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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 The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant.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 The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant.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.

* ELEANOR CHRISTIE CHATTERLEY,WOMAN OF THE NORTHbronze (cast bronze) sculpture, 167cm tall.Note: Eleanor Munro was born (1929) and educated in Scotland. She studied sculpture at The Glasgow School of Art and Camberwell School of Art. She taught Sculpture at London Marylebone Institute (St John's Wood Sculpture School) from 1970 - 84 and at Blackheath School of Art from 1987 - 93. In 1952 she married the artist Fyfe Christie (1918 - 1975). Some eighteen years after the death of her first husband (1993) Eleanor married the music producer Albert "Jack" Chatterley (died 2016). Eleanor Christie-Chatterley has exhibited her sculptures at numerous venues including Woodlands Art Gallery (London), Blackheath Gallery (London), Old Cattan House Gallery (Norwich), Buckenham Galleries and at Cyril Gerber Fine Art (Glasgow). Her sculptures are in numerous private collections in the UK, the US and in France. Eleanor Christie-Chatterley lives on the west coast of Scotland and is almost certainly Scotland's oldest living sculptor. In The Scottish Contemporary Art Auction of 24th October, "Green Man Walking" by Christie-Chatterley sold for £3800 (hammer) and three small stoneware sculptures sold for hammer prices of £480, £500 & £500.SHIPPING: Aardvark Art Services Ltd have quoted £150 to collect this sculpture and deliver it to most (except the more remote) UK mainland locations (further details on request).

* JOE MCINTYRE (SCOTTISH b. 1940),SUMMER IN THE CITY, MANNEQUINS, BRIGHTONoil on canvas panel, signed, titled label versoimage size 63cm x 20cm, overall size 74cm x 30cm Framed and under glass.Handwritten artist's label verso.Note: Joe McIntyre was born in Dundee in 1940. His work has been exhibited extensively around the UK and in the USA. Collections include: HM The Queen, HRH The late Duke of Edinburgh, HRH The Late Princess Margaret, Dundee City Chambers, J & B Scotch Whisky (New York), Dundee City Art Gallery, Pernod (London), The Scottish Arts Council, Fine Arts Society (London), Tayside Regional Council, Arbroath Art Gallery, The Lincoln Centre (New York), Johnston & Johnston (New York) and numerous other corporate collections. In the Scottish Contemporary Art Auction of 5th July 2020 "Summer in the City, Dundee" (lot 632) set yet another world auction record for McIntyre, selling for £1900 (hammer).

ERNI UPTON,FAVOURITE VIEW, MULL FROM NORTH IONAoil on canvas, signed, further signed and titled versoimage size 51cm x 101cm, overall size 72cm x 122cmFramed. 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).

* HUGH MCINTYRE (SCOTTISH b. 1943),POOL ABOVE THE GORGEoil on paper, signed and dated '93, titled label versoimage size 43cm x 35cm, overall size 69cm x 58cm Mounted, framed and under glass.Exhibition label verso: Relais Des Cedres Exhibition, 1993, The Edinburgh Gallery, Edinburgh.Note: Hugh McIntyre has been based in Dumfries & Galloway for many years and was involved with the management of the Gracefield Arts Centre during the early 1970s. He became a full-time painter in the mid 1970s and has exhibited his artwork, which focuses mainly on landscape painting, throughout the UK. He attended the Rhode Island School of Design, USA, and the Edinburgh College of Art. McIntyre`s work is included in the collections of H.R.H. The Prince and the Late Princess of Wales, The British Linen Bank Headquarters, Edinburgh, The Bank of Scotland, Galerie Chomarat, Lyon, Galerie Maison Jardin, Lyon, P.D.C, New York, Ashai Optical Co.Ltd, Tokyo, Brunel University, Hilton International, Albert Fisher Group PLC, Tommy Hilfiger and many other public and private collections. McInyre exhibits widely and has been represented by Contemporary Fine Art (Eton) since 1990.

* IAIN R MCINTOSH RSA (SCOTTISH b. 1945),THE GREEK PRIESToak sculpture, carved signature (MCINTOSH) and dated '77 on the side of the sculpturetitled on artist label on the base37cm high.Provenance: The Royal Society of Sculptors.Note: Iain R. McIntosh RSA was born in 1945 in Peterhead, Aberdeenshire, and studied at Gray’s School of Art. Trained as a sculptor, he is perhaps best known for his wood-carved boats and sailing vessels, inspired by his coastal upbringing. In recent years he has also begun to create paintings and drawings but his subject matter is still never far from the sea. He was elected Associate of The Royal Scottish Academy in 1981 and full Academician in 2005. His sculptures very rarely appear at auction but in The Scottish Contemporary Art Auction of 9th May 2021 a small 28cm high untitled oak carving by Iain McIntosh sold for £500 (hammer).

* SIMON LAURIE RSW RGI (SCOTTISH b. 1964),UNTITLEDoil on board, signedimage size 55cm x 60cm, overall size 73cm x 77cm Framed and under glass.Note: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.

* WILLIE RODGER RSA RGI (SCOTTISH 1930 - 2018),LANDLUBBER'S VIEW OF ST ABBSwoodblock print on paper, signed, titled and numbered 9/16image size 66cm x 96cm, overall size 90cm x 118cm Mounted, framed and under glass. Exhibition label verso: November 1995, Roger Billcliffe Fine Art, Glasgow.Note: The Royal Scottish Academy website describes Willie Rodger as "one of the most significant artist-printmakers in recent Scottish art history". Born in Kirkintilloch in 1930, Rodger studied Graphics and Printmaking at Glasgow School of Art from 1948 to 1953. He received a rigorous education from a course that, at the time, only accepted the most skilled draughtsmen. By graduation Rodger had already sold two prints to the Victoria and Albert Museum, London, and went on to a career in advertising. However, he became disillusioned with the cut and thrust of the commercial world and an opportunity to change careers and return to Scotland came about with a teaching vacancy at Lenzie Academy, then as Principal Teacher of Art at Clydebank High School, a post he held until early retirement in 1987. He was elected to the Royal Scottish Academy in 1989 and awarded an honorary doctorate by the University of Stirling in 1999. In The Scottish Contemporary Art Auction of 28th February 2021 lot 562 "Reverie" by Willie Rodger established a new auction record for a print by the artist selling at £1200 (hammer).

* PAUL REID (SCOTTISH b. 1975), THE STUDY FOR MARSYAS oil on canvas paper, signed, titled label verso image size 44cm x 18.5cm, overall size 59cm x 33cm Framed and under glass. Exhibition label verso: Paul Reid - New Works, 2002, The Scottish Gallery, Edinburgh. Note: Paul Reid is undoubtedly one of the great figurative painters to have emerged out of Scotland in recent years. His personalized interpretations of ancient myths have attracted a growing and enthusiastic audience, with highly successful exhibitions recently held in Edinburgh and Harrogate. A major publication of his work was published by 108 Fine Art in 2006, with an introduction written by His Royal Highness The Prince of Wales and essay by Laura Gascoigne. Paul Reid studied at Duncan Of Jordanstone College Of Art, Dundee from 1994 – 1998. He was awarded a Carnegie Trust Vacation Scholarship and the John Kinross Scholarship. His work is held in numerous public and private collections including JK Rowling and HRH Prince of Wales. In 2002, The New Statesman named him as one of the "Best of New British under the age of 35". In 2004 Paul accompanied HRH The Prince of Wales on a trip to Turkey and Jordan, completing a series of paintings and drawings based on the landscape and people of the areas visited. In 2009 he again accompanied HRH on a visit to Canada. His first public art gallery exhibition was arranged by 108 Fine Art, and toured the UK in late 2007 / 2008. The exhibition charted the development of his work over the previous ten years, with the emphasis on his series of paintings, based on ‘The Minotaur’ and, ‘Circe’. In a review by Iain Gale, “Six of the best painters point the way forward”, in Scotland on Sunday: “Since he burst on to the British art scene three years ago, shaking up received notions of what contemporary art was about, Paul Reid has been gathering a loyal audience with his unique take on the apparently redundant tradition of neo-classical painting. His art is unlike anything else you will see on the contemporary scene. While some others might imitate the old masters, Reid creates his own vocabulary and towers over his rivals through his sheer draughtsmanship and feel for paint. But there is nothing reactionary about this work. Reid is not attempting single-handedly to subvert the current trend for conceptualism, some of which he admits is powerful and valid. Rather he sees himself as part of a bigger picture, using Greek myth as it was originally intended to be used, as a metaphor through which to tap into basic human truths and mysteries.” Paul Reid is represented by The Scottish Gallery and his next solo show there will take place in 2022.

