerison (bookplate). PIRATED EDITION, with a false imprint, of which most copies were seized and destroyed, in an unrecorded full vellum binding. "As custom would sanction, in a work of this character a complacent boast touching the sometime soulful intimacy between Mr Whistler and myself [i.e. Sheridan Ford], I may point out that nothing of the kind existed. The reader might otherwise be pardoned a casual inference that we were on terms of commonplace amity and acquiescence. I commend the book to Mr Whistler's enemies, with the soothing assurance that should each of them purchase a copy the edition will be exhausted in a week" (from the editor's opening "Note", which sets the acerbic and ironic tone for the reviews of Whistler's work, and his replies, which constitute the book).

A Meissen Böttger stoneware figure of God the Father, circa 1977, and a Schwarzburger Werkstätten porcelain figure of seated woman, after 1926, after models by Ernst Barlach (1870-1938)The first as a bearded figure with outstretched arms, on a flared plinth and rectangular base, incised 'E Barlach' on one side of the plinth; the second seated with the left knee upraised on an oval base, 53cm and 23cm high, impressed crossed swords mark to rear and underside of base, the underside with impressed 'BOTTGER/ STEINZEUG' stamp, model number 85034, former's number 149 and date code for 1977 to the first; the second with impressed fox mark and manufactory name stamp, impressed model number U 11 (2)Footnotes:Provenance:A Private Swiss Collection of 19th century Meissen'Schwebender Gottvater' [God the Father soaring] was the first model that Ernst Barlach submitted to the Meissen manufactory, though he had previously worked with the Meissen Director, Max Adolf Pfeiffer, when the latter was Director of the Schwarzburger Werkstätten für Porzellankunst. The model was delivered by April 1922 and Pfeiffer intended the work to be the first of a limited edition by leading contemporary artists for a projected 'Society of Friends of Ceramic Art.' Neither Barlach nor his dealer, Paul Cassirer, were in favour, however, and the idea unfortunately foundered (C. Marusch-Crohn, Meissener Porzellan 1918-1933 Die Pfeifferzeit, p.116).This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

John Piper C.H. (British, 1903-1992)Canons Ashby, Northamptonshire (Levinson 350) Screenprint in colours, 1983, on Arches, signed and numbered 35/150 in pencil, printed by Kelpra Studio, London, co-published by Christie's Contemporary Art and The National Trust, London, with the printer's and publisher's blindstamps, with full margins, 561 x 782mm (22 1/4 x 30 3/4in)(SH)(unframed)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

John Piper C.H. (British, 1903-1992)Castlebythe (Levinson 366) Screenprint in colours, 1983, on Arches, signed and numbered 35/100 in pencil, printed by Kelpra Studio, London, published by Christie's Contemporary Art, London, with the printer's blindstamp, with full margins, 460 x 665mm (18 1/8 x 26 1/8in)(I)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Art Union of London, Reynolds medal 1845, by F. Stothard in Original Case with a hand written contemporary note indicating how to handle the medal. 58mmCondition, Very high grade, silver gilt worn in parts damage to original case.

A contemporary art glass bowl of large proportions, with smoked gold and grey striated decoration and a textured finish. Diameter 65cm, height 12cm.

Contemporary art glass solifleur vase together with paperweight in form of an apple with biscuit bottom

Louis Priou, 1845 Toulouse – 1917 ParisUN SATYRE AUX ABOIS, 1889 Öl auf Leinwand. 255 x 184 cm. Links unten signiert und datiert. Ungerahmt.Beigegeben Ausstellungskatalog „Salon de 1889“. Louis Priou war für seine lebhafte Farbpalette bekannt mit der er nicht nur Szenen der Geschichte und der Griechischen Mythologie auf Leinwand zu bannen im Stande war, sondern auch arkadische Szenen, wie dieses hier angebotene großformatige Werk schuf, in denen er raumgreifend Satyrn und Nymphen zusammen mit Putti in einem Bachlauf herumtollen lässt. Schon der Einstieg in das Gemälde mit dem Tamburin und dem Tyrsosstab lässt an der satyrischen Aura, die das ganze Gemälde vom Dickicht bis zum lichtgleißenden Hintergrund durchzieht, keinen Zweifel. Dem bockshufigen Pan wird von seinen Kindern soeben sein Efeukranz entrissen, während ein weiteres seiner Kinder von einer im Wasser sitzenden Nixe angespritzt wird. Dahinter ist eine weitere Nixe oder Menade auf einer in Bäumen hängenden Schaukel zu sehen. Die gesamte Szenerie ist in Reminiszenz an die französische Rokoko-Malerei in einer wildparkartigen Situation zu sehen, wie wir sie etwa von Jean-Honoré Fragonard (1732-1806) kennen und dessen in Bäumen schaukelnden Mädchen. Andererseits steht die Malerei auch in Nähe des zeitgleichen Malers William Bouguerau (1825-1905), vor allem was die Figuren betrifft. Das große Format, wie wir dies auch etwa bei dem Wiener Maler Hans Makart (1840-1884) finden, ist Ausdruck eines selbstbewussten Fin de Siècle auch in Frankreich.Priou, der an der École des Beaux-Arts bei Alexandre Cabanel (1823-1889) und Jean-Georges Vibert (1840-1902) studierte, stellte 1869 im Salon des Artistes aus, wo er eine Medaille gewann. 1874 gewann er eine Medaille erster Klasse und letztendlich eine Bronzemedaille zur Weltausstellung 1900. Werke seiner Hand in mehreren auch öffentlichen Sammlungen und Museen, wie etwa Musée des Augustins, Art Gallery of New South Wales, oder Detroit Intstitute of Arts.Anmerkung: Eine viel kleinere Version (32 x 24 cm) wurde am 9. Oktober 2005 bei Pemez-Boisseau in Frankreich, Lot 231, verkauft. Literatur: Ausstellungskatalog des Salon des Beaux-arts, Paris 1889, Nr. 2207, Abb. 301. Pierre Sérié, La Peinture d'histoire en France. 1860-1900, Paris 2014, S. 39, Abb. 21 (ganzseitige Farbabb.), sowie Details auf S. 123 mit Erwähnung auf S. 450 und S. 541. Ausstellungskatalog World‘s Columbian Exposition: William Walton, Art and architecture, Philadelphia. 1893, S. 301.Ausstellung: Das hier vorliegende Gemälde war ausgestellt in der World’s Columbian exposition, Chicago, 1893, unter Ausstellungsnr. 2207 mit dem Titel „Un Satyre aux abois“ und abgebildet auf S. 301 mit einer lithografischen Abbildung mit oben genannter Betitelung und Anglifizierung „Satyr at bay“. Der Ausführung in Öl ging eine Zeichnung voraus, abgebildet im „Rapport over een schilderij door Louis Priou“. (1291362) (13)Louis Priou,1845 Toulouse – 1917 ParisUN SATYRE AUX ABOIS, 1889Oil on canvas.255 x 184 cm.Signed and dated lower left.Accompanied by exhibition catalogue “Salon de 1889”.Louis Priou was renowned for his lively colour palette, capturing scenes of historical events, Greek mythology as well as Arcadian scenes like the present large-format painting, which depicts sprawled out satyrs and nymphs with putti romping around in a stream.The entire scene is reminiscent of French Rococo painting set in a wild park-like surrounding, typical for Jean-Honoré Fragonard (1732-1806), for example in his painting “The Swing”, which depicts a girl swinging among trees. On the other hand, it is also similar to works by the contemporary painter William Bouguereau (1825-1905), especially with regards to the figures. The large format, also found in works by Viennese painter Hans Makart (1840-1884), is also an expression of the self-confidence of the fin-de-siècle in France.Note:A much smaller version (32 x 24 cm) was sold at Pemez-Boisseau in France on 9 October 2005, lot 231.Literature: Exhibition catalogue, Salon des Beaux-arts, Paris 1889, no. 2207, ill. 301. Pierre Sérié, La Peinture d'histoire en France. 1860 - 1900, Paris 2014, p. 39, ill. 21 (full-page colour illustration), and details on p. 123 with mention on p. 450 and p. 541.Exhibition catalogue World‘s Columbian Exposition: William Walton, Art and architecture, Philadelphia. 1893, p. 301.Exhibition:The present painting was exhibited in the World’s Columbian exposition, Chicago, 1893, with exhibition no. 2207 and titled “Un Satyre aux abois” and illustrated on p. 301 with a lithographic illustration with the above-mentioned title and translated in English as “Satyr at Bay”. A drawing preceded the execution in oil, illustrated in “Rapport over een schilderij door Louis Priou”.