* JAMES ORR (SCOTTISH 1931 - 2019),WEST HIGHLAND BEACH, ARISAIGacrylic on board, signed, titled labels versoimage size 29cm x 34cm, overall size 55cm x 60cm Framed and under glass.Handwritten artist's label verso.Note: James Orr was a regular and successful contributor to The Scottish Contemporary Art Auctions. A modest man when it came to his own achievements, his work is held in the collection of HRH Duke of Edinburgh and in many private collections across the world. He won several awards for his work, including the RGI’s Royal College of Physicians & Surgeons of Glasgow Award. His paintings have given and continue to give great pleasure to many people. Renowned for his kindness and generosity, he also nurtured many budding artists and gave his time generously through artist demonstrations for many art clubs across Scotland. James is much missed by all at McTear's.

* HANNAH FRANK (SCOTTISH 1908 - 2008),COME LOVELY AND SOOTHING DEATH (1949)lithograph, signed in pencil, titledimage size 36cm 25.5cm, sheet size 44cm x 31cm, overall size 46.5cm x 33cm Framed and under glass.Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare pencil signed lithographs have continued to rise with many current prices being more than four times higher than those achieved less than a decade ago. The UK auction record for a Hannah Frank signed print had been £650 (achieved by McTear's) until the Scottish Contemporary Art Auction of 24th October 2021 when lots 577 & 578 each sold for £820 (hammer). 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 relatively 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).

* MARK I'ANSON, MARY pencil on paper, signed and titled verso image size 43cm x 36cm, overall size 69cm x 59cm Mounted, framed and under glass. Exhibition label verso: The Fool, 1994, The Compass Gallery, Glasgow. Note: Mark I'Anson studied at Gray's School of Art, Aberdeen, from 1988 to 92. Since then Mark has worked full time as a painter. Mixing pencil work with translucent glazes of paint, he produces evocative and compelling compositions that provoke a response from the viewer. Since 1994, Mark has had eighteen solo exhibitions in London, Scotland and Canada. His work can be found in public, corporate and private collections throughout Scotland, London, USA, Canada & Europe. In 2003 he completed a major and celebrated commission for the Scottish National Portrait Gallery entitled 'Scotland's Dream Team'. This comprises twelve large works depicting Scotland's greatest football players from the last hundred years and these works are held in the permanent collection of the SNPG. Mark's work rarely appears at auction but a small 25 x 20cm head study in pencil titled "Heartland" (lot 2020) was sold in The Scottish Contemporary Art Auction of 14th December 2014 for £300 (hammer).

* ELEANOR CHRISTIE CHATTERLEY,PROUD WOMAN, KNEE RAISEDstonewear sculpture, 27cm tall.Note: Eleanor Munro was born (1929) and educated in Scotland. She studied sculpture at The Glasgow School of Art and Camberwell School of Art. She taught Sculpture at London Marylebone Institute (St John's Wood Sculpture School) from 1970 - 84 and at Blackheath School of Art from 1987 - 93. In 1952 she married the artist Fyfe Christie (1918 - 1975). Some eighteen years after the death of her first husband (1993) Eleanor married the music producer Albert "Jack" Chatterley (died 2016). Eleanor Christie-Chatterley has exhibited her sculptures at numerous venues including Woodlands Art Gallery (London), Blackheath Gallery (London), Old Cattan House Gallery (Norwich), Buckenham Galleries and at Cyril Gerber Fine Art (Glasgow). Her sculptures are in numerous private collections in the UK, the US and in France. Eleanor Christie-Chatterley lives on the west coast of Scotland and is almost certainly Scotland's oldest living sculptor. In The Scottish Contemporary Art Auction of 24th October, "Green Man Walking" by Christie-Chatterley sold for £3800 (hammer) and three small stoneware sculptures sold for hammer prices of £480, £500 & £500.

* MICHAEL SCOTT (SCOTTISH 1946 - 2006),CLOWNSoil on canvas, signed and dated 2005 label versoimage size 91cm x 76cm, overall size 113cm x 98cm Framed. Handwritten label verso. Label verso: The Contemporary Fine Art Gallery, Eton. Note: The inspiration for this painting is said to be from the French Poet Guillaume Apollinaire and his subject of the Harlequin in ‘Acrobats’. Apollinaire famously first coined the term ‘Surrealism’ and, in its most moderated definition, this may be appropriate to the sensibility of Scott’s work”. Apollinaire was a confidant of Picasso and the Spanish master famously took the Harlequin as his subject in the period 1904 and thereafter. In the book by Ray McKenzie and Tom Normand on Michael Scott’s life and work titled ‘Testament’, it is written: “ It was in Ovid that Scott found many of the source tales for his classical subjects and in Apollinaire that he discovered the non-linear, capricious and whimsical aesthetic that informed his oeuvre”. The poem by Apollinaire ‘Acrobats’ is thought to be the inspiration for "Clowns" together with “The Circus 1995 and The Travelling Players 2002”. This lot includes a hardback copy of "Michael Scott, Testament" published in 2010. "Clowns" features as a full page photograph on page 99.Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues. 

* CONSTANTIN KLUGE (RUSSIAN/FRENCH 1912 - 2003),FLOWER SELLERS, NOTRE DAMEoil on canvas, signedimage size 45cm x 60cm, overall size 63cm x 79cm Framed.Note: Constantin Kluge was a Russian-born French painter best known for his naturalistic scenes of Paris and the French countryside in a style reminiscent of Albert Marquet. Kluge was born to a wealthy military family on January 29, 1912, in Riga, Latvia, which was then a large, industrial Russian port city. He spent much of his childhood and young adult life between Manchuria, Beijing, and Hong Kong, where he discovered a love for brush and ink painting. Kluge studied architecture at the École des Beaux-Arts in Paris and earned his diploma in 1937. Upon graduating, he painted the city’s riverbanks and streets before returning to Shanghai. With the rise of Communism in China, the artist fled to Paris in 1950 and began exhibiting in French Salons. He was a success both artistically and financially. Of his many awards, he received the Gold Medal, Salon des Artistes Francais and was made Chevalier de la Legion d’Honneur by the French Government. He died on January 9, 2003, in Paris, France. Kluge’s works are in the collections of the Musée d’Orsay and the Musée d’Art Moderne in Paris, among many others. In The Scottish Contemporary Art Auction of 26th May 2019 "Notre Dame, Paris" (lot 547) by Kluge sold for £4200 (hammer).

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),WHITE COTTAGEoil on board, signed and dated 2000, titled label versoimage size 85cm x 85cm, overall size 107cm x 107cm Framed. Label verso: Corrymella Scott Gallery.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick'sTug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),QUIET EVENING, TRAIGH BHAN, IONAoil on canvas, signed, further signed, titled and dated 2008 versoimage size 29.5cm x 29.5cm, overall size 54cm x 54cmFramed and under glass.Label verso: Corrymella Scott Gallery.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick'sTug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.

* ETHEL WALKER (SCOTTISH b. 1941),THE LACE CLOTHoil on board, signed, titled label versoimage size 71cm x 87cm, overall size 94cm x 109cmFramed and under glass. Label verso: The Contemporary Fine Art Gallery, Eton.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a large mixed media by Ethel Walker sold for £2600 (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).

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),THE TUG DUKE OF NORMANDY - RAINoil on canvas, signed and dated 2002, further signed, titled and dated versoimage size 40cm x 40cm, overall size 64cm x 64cm Framed and under glass.Artist's stamp verso.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick'sTug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.

* MICHAEL SCOTT (SCOTTISH 1946 - 2006),DANCING THE KINGoil on canvas, signed, titled label versoimage size 76cm x 60cm, overall size 93cm x 78cm Framed and under glass.Note: a copy of the book 'Michael Scott Testament' by Ray McKenzie and Tom Normand is included with this lot.Note 2: Born in Aberdeenshire in 1946, Michael Scott (Mike Scott) studied Political Science at Liverpool before doing a one year's teacher training course in Huddersfield. After moving to Glasgow, Scott took a full-time research post at Glasgow University followed by a lecturing post at the re-named Glasgow Caledonian University. By 1997 demand for his work had become so great that he had to resign his post at the University to paint full time. Awards Include The David Cargill Senior Award, Royal Glasgow Institute. Exhibitions Include 1988~John D Kelly Gallery, Glasgow: 1994~Roger Billcliffe Fine Art, Glasgow ~Contemporary Fine Art, Eton; 1995~Portland Gallery, London; 1997~Fosse Gallery, Stowe on Trent ~Contemporary Fine Art, Eton; 1998~Portland Gallery, London; 2001~Portland Gallery, London, 2004~Portland Gallery, London; 2010~A Memorial Exhibition, Roger Billcliffe, Glasgow. Collections Include Distillers plc, Robert Fleming Holdings Ltd, Spencer Stuart & Associates, Teachers Whisky, Whyte and Mackay and others. To mark the 10th anniversary of Michael Scott's death, The Roger Billcliffe Gallery staged an exhibition of his work 1st April - 30th April 2016. In The Scottish Contemporary Art Auction of 24th October 2021, lot 599 "Echo & Narcissus" a 60 x 60cm oil by Michael Scott sold for £3800 (hammer) and in recent times, slightly larger examples in our auctions have more than once achieved prices in excess of £4000 (hammer).Condition report: Condition is very good overall, with no visible signs of restoration, damage, or known issues. 

* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),CHOCOLATE IS NOT THE PROBLEMlithograph on 150g silk paperimage size 77cm x 57.5cm, overall size 83cm x 63cm Framed and under glass.Note: Original exhibition print made on the occasion of David Shrigley’s solo exhibition DON’T TOUCH THE WORMS at Copenhagen contemporary. Note 2: David Shrigley attended Glasgow School of Art from 1988-91 where he studied environmental art. He works in many disciplines including drawing, photography, painting, sculpture, animation and music. The variety of projects he is involved with are multi-faceted ranging from the video for Blur’s ‘Good Song’ to ‘Kingsley’ Shrigley’s mascot for the Scottish football team Partick Thistle to ‘Really Good’ a sculpture of a bronze fist with upraised, out of proportion thumb which he created for the Fourth plinth in Trafalgar Square. Shrigley was created an O.B.E. in 2020 for services to the visual arts. Recent notable exhibitions include those in Glasgow, Germany and Sweden and he was nominated for the Turner Prize in 2013. His work is held in a number of important public collections including the National Galleries of Scotland and Tate.

CONTEMPORARY ART DECO DESIGN SILK CARPET, 400cm x 300cm.

4CT DIAMOND RING TOGETHER WITH A TIFFANY & CO BAND a radiant cut diamond flanked by two trapezoid cut diamonds set in a thin platinum band, paired with a contemporary Tiffany & Co. platinum band, stamped 10% IRD PLAT TIFFANY AND CO partially effaced on interior of band, diamond ring with M/OP color; diamond ring size: 6.5 US, Tiffany & Co. band size: 7 US, gross weight: 8.86 g (.312 oz), weight of diamond ring: 5.22 g (.184 oz), weight of Tiffany & Co. band weight: 3.61 g (.127 oz)CONDITIONThe set appears in good condition. The set with minor light surface scratches. The radiant diamond is loose in the setting. Besides general wear and use, no significant issues to report. Would benefit from a cleaning.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

A CONTEMPORARY METAL AND BRASS CONSOLE TABLEthe console table of elongated rectangular form, with a brown and black fabricated stone top, with a brass foliate and floral centered motif, the legs of rounded form capped with a brass foliate motif, the stretcher formed from wrought iron arrows; 92 (h) x 44 (w) x 134 (l) (36 1/4 x 17 3/8 x 52 3/4 in.)CONDITIONThe console appears in age-appropriate stable condition. The legs and stretcher with visible light surface scuffs and scratches. Visible craquelure to the legs. The brass detailing has patinated with age.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

20TH CENTURY CONTEMPORARY ARTISTSunflowers ,oil on canvas45.5 x 46 cm (17 7/8 x 18 1/8 in.)signed illegibly lower leftCONDITIONObserved in frame, the painting appears in good condition. With no apparent issues visible to the naked eye. Inspection under UV light shows fluorescence with varnish but no apparent sign of restoration.framed dimensions: 58.5 x 59 cm (23 x 23 1/4 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