Donald Hamilton Fraser (1929-2009)Dancer - Reflected Light150/200, signed and numbered in pencil (in the margin)screenprint74 x 54cm. Provenance: Chiristie's Contemporary Art.

J.C.L.SPARKES & F.W.Burbidge. Wild Flowers in Art and Nature. [1894]. large 4to. 21 chromolithographic plates, as called for. Contemporary dark blue calf, all edges gilt

Baltic 1854-55 (Ed. Kitchen, A.B, H.M.S. Locust.) contemporary engraved naming, fitted with silver ribbon brooch; together with a silver Temperance Society medal, 38mm (Edward Kitchen) fitted with scroll suspension and silver ribbon brooch, and two Exhibition medals, St Pancras Industrial Exhibition, bronze, 38mm (Presented to Ed. Kitchen by The Right Hon: The Lord Mayor Alderman Ellis. (Nov. 26th) 1881) fitted with scroll suspension and silver ribbon brooch, and South London Art and Industrial Exhibition Balham 1886, silver, 40mm (Presented to Ed. Kitchen Jany. 10th 1887) pierced but lacking suspension, good very fine or better (4) £200-£260 --- Sold with copy medal roll entry for Baltic medal.

A DIAMOND AND ENAMEL NOVELTY BROOCH, BY LUNATI, CIRCA 1965Modelled as an owl's head, embellished throughout with white, green, blue and brownish-orange enamel accented with single-cut diamonds, mounted in 18K gold, Italian assay mark '160 AL' for Lunati between 1944-1968, length 3.7cm, width 3.7cmWith almost 85 years of experience in the art of jewellery, Italian jewellery house Lunati has a long tradition of craftsmanship. The atelier made its start as a goldsmith in Valenza, in 1937, under the direction of Piero Lunati. Piero was soon joined by his brother Giulio, whose excellent people skills and infectious enthusiasm allowed the company to build a network of contacts within the leading jewellery houses in Italy. Although most businesses during the war years struggled to stay afloat, the Lunati brothers not only succeeded in making ends meet but in fact heightened their production rates and continued to expand, hiring and training a wealth of highly skilled workers. Their expansion during the 1940s gave Lunati somewhat of a head-start once the impact of the war had subsided, allowing the brand to establish itself in Italy and further afield. In the mid 80’s Giulio’s son, Gianluca Lunati, became director of the company and is still leading the family business today, alongside Pietro’s daughter Daniela.This drawing has been kindly supplied to us from the archives of Lunati Gioielli in their workshop in Valenza, Italy. This charming owl brooch was made originally as part of Lunati’s company production, and was worked on as a collaborative effort by several of the atelier’s masterworkers. The production of Lunati’s owl brooches started in the late 1950s, and were inspired by similar creations in fellow workshops in neighbouring France. They continued to be made into the early 70s, signifying just how popular the bright enamelling and skilful metalwork of this brooch was to clientele in Italy for a period of over 15 years. Today, vintage pieces by Lunati have seen a resurgence. The jewellery house continues to draw from their archival material to meet the needs of contemporary clients, even reproducing some of their popular vintage pieces upon request.Condition Report: Normal signs of wear - enamel in good condition given the age - a little wear on one side of the beak, and on one lash of one eye, one white feather on the side with loss of white enamelTotal gross weight approx. 32.30g