CHUANG CHE (CHINESE B. 1934)Mountainous Abstract,oil and acrylic on canvas97 x 122 cm (38 1/4 x 48 in.)signed lower right; inventory number on versoPROVENANCEPerlman Gallery, Princeton, NJAcquired from the above by the present ownerLOT NOTESChuang Che is a contemporary Chinese artist whose body of work largely consists of abstract paintings often combining the influence of his Chinese heritage with abstract expressionism. Che’s father introduced him to the art of calligraphy, a medium in which is still present in his work. Che studied Eastern painting traditions, alongside several other artists including Liu Guosong, Fong Chung-Ray and Sun Duoci together forming the Fifth Moon Group with the goal to modernize Chinese art. In 1966, Che was awarded the John D. Rockefeller III Foundation travel grant, allowing him to study in the United States. In the late 1990’s Che found himself living and creating work in New York City, which is where he still resides today. This lot is a prime example of Che’s abstract expressionism drawing on his heritage and influence of calligraphy.CONDITIONObserved in frame, the painting appears in very good condition. A horizontal scuff and a light impression visible along the lower edge. A vertical scuff to the lower center, measuring 10 cm (4 in.) in length. Inspection under UV light shows no apparent sign of restoration.framed dimensions: 111 x 137 cm (43 3/4 x 54 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Günther Uecker (1930 Wendorf) (F)Nagelkomposition, Prägedruck auf Bütten, 60 cm x 49,5 cm Blattmaß, signiert, 74 datiert, 50/100 nummeriert, partiell knickfaltigProvenienz: Privatsammlung HannoverGünther Uecker wurde am 13. März 1930 in Wendorf bei Crivitz geboren und ist mit seinen reliefartigen Nagelbildern einer der bekanntesten deutschen Maler und Objektkünstler. Nach seiner Lehre als Anstreicher und Schreiner studierte er von 1949 bis 1953 Malerei in Wismar und an der Kunstakademie in Berlin-Weißensee. Bei seinem ersten Besuch in Westberlin 1951 kam Uecker erstmalig mit abstrakter Kunst in Kontakt. Zwei Jahre später verließ Uecker Ost-Berlin und ging nach Westdeutschland um bei seinem Vorbild Otto Pankok an der Kunstakademie in Düsseldorf zu studieren. Bereits in den 1950er Jahren entdeckte Uecker den Nagel als das zentrale Medium seiner Kunst für sich. Durch die Ausrichtung und Positionierung der Nägel gelang es ihm einen dreidimensionalen und reliefartigen Eindruck zu kreieren und ein subtiles Licht-und-Schatten-Spiel zu erzeugen, das dem Raum eine neue Dynamik verleiht. 1961 schloss sich Uecker der Künstlergruppe "ZERO" an, die von Otto Piene und Heinz Mack gegründet wurde und avancierte zu einem der wichtigsten Impulsgeber der deutschen Nachkriegskunst. Von den noch lebenden ZERO-Künstlern ist Uecker der teuerste. Bereits in den 1960er Jahren durfte er seine Arbeiten auf der documenta (1964, 1968 und 1977) sowie auf der Biennale in Venedig 1970 präsentieren. Von 1976 bis 1995 lehrte er als Professor an der Kunstakademie in Düsseldorf. Im Jahr 2008 war er Mitbegründer der "Zero foundation" ebenfalls in Düsseldorf. Zero Günther Uecker (1930 Wendorf) (F)Nail composition, embossed print on laid paper, sheet size 60 cm x 49.5 cm, signed, dated 74, numbered 50/100, slightly creasedProvenance: Private collection, HanoverGünther Uecker was born on 13th March 1930 in Wendorf near Crivitz. His relief-like nail pictures made him one of the best known German contemporary artists. After his apprenticeship as a painter and carpenter, he studied art in Wismar and at the academy in Berlin-Weißensee from 1949 to 1953. Uecker first came into contact with abstract painting during his first visit to West Berlin in 1951. Two years later, Uecker left East Berlin and went to West Germany to study with his role model Otto Pankok at the Art Academy in Düsseldorf. As early as the 1950s, Uecker discovered the nail as the central medium of his art. By aligning and positioning the nails, he was able to create a three-dimensional and relief-like impression and a subtle play of light and shadow that lent a new dynamic to his works. In 1961, Uecker joined the artists' group ''ZERO,'' founded by Otto Piene and Heinz Mack, and advanced to become one of the most important instigators of post-war German art. Of the ZERO artists still alive, Uecker is the most expensive. He was already exhibiting his works at the documenta by the 1960s (1964, 1968 and 1977) and at the Venice Biennale in 1970. From 1976 to 1995 he taught as a professor at the Kunstakademie in Düsseldorf. In 2008 he co-founded the ''Zero foundation'', also in Düsseldorf.

Pavlos Dionyssopoulos('Pavlos') (1930 Filitra, Griechenland - 2019 Paris)Bar mit 2 Etagen, Mischtechnik mit Buntstift und Collage auf Karton, 99,5 cm x 69,5 cm Blattmaß, signiert, 75 datiert, partiell Stecknadellöcher, kleine Druckstelle am oberen RandProvenienz: Privatsammlung HannoverNach dem Studium an der Kunstakademie in Athen ging Pavlos 1954 mit einem Stipendium des französischen Staats nach Paris, wo er sich 1958 dauerhaft niederließ und seine neue künstlerische Heimat fand. Um 1960 wandte er sich unter dem Eindruck der Nouveaux Réalistes von der Malerei ab und der Assemblage und Collage zu. Seit 1963 stellte er auf den Jahresausstellungen des Salon des Nouvelles Réalités aus, dem wichtigsten Forum für zeitgenössische Kunst in Frankreich seit 1946. Eine große Gruppe in Pavlos' Werk ist in einer Kombinationstechnik aus Zeichnung und Malerei sowie Formen und Streifen aus zurechtgeschnittenem, sekundär verwendetem Papiermaterial gefertigt. Die Flaschen des oberen Regalfachs sind in diesem Fall zur Hälfte aus weißen Papierformen aufgeklebt, während die andere Hälfte als gezeichnete Kontur erscheint. Die unteren Flaschen sind aus je zwei Papierformen zusammengesetzt, welche zum Teil farbige Rasteroffsetpunkte aus dem Plakatdruck erkennen lassen. Mit blauem und weißem Farbstift sind Hintergrund und Konturen auf hellbraunem Leichtkarton ausgeführt. Pavlos Dionyssopoulos ('Pavlos') (1930 Filitra, Greece - 2019)Bar with two levels, mixed media with pencil and collage on card, 99.5 cm x 69.5 cm, signed, dated 75, with some pin holes, a minor compression in the upper marginProvenance: Private collection, HanoverAfter studying at the Academy of Fine Arts in Athens, Pavlos went to Paris in 1954 on a scholarship from the French state, where he settled permanently in 1958 and found his new artistic home. Around 1960, under the influence of the Nouveaux Réalistes, he turned away from painting to assemblage and collage. From 1963 he exhibited at the annual exhibitions of the Salon des Nouvelles Réalités, the most important forum for contemporary art in France since 1946. A large group in Pavlos' work is made in a combination technique of drawing and painting, as well as shapes and strips of paper cut to size. In this case, half of the bottles on the upper shelf are glued on from white paper, while the other half appears as a drawn outline. The lower bottles are each composed from two paper shapes, some of which reveal coloured half-tone offset dots from poster printing. Background and contours are executed with blue and white coloured pencil on light brown cardboard.

Günther Uecker (1930 Wendorf) (F)'Muttermord in der Diamantenwüste', Günther Uecker, Hubert Neuerburg und Rolf Schroeter, 1986, Zürich, Verlag Galerie Tschudi, mit 2 Arbeiten von Günther Uecker, 'Messer', Graphitzeichnung auf Rives, 'Muttererde', Graphit in Erde und Leim auf Rives, je signiert, 86 datiert, 64/100 nummeriert, partiell verwischt, 2 Fotografien von Rolf Schroeter, je verso signiert, 1 VHS-Kassette von H. Neuerburg, signiert, 86 datiert, und 1 Buch mit zahlr. Farbabbildungen, 28 Bll., Maße (Buch) 56 cm x 22 cm, 1986 datiert, von allen Künstlern signiert, Schuber partiell staubigGünther Uecker wurde am 13. März 1930 in Wendorf bei Crivitz geboren und ist mit seinen reliefartigen Nagelbildern einer der bekanntesten deutschen Maler und Objektkünstler. Nach seiner Lehre als Anstreicher und Schreiner studierte er von 1949 bis 1953 Malerei in Wismar und an der Kunstakademie in Berlin-Weißensee. Bei seinem ersten Besuch in Westberlin 1951 kam Uecker erstmalig mit abstrakter Kunst in Kontakt. Zwei Jahre später verließ Uecker Ost-Berlin und ging nach Westdeutschland um bei seinem Vorbild Otto Pankok an der Kunstakademie in Düsseldorf zu studieren. Bereits in den 1950er Jahren entdeckte Uecker den Nagel als das zentrale Medium seiner Kunst für sich. Durch die Ausrichtung und Positionierung der Nägel gelang es ihm einen dreidimensionalen und reliefartigen Eindruck zu kreieren und ein subtiles Licht-und-Schatten-Spiel zu erzeugen, das dem Raum eine neue Dynamik verleiht. 1961 schloss sich Uecker der Künstlergruppe "ZERO" an, die von Otto Piene und Heinz Mack gegründet wurde und avancierte zu einem der wichtigsten Impulsgeber der deutschen Nachkriegskunst. Von den noch lebenden ZERO-Künstlern ist Uecker der teuerste. Bereits in den 1960er Jahren durfte er seine Arbeiten auf der documenta (1964, 1968 und 1977) sowie auf der Biennale in Venedig 1970 präsentieren. Von 1976 bis 1995 lehrte er als Professor an der Kunstakademie in Düsseldorf. Im Jahr 2008 war er Mitbegründer der "Zero foundation" ebenfalls in Düsseldorf. Die kollaborative Arbeit "Muttermord in der Diamantenwüste" ist eine ungewöhnliche audio-visuelle Auseinandersetzung dreier Künstler mit den Themen der Kunst, der Sterblichkeit und der Ausbeutung der Erde. Günther Uecker (1930 Wendorf) (F)'Muttermord in der Diamantenwüste', Günther Uecker, Hubert Neuerburg and Rolf Schroeter, 1986, Zurich, published by Verlag Galerie Tschudi, with two works by Günther Uecker, Knife, graphite pencil drawing on Rives, 'Muttererde', graphite in soil and flax on Rives, each signed, dated 86, numbered 64/100, partially smudged, 2 photographs by Rolf Schroeter, both signed on the reverse, 1 VHS tape by H. Neuerburg, signed, dated 86, and 1 book with numerous coloured illustrations, 28 pgs., book dimensions 56 cm x 22 cm, dated 1986, signed by all artists, case somewhat dustyGünther Uecker was born on 13th March 1930 in Wendorf near Crivitz. His relief-like nail pictures made him one of the best known German contemporary artists. After his apprenticeship as a painter and carpenter, he studied art in Wismar and at the academy in Berlin-Weißensee from 1949 to 1953. Uecker first came into contact with abstract painting during his first visit to West Berlin in 1951. Two years later, Uecker left East Berlin and went to West Germany to study with his role model Otto Pankok at the Art Academy in Düsseldorf. As early as the 1950s, Uecker discovered the nail as the central medium of his art. By aligning and positioning the nails, he was able to create a three-dimensional and relief-like impression and a subtle play of light and shadow that lent a new dynamic to his works. In 1961, Uecker joined the artists' group ''ZERO,'' founded by Otto Piene and Heinz Mack, and advanced to become one of the most important instigators of post-war German art. Of the ZERO artists still alive, Uecker is the most expensive. He was already exhibiting his works at the documenta by the 1960s (1964, 1968 and 1977) and at the Venice Biennale in 1970. From 1976 to 1995 he taught as a professor at the Kunstakademie in Düsseldorf. In 2008 he co-founded the ''Zero foundation'', also in Düsseldorf. The collaborative work ''Muttermord in der Diamantenwüste'' is a unique audio-visual exploration by three artists of the themes of art, mortality and the exploitation of the earth.

George Lilanga (1934-2005) (CAAC), Mimi Nitafiker Tu Ondoeni. Signed. 60 x 60cm. With Certificate of authenticity.One of the of the Makonde people and lived in Dar es Salaam George Lilanga became the foremost Tanzanian artist of his generation and is an internationally recognized artist in his own right, becoming a member of the The Contemporary African Art Collection (CAAC) and exhibited at Hamburg Art Week/Hamburg Mawingu Collection, Kouchi Prefecture Art Museum, MAMCO (Geneva), Guggenheim Museum and many more including significant sales at the biggest auction houses and galleries world wide.

George Lilanga (1934-2005) (CAAC), Untitled Acrylic on canvas of a African Shamen. 60 x 60cmOne of the of the Makonde people and lived in Dar es Salaam George Lilanga became the foremost Tanzanian artist of his generation and is an internationally recognized artist in his own right, becoming a member of the The Contemporary African Art Collection (CAAC) and exhibited at Hamburg Art Week/Hamburg Mawingu Collection, Kouchi Prefecture Art Museum, MAMCO (Geneva), Guggenheim Museum and many more including significant sales at the biggest auction houses and galleries world wide.

Peter Roehr (Lauenburg (Pommern) 1944 – 1968 Frankfurt am Main). Ohne Titel (FO-12). 1964Collage aus Papier auf Karton. 29,5 × 26 cm (46,5 × 44,5 cm) (11 ⅝ × 10 ¼ in. (18 ¼ × 17 ½ in.)). Am unteren Blattrand mittig mit Bleistift signiert, mit der Werknummer bezeichnet und datiert: Peter Roehr 59/2-6/64 4.12.'64. Rückseitig mit dem Nachlassstempel und der mit Kugelschreiber eingetragenen Nummer: FO-12. Ebendort ein Adressstempel von Paul Maenz und ein Etikett der Ausstellung „Photography in Contemporary German Art: 1960 to the Present".[3097] Gerahmt. Provenienz: Privatsammlung, HessenWir berechnen auf den Hammerpreis 32% Aufgeld.

Quantity of M’dina art glass to include a streaked blue and green bottle form vase with captured bubble design and slender neck, H35cm, along with a paperweight, ovoid form vase and another vase all decorated in a blue, brown and white colour way, other contemporary glass examples etc with etched marks beneath

Mr Brainwash Silver framed silkscreen and original mixed media on paper signed Signed, numbered and finger print verso, 2020 'Caught Red Handed' 76cm x 56cmMr BrainwashMr Brainwash is the alias of Thierry Guetta, a French street graffiti artist who's contemporary graffiti-hybrid pieces have become some of the most recognisable, collectable and highly valued art of our timesThe artist rose to prominence as the main figure in the 2010 Banksy directed film 'Exit Through the Gift Shop'. Today his work sells for up to six figures on the secondary market. Mr Brainwash has also designed album covers for the likes of Madonna and Rick Ross.This mixed media art work comes with a certificate of authenticity.

DAMIEN HIRST(Bristol 1965–lebt und arbeitet in Devon)Ring-a-ring of roses. 2002.Farbradierung. Aus der Auflage von 68. Unten rechts mit Bleistift signiert: Damien Hirst. Darstellung 12,4 × 12,4 cm auf festem Vélin von Hahnemühle 91,5 × 71 cm. Erschienen bei The Paragon Press, London. Gedruckt bei Hope (Sufferance) Press, London. Aus dem 23-teiligen Buch "In a Spin, the Action of the World on Things, Volume I".Literatur: Lullien, Etienne/Simm, Florian-Oliver (Hrsg.): Contemporary Art in Print. The publications of Charles Booth-Clibborn and his imprint, The Paragon Press 2001-2006, London 2006, S. 81.