Ɵ Leaf from a Lectionary, perhaps made for the individual worship of a Carolingian nobleman or ecclesiastic, in Latin, finely written Carolingian manuscript on parchment, [probably Germany, third quarter of the ninth century] Single leaf with single column of 25 lines in a fine Carolingian minuscule (with readings from Matthew 21:35-46 and Genesis 27:6-28), with et-ligature used integrally within words, only closed 'a', and noteably clubbed ascenders (see 'b' in particular), rich red rubrics and opening text of readings in capitals, recovered from a binding and hence with stains, folds and scuffed areas (but both sides legible), traces of tape at top centre of verso from last mounting, trimmed at top with loss of blank margin there, but wide margins elsewhere, with line-prickings remaining in outer vertical margins, overall in presentable condition, 285 by 246mm.; in a cloth-covered card binding Provenance: 1. Written and decorated in third quarter of ninth century, perhaps as a private devotional volume for a Carolingian nobleman or ecclesiastic (see below). 2. William H. Schab (active 1888-1975), book and art-dealer working firstly with Gilhofer & Ranschburg in Vienna from 1905, then fleeing Austria for New York in 1938.3. Bernard Rosenthal (1920-2017), of San Francisco, California, his 'I/210', acquired from Schab in 1969; with Rosenthal's cataloguing and a copy of a letter from Bernhard Bischoff to Rosenthal concerning the dating, included.4. Quaritch of London, their cat. 1147, Bookhands of the Middle Ages, V (1991), no. 25.5. Schøyen Collection of London and Oslo, their MS. 623. Text:The contents here point to a highly individual parent codex, produced perhaps for private devotion. Originally the lections in the Mass were from the Old Testament, the Epistles and the Gospels. Both the Gallican and the Mozarabic rites retained the Old Testament readings for some considerable time, even into the Carolingian period, but these died out in contemporary Roman usage to the point where they can only be found for significant feast days. After the Carolingian age, the Roman form dominated. Here we have the last of such readings from Matthew, followed by the opening reading of the next set from Genesis. Its use by the so-called 'Comes of Alcuin' (BnF. lat. 9452; comes here from 'Liber Comicus' an early liturgical volume with Bible readings to complement the Gospel Book and Lectionary) allows us to see that in the Gallican Rite in the ninth century this Genesis reading was for Saturday after the first Sunday in Lent (that also dedicated to SS. Marcellinus and Petrus, as in our leaf). However, a problem comes when we try to find other witnesses to the readings for that date alongside the passage of Matthew given here. In short, there are none. This may well be a witness to a personal and private devotional codex, compiled according to the individual needs of the commissioner. The scholars and theologians of Charlemagne's court have garnered the lion's share of attention, but there is substantial evidence of the education of secular nobles from across the Carolingian world in the court school and to some extent throughout the Empire from 789 onwards. At its highest levels the Carolingian ruling elite was expected to be literate (see J.L. Nelson, 'Literacy in the Carolingian Government', in The Frankish World, 750-900, 1996, pp. 1-36, and R. McKitterick, The Carolingians and the Written Word, 1989, pp. 260-261), and other Biblical and liturgical books made in the ninth century for private and secular devotions survive in the Gauzlin Gospels (now in Nancy Cathedral), probably made for Count Arnaldus of Toul, a Psalter commissioned by and written for Count Achadeus of Reims (now Cambridge, Corpus Christi College, MS. 272) and a now-lost Lectionary produced for Count Hechiardus (or Eccard) of Angers.

[Heaney (Seamus)] Curtis (Tony)ed. The Art of Seamus Heaney, 8vo Wales, 1985, cloth & d.j.; Buthel (Rbt.) Seamus Heaney, 8vo Lewisbury 1975, cloth & d.j.; Corcoran (Neil)  Seamus Heaney, 8vo L. (Faber & Faber) 1986, ptd. wrapper; Brandes (Rand) & Durkan (M.J.) Seamus Heaney A Bibliography 1959-2003, 8vo L. (Faber & Faber) 2008, cloth & d.j.; O'Driscoll (D.) Stepping Stones, 8vo L. (Faber & Faber) 2008, cloth & d.j.; Bradbury (M.)ed. Contemporary Writers - Seamus Heaney, 8vo N.Y. 1982, ptd. wrappers. As a lot, w.a.f. (6)

John O'Connor (1913-2004)'River in North Wales, July'woodcut, signed inscribed and dated 'John O'Connor/N.A. Edition/1961' in pencil l.r., and inscribed as titled l.l.plate 19 x 24cm;Dale Inglis (contemporary)'Two Sunflowers'mixed media on paperimage 58 x 48cm (2)Provenance: Langham Fine Art, 1998.