ROY LICHTENSTEIN: ENAMEL 'MODERN HEAD' BROOCH/PENDANT, 1968Decorated in enamel with primary colours, the white enamel face with red enamel 'Ben-Day dots', signed Roy Lichtenstein for Multiples Inc., length 7.6cmFootnotes:The concept of printing seminal artworks in limited editions flourished during the 1960s and in response, the New York based art publishing company, Multiples, Inc. was founded in 1965 by a group of five partners. In addition to prints, Multiples, Inc. produced works in a broad variety of media including objects, jewellery and furniture, often using new materials and manufacturing techniques. From the mid 1960s to the early 1970s, the company placed a strong emphasis on publishing three-dimensional works and enthusiastically supported emerging Pop artists such as Roy Lichtenstein (1923-1997). The use of 'Ben-Day dots', a printing technique used in the comic strips and advertising of the era, was a hallmark of Lichtenstein who enlarged and exaggerated them in his artworks which parodied contemporary American life and culture.This brooch was manufactured by Multiples, Inc. for Lichtenstein in 1968 from an edition of 250. For another example of the same design by Roy Lichtenstein, see Venet, D., 'From Picasso to Jeff Koons: The Artist as Jeweler', Milan and London, 2011, ill.p.172. For further information on this lot please visit Bonhams.com

BRUNO MARTINAZZI: A LIMITED EDITION GOLD 'APPLE SLICE' RING, 1971The apple slices in brushed 18 carat bicoloured gold, signed Martinazzi, numbered 3/6, maker's mark R&Co, London hallmark, ring size OFootnotes:This ring design was illustrated in a fashion feature for the 8th June 1972 edition of Country Life, as supplied by River, 17/18 Old Bond Street, London. Another 'Apple Slice' ring from this limited edition, numbered 2/6, sold at Bonhams, Knightsbridge on 14th May 2014, lot 9. For similar pieces, see Bernabei, Robert, 'Contemporary Jewellers', Berg, Oxford & New York, 2011, chapter 13.The Italian artist, Bruno Martinazzi (1923-2018) studied music and chemistry in his native Turin. In 1951, he left the chemical industry to work as a goldsmith's apprentice to the Mussa brothers, while also attending night school at the Scuola Orafi Girardi. His art and sculpture studies then took him to Florence and Rome, where he held his first one man show of enamelled copper and silver reliefs in 1954. In 1960, Martinazzi participated in an exhibition of Italian jewellery at the Neiman-Marcus store in Dallas, Texas, of which Arnaldo and Gio Pomodoro were two of the organisers. The following year he received an award for his submissions to the International Exhibition of Modern Jewellery at the Goldsmiths Hall in London. In 1967, he completed his Marce della Pace in the form of a series of bracelets and brooches composed of abstract figures walking in step or standing in a crowd as a protest against the Vietnam War.For further information on this lot please visit Bonhams.com

§ Bertram Nicholls (British, 1883-1974), 'The Waiting Horse' (1935). Oil on board. Signed and dated lower right. Framed. Label verso. Image size 34 x 28.5cm. Sold with a contemporary volume on the artist's work: Frank Rutter, 'The Royal Society of British Artists' Art Club Publications: Bertram Nicholls', published London, 1935. (2)Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org for more information

A contemporary art deco style bronze figurine of a stylised reclining woman. Measures 45cm wide.

JONES (TREVOR)MEYERSON (TREVOR) Fungus and Curmudgeonly, the first play of a quartet... designed, illustrated and produced by Natalia d'Arbeloff, bound in 2 vol., NUMBER 3 OF 10 COPIES FOR DESIGNER BOOKBINDERS, from an overall edition of 50 copies signed by the author and illustrator, etched illustrations (some double-page), calligraphic text by Sally Johnson printed in red and black, the text and illustrations bound separately by Trevor Jones, the covers in tan and distressed foil pigskin with central canvas panels and pigskin labels, exposed spines painted silver with cloth bands, similar cloth tapes with press stud fasteners which join the 2 volumes together, the covers in turn join to a single canvas bridging spine with zip fasteners stitched into black morocco strips which also fasten the spine to the pigskin box housing the Sony Walkman, with cassette and headphones which can be attached to the spine, and binder's notes and sketch for suggested display, housed in thick cloth-lined striped solander box with leather label lettered in blind, canvas and press stud fasteners, box overall 330 x 285mm., Natalia d'Arbeloff Press, 1980Footnotes:Trevor Jones (1931-2012) trained first at Harrow School of Art and then went on to Hornsey College of Art where he studied bookbinding under Arthur Johnson. In 1955 he became one of the founding members of the Guild of Contemporary Bookbinders (now Designer Bookbinders). Jones was a highly innovative binder, interested in the structure of the book, new technologies and the use of unusual materials as in the present example.This lot is subject to the following lot symbols: • AR• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

NASH (PAUL)BROWNE (THOMAS) Urne Burial and the Garden of Cyrus, edited by John Carter, number 110 of 215 copies on Barcham Green handmade paper, 32 coloured pochoir illustrations by Paul Nash (14 of which full-page), original vellum from a design by Paul Nash by Sangorski & Sutcliffe, with brown morocco onlays and gilt-blocked quincunx on sides, g.e., slipcase, folio, Cassell & Co., 1932Footnotes:Nash's Urne Buriall 'is one of the loveliest achievements of contemporary art' (Herbert Read).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

NAVALBLANCKLEY (THOMAS RILEY) A Naval Expositor, Shewing and Explaining the Words and Terms of Art Belonging to the Parts, Qualities, and Proportions of Building, Rigging, Furnishing & Fitting a Ship for Sea, engraved title within ornamental border, engraved panel of illustrations in one border of most pages and several in the text, list of subscribers, ink corrections in an early hand to p.142, Printed by E. Owen, and Engraved by Paul Fourdrinier, 1750--CLERK (JOHN) An Essay on Naval Tactics, Systematical and Historical. Part 1 (only), 30 folding engraved plates, some hand-coloured, one with short tear, approximately 10 with single trace of worming or light dampstains, some shaved with platemark at one border, T. Cadell, 1790, nineteenth century half calf over marbled boards, spines worn--Regulations and Instructions Relating to His Majesty's Service at Sea... Second Edition, with Additions, engraved vignette on title, and 9 others, contemporary red morocco gilt, sides elaborately tooled wide border, spine tooled in 7 compartments within raised bands, corners and extremities worn with loss of headbands, London, [no publisher], 1734--A Collection of the Statutes Relating to the Admiralty, Navy, Ships of War and Incidental Matters to the Eigth Year of King George the Third, engraved allegorical vignette before title, Mark Baskett, and Assigns for Robert Baskett, 1768--Regulations and Instructions Relating to His Majesty's Service at Sea, broadside order of the Commissioners for Executing the Office of the Lord High Admiral (3 June 1812) addressed to Captain Campbell of the H.M.S. Leviathan tipped-in, [Printed by W. Winchester], 1808, 4to--LIDDEL (ROBERT, purser in the Royal Navy) The Seaman's New Vade Mecum; Containing a Practical Essay on Naval Book-Keeping the Captain's Books, second edition, 7 hand-coloured engraved tables of signals and flags etc., some letterpress tables, G.G. and J. Robinson, 1794, contemporary calf, gilt spine labels, rubbed--A List of the Flag Officers and Other Commissioned Officers of His Majesty's Fleet; An Alphabetical List of the Post Captains, Commanders, and Lieutenants, of His Majesty's Fleet, 2 works in 1 vol., contemporary half calf, rubbed, Henry Teape, 1823, the last 2 mentioned 8vo; and 8 others (15)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

BENZI ROBERTO: (1937- ) French Conductor. A former child prodigy and teenager Actor. Signed 3.5 x 5.5 photograph, `Roberto Benzi´, a child contemporary signature, the promotional Photo-Rosa-D´Art image showing the child Benzi, standing, in a conducting pose. Very small overall age wear, otherwise, about VG    

An important Worcester centrepiece, circa 1755Of deep oval form, the exterior crisply moulded with basket-weave, the two braided handles applied with flowers and leaves at the terminals, the centre finely painted in blue with the 'Six-Piered Bridge' pattern (I.B.33), a fisherman and a young boy crossing the bridge connecting two islands, varied buildings perched on the rocky landscape, trees sprouting between them, more fishermen steering their sampans through the water, 36.7cm wide across the handles, workman's mark inside footrimFootnotes:This rare basket is one of just a small number of extant examples, the others mostly in poor condition. One is illustrated in Branyan, French and Sandon, Worcester Blue and White Porcelain (1990), p.131 and was sold as part of the Crane Collection by Bonhams on 31 March 2010, lot 95. Another was in the Liane Richards Collection, sold by Bonhams on 13 April 2016, lot 161 (part). A fine example is in the Radlett Collection and can be seen in the Gardiner Museum of Ceramic Art, Toronto, no.G05.18.35. The present lot has a more elaborate border, which is all the more impressive for its clarity and detail when comparing it with contemporary less successful and blurred attempts on other high-sided shapes. Interestingly, the same workman's mark can be found on the pair of junket dishes, lot 400 in this sale.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A contemporary Art Nouveau style bronzed three-branch metal table lamp, with partially clad young woman holding turtle doves, seated on a stylised naturalistic plinth, decorated with leaves and opaque pink shades (lacking one shade), to stepped circular base, height 34cm.

A quantity of art reference books and auction catalogues, mainly relating to British, Irish, Northern art, contemporary art and 20th century British art, also books on Lowry, etc.

ETCHING. - William HOGARTH. The Analysis of Beauty. Written with a view of fixing the fluctuating Ideas of Taste. London: J. Reeves, 1753. First edition, 4to (253 x 200mm.) Title with woodcut vignette, 'Contents' leaf with errata verso and frontispiece etching of Colombus's Egg with contemporary manuscript description mounted verso the frontispiece. (Frontispiece loose, front blank loose, lacking the 2 engraved plates, toning, spotting to title-page margins and rear leaves.) Contemporary calf (upper cover detached, rubbing). Provenance: 'Doctor Fry' (ink inscribed on front blank); 'Lady Paul' (gift inscribed to on the front blank); Rev. John Taylor Allen (bookplate to the front pastedown). - And a further five volumes relating to art (including David Croal Thomson's 'Life and Labours of Hablot Knight Browne 'Phiz'', 1884, 4to) (6).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

PHOTOGRAPHY. - Larry SULTAN. The Valley. Zurich: Scalo Verlag AG, 2004. First edition, oblong 4to (288 x 323mm.) Numerous colour illustrations. (Mild toning.) Original tan cloth, black lettering to spine, dust-jacket (small mark to upper panel, lightly bumped extremities). - And a further three volumes relating to contemporary photography and art (4).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

[GLASSES, Hannah.] The Art of Cookery Made Plain and Easy. London: for W. Strahan, J. Rivington et al., 1778. New edition, 8vo (203 x 114mm.) (Browning, occasional spotting, lacking blanks.) Contemporary calf, later black morocco lettering piece to the spine (rebacked, original spine laid-down, hinges strengthened). - And a further two volumes (Gertrude Jekyll's 'Old West Surrey', 1904, 4to, and a trade catalogue from 'Messenger & Co. Ltd., Horticultural Section', [1925], 4to) (3).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

BINDINGS. - Ronald Sutherland GOWER. Thomas Gainsborough. London: George Bell and Sons, 1903. First edition, 8vo (208 x 123mm.) Numerous plates, folding facsimile letter. (Mild toning.) Near contemporary blue half morocco over blue cloth-covered boards bound by Truslove & Hanson with an art nouveau design to spine, t.e.g. (slight sunning to spine). - And a further nine volumes (including Elisha Kent Kane's 'Arctic Explorations in Search of Sir John Franklin', 1885, 8vo, and a signed copy of Victorien Sardou's play 'Fernande', 1870, 8vo) (10).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

BALLET-RUSSES. - Emil Otto HOPPE. Studies From the Russian Ballet. London: Fine Art Society, [1911.] Signed by Tamara Karsavina, folio (349 x 236mm.) Title, 15 photogravure plates mounted on card. (Browning to title-page, toning to card mounts.) Contemporary brown cloth with mounted tan cloth lettering plate to upper cover (wear to spine ends). Note: with photogravures of, among others, the Diaghilev stars Nijinsky, Bolm, Karsavina and Fedorova. Provenance: Kenneth Lintott (inscribed to by Tamara Karsavina below photogravure of herself).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

18th century AD. A gold D-section band, the external face ornamented with three circumferential rows of fine dimples, the interior inscribed 'By this token you are bespoken' in script characters. See Evans, J., English Posies and Posy Rings, OUP, London, 1931, p.28, for this posie, sourced from 'The Best and Compleatest Academy of Compliments yet extant. Being wit and mirth improv'd by the most elegant expressions used in the art of courtship...' London, printed and sold by William Dicey, 1750; cf. The Portable Antiquities Scheme Database, id. LON-AA2432, for a worn ring which appears to have three rows of dimples also, dated 16th-17th century AD. 1.20 grams, 18.10mm overall, 16.44mm internal diameter (approximate size British J 1/2, USA 5, Europe 9.32, Japan 9) (3/4"). From the Albert Ward collection, Essex, UK; acquired on the UK antiques market between 1974-1985. ‘Posy’ is derived from ‘poesy’ or ‘poetry’. In the medieval period many rings bore posy inscriptions in Latin or French, the languages frequently spoken by the affluent elites. Later, inscriptions in English became more usual, although the lack of standardised spelling might surprise the modern reader. The inscription is generally found on the interior of the ring, hidden to everyone except the wearer and most of the sentimental mottoes were taken from the popular literature of the time. In fact, love inscriptions often repeat each other, which suggests that goldsmiths used stock phrases. In the later 16th century, ‘posy’ specifically meant a short inscription. A posy is described in contemporary literature as a short ‘epigram’ of less than one verse. George Puttenham (1589) explained that these phrases were not only inscribed on finger rings, but also applied to arms and trenchers. The practice of giving rings engraved with mottoes at betrothals or weddings was common in England from the 16th century onwards, and continued until the late 18th century. Sources suggest that rings could be acquired ready- engraved, or alternatively engraved sometime after their initial production, by a hand other than the goldsmith’s. Joan Evans assumed that posy rings were principally used by/between lovers and distinguished four contexts for the giving of posy rings by one lover to another: betrothals, weddings, St Valentine’s Day and occasions of mourning. Samuel Pepys’ diary makes clear that posy rings might also mark the marriage of a family member, when bearers could even commission their own rings and chose their own mottoes from books. The rings could also function as tokens of friendship or loyalty. [A video of this lot is available to view on Timeline Auctions Website] [No Reserve] Fine condition.