Averil Burleigh (1883-1949) St. Elizabeth of Hungary Tempera on canvas 49.6 x 59.7cm Provenance: Bonhams, London, Modern & Contemporary British and Continental Pictures & Sculpture, 14 April 1994, lot 9; The Collection of Peter and Mary Grant Exhibited: London, Royal Academy, 1935, no.979; Brighton, Brighton Art Gallery, Memorial Exhibition of the Work of Averil Burleigh A.R.W.S, November-December 1949, no.13 Averil and Charles Burleigh, and their daughter Veronica, were a remarkable family of artists who spent most of their lives working in Sussex. Averil and Charles met at the Brighton School of Art, and the couple were married in 1905. Veronica was born in 1909, and by 1915 both her parents were exhibiting regularly at the Royal Academy and the Royal Institute. After studying at the Slade, Veronica returned home to Brighton, and the three artists worked closely together. Despite clear stylistic cross-influences within the family, each member developed a unique and distinctive style, reflected in the works offered here. Peter and Mary Grant have been collecting the work of the Burleigh family for decades, and became friends with Veronica, corresponding frequently over the years. Veronica stayed with the couple at Pebble Court, the family home in Oxfordshire, in 1990 and painted the house (lot 200).

‡Wilhelmina Barns-Graham CBE (1912-2004) Water Dance, Porthmeor, No.5 Numbered 01/70 (in pencil lower left) and with Graal Press blindstamp Silkscreen, 2003 57.2 x 75.1cm (sheet) Provenance: Art First Contemporary Art, London With Barns-Graham Charity Trust Authentication label to frame.

An Art Deco 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]

A contemporary C. Wood & Son wall clock, chrome dial with Roman numerals, and pendulum, height 49cm, together with a wooden cased mantel clock in the Art Deco style, height 23cm

A pair of contemporary brown leather club chairs, in the Art Deco style, width 72cm, depth 80cm, height 65cm

* RYAN MUTTER (SCOTTISH b. 1978),UNTITLEDoil on canvas, signedimage size 78cm x 98cm, overall size 103cm x 123cm 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).

* RYAN MUTTER (SCOTTISH b. 1978),UNTITLEDoil on canvas, signedimage size 97cm x 77cm, overall size 124cm x 104cm 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 very good overall, with no visible signs of restoration, damage, or known issues. 

* NORMAN EDGAR RGI (SCOTTISH b. 1948),RHODODENDRONSoil on canvas, signedimage size 49cm x 39cm, overall size 66cm x 56cmFramed and under glass.Note: an outstanding still life by Norman Edgar. Private London collection.Note: Norman Edgar studied at Glasgow School of Art from 1966 to 70 and went on to teach there until 1990, when he left in order to paint full-time. He is a landscape and portrait painter, working in the Colourist tradition. A member of the Glasgow Institute of Fine Arts, he shows work regularly in the annual Royal Scottish Academy exhibitions. He has long been a resident of Gourock on the south bank of the River Clyde and marine activities feature prominently in his work. He is also widely regarded to be one of Scotland's leading still life painters. Edgar's still lifes rarely appear at auction but in The Scottish Contemporary Art Auction of 11th November 2018, lot 6 "Still Life and Yellow Cup" by him sold for £2400 (hammer). Known collections include: HRH The Duke of Edinburgh, Heriot Watt University, Greenock Art Gallery, Argyll Education Authority, Renfrew Education Authority, Lord Morton, Guinness Plc, United Distillers, Lord Macfarlane of Bearsden, Glasgow Dental Hospital, Pitlochry Theatre and in numerous corporate and private collections in the USA, Germany and the UK.