10th-11th century AD. An iron double axehead from Byzantium or Caucasus with curved blades, swept rear edge, square chin, central socket with flanged sides. See Nicolle, D., The Armies of Islam 7th-11th century London, 1982, pl.D2; for examples represented in artworks Nicolle, D., Arms and Armour of the Crusading Era, 1050-1350 AD, volume II, London, 1999, figs.33c, 119e-f. 505 grams, 21.5cm (8 1/2"). Property of an East Sussex, UK, teacher; previously in a Dorset, UK, collection since the 1990s. Small battle double axes like this one are rarely found in archaeology, but they were used by Eastern Romans and Armenians, where they are widely represented in the artworks (Studite Psalter, Byzantium, British Library Ms.Add.19532; Armenian Gospel, 11th century, ms.no.974, Yerevan, Armenia"). Such weapons might have parallels in the light tabarzin cavalry axe of contemporary Islamic sources. Many Armenian mercenaries served in the Fatimid armies and their traditional equipment, like the double-axe, soon appeared in Egyptian art. [No Reserve] Fine condition.

Early 4th century BC. A tinned bronze helmet of Type V, Kunze Group VII, the bowl hammered from a single piece with a blunt central ridge, the lower part of the bowl separated by an indented shoulder; arched cut-outs for ears and eyes, flanged ear protectors and a short neck guard to the rear, short lanceolate nose-guard developing into thick eyebrows with flared edges; the lower edge fitted with hinged cheek pieces; accompanied by a custom-made display stand. See Ohly, D., Die Ägineten, Die Ostgiebelgruppe, Munich, 1976; Pflug, H., 'Chalkidische Helme' in: Antike Helme, RGZM Monographien 14, Mainz, 1988, pp.137-150; Chernenko, E.V., The Scythians 700-300 BC, Hong Kong, 1998; Brinkmann, V., Wünsche, R. (eds.), Bunte Götter. Die Farbigkeit antiker Skulptur. Staatliche Antikensammlungen und Glyptothek, Munich, 2004; Jonovski, Trakits (The Thracians), 7th century BC-1st century AD, Sofia, 2010 (in Bulgarian"). 1.5 kg total, helmet: 32.5cm (12 3/4"). Property of a London gallery; previously in an English private collection 1998-2020; formerly in a private Austrian collection, 1974-1998; accompanied by an archaeological report by military specialist Dr. Raffaele D'Amato; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10871-178854. The Chalcidian type of ancient Greek helmet was essentially a lighter and less restrictive form of the Corinthian helmet. Later Chalcidian helmets had hinged cheek-pieces that were anatomically formed to fit closely to the face. The representation of these helmets with mobile and raised cheek-pieces (type V) appear on Attic vase paintings from the early 5th century BC, although the first four typologies still show fixed elements for the face protection as in their Corinthian prototypes. Contemporary to these representations are the sculptures of the temple of Aphaia in Aegina, where these helmets are widely represented and which represent the first examples of Chalcidian helmets with a short nose-guard. The sculptures of the Temple of Aegina also show how these Greek helmets were often painted: the bowl of the sculpted Chalcidian helmets show traces of dots in blue colour (Ohly, 1976, n.38 pp.94ff.), and the polychrome (which could have different variants) has been restored by German archaeologists (Brinkmann & Wünsche, 2004, p.107"). [A video of this lot is available to view on Timeline Auctions Website] Fine condition, some restoration.

Dated 1 January [1]709 AD. A D-section gold annular finger ring with floral and foliate ornament to outer surfaces showing traces of black enamel background; the inner face engraved in script 'Sr T Littleton Bar ob 1 Jan [1]709 aet 62' and with punched 'IB' maker's mark, possibly for the London maker J. Burridge who was active at this period. See Dictionary of National Biography, pp.1255-1256, for biographical summary; see Morant, P., The History and Antiquities of the County of Essex, Colchester, 1768, p.103; see Chancellor, F., The Ancient Sepulchral Monuments of Essex, London and Chelmsford, 1890, p.186, for details of his memorial and arms. 6.55 grams, 21.66mm overall, 17.84mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14) (1"). From the Albert Ward collection, Essex, UK; acquired on the UK antiques market between 1974-1985; acquired at an antiques fair, believed to have been found in Essex, UK; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10956-179120. Sir Thomas Littleton, 3rd Baronet, Stoke St Milborough (Shropshire) and North Ockendon (Essex), also known as Sir Thomas Poyntz (or Pointz), circa 1647-1 January 1709 (Julian calendar or 1710 Gregorian calendar), was born as second son to the 2nd Baronet but, after the early death of his older brother, he inherited the title and attended St Edmund Hall, Oxford, matriculating in 1665 and entered the Inner Temple in 1671; he was elected to the Convention of 1689 for Woodstock and served as Member of Parliament for several seats until his death. In 1697 he became Lord of the Admiralty and had acted as pallbearer at the funeral of Samuel Pepys, his predecessor; in 1698 he was elected Speaker of the House of Commons, later becoming Treasurer to the Navy, a post he held until his death. Although married, he had no children and the title became extinct upon his death. His memorial may be seen to this day in the church of St Mary in North Ockendon, Essex and is described by Chancellor who also gives details of the combined arms of Sir Thomas as: quarterly 1 and 4, argent a chevron. between three escallops sable, 2 and 3 'Pointz', within a mullet sable for difference; overall the Badge of Baronetcy and an inescutcheon gules and chevron ermine between three garbs or. Crest a Moor's head in profile couped at the shoulder proper wreathed about the temples argent and sable and a copy of a contemporary engraved portrait is included, together with extracts from other documentary references. Published sources give the year of his death as either 1709 (as on this ring) or 1710; this results from the changeover from the Julian calendar to the Gregorian in 1752; under the Julian calendar, the new year occurred 1 March, giving his death taking place in 1709; from 1752, the new year was pushed back to 1 January, resulting in his death year becoming 1710 under the new calendar rules. ‘Posy’ is derived from ‘poesy’ or ‘poetry’. In the medieval period many rings bore posy inscriptions in Latin or French, the languages frequently spoken by the affluent elites. Later, inscriptions in English became more usual, although the lack of standardised spelling might surprise the modern reader. The inscription is generally found on the interior of the ring, hidden to everyone except the wearer and most of the sentimental mottoes were taken from the popular literature of the time. In fact, love inscriptions often repeat each other, which suggests that goldsmiths used stock phrases. In the later 16th century, ‘posy’ specifically meant a short inscription. A posy is described in contemporary literature as a short ‘epigram’ of less than one verse. George Puttenham (1589) explained that these phrases were not only inscribed on finger rings, but also applied to arms and trenchers. The practice of giving rings engraved with mottoes at betrothals or weddings was common in England from the 16th century onwards, and continued until the late 18th century. Sources suggest that rings could be acquired ready- engraved, or alternatively engraved sometime after their initial production, by a hand other than the goldsmith’s. Joan Evans assumed that posy rings were principally used by/between lovers and distinguished four contexts for the giving of posy rings by one lover to another: betrothals, weddings, St Valentine’s Day and occasions of mourning. Samuel Pepys’ diary makes clear that posy rings might also mark the marriage of a family member, when bearers could even commission their own rings and chose their own mottoes from books. The rings could also function as tokens of friendship or loyalty. [A video of this lot is available to view on Timeline Auctions Website] [No Reserve] Fine condition.

France, Picardy, c.1420-1430 AD. A rectangular glass panel with lead-alloy frame; image of Christ crucified below a plaque bearing the legend 'INRI', flanked by Virgin Mary and St John; spires and architectural detailing in the background above. 2.4 kg, 58.5 x 32.5cm (23 x 12 3/4"). Ex central London gallery; acquired from Monastery Stained Glass, Northamptonshire, UK, in 2007; accompanied by a detailed previously researched cataloguing sheet; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10909-180990. The piece is the product of Picardy / Pas de Calais and shows the influence of contemporary Flemish art. [No Reserve] Fine condition.