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A collection of Contemporary Studio art pottery and a Denis China Works dish works by Erika Dennison David Kirkman and others. No damage. (a lot)

MIRRORED WALL ART, 120cm x 65cm, contemporary.

Elspeth Milnes (British Contemporary): 'Parisian Street', acrylic on handmade paper 79cm x 59cm Provenance: purchased by the vendor at the artist's charity studio sale Lot 7; Elspeth living in Scarborough returned to art in 2000 and undertook and completed a degree in Fine art with Honours

GRAND TOUR CARRARA MARBLE TORSO OF APOLLO, on a marble rectangular base with concave sides, on a simulated scaglio marble plinth, 173cm high overall Apollo is one of the Olympian deities in both Greek and Roman mythology. He is most notably connected to being the god of archery, music and dance, truth and prophecy, the Sun and light, poetry, healing, and more. He is the son of Zeus and Leto, the twin brother to Artemis, the goddess of the hunt, and is considered to be one of the most important and recognisable deities, and a symbol for the Greek nation. He and his sister Artemis are even considered to be the inventors of archery. He is the patron deity of Delphi and is connected to the oracle at Delphi, and the prophecies foretold there. Apollo is often at the centre of a majority of Greek and Roman mythology. Apollo has been a popular subject in art, from Archaic Greece through to the contemporary period. In Classical Greece, he was often considered the epitome of the male form and was depicted as a youthful and beardless version of himself, such as in this portrait. Provenance: The William Mowat-Thomson Collection

An Edwardian Art Nouveau salon suite comprising sofa and two armchairs with contemporary silk geometric upholstery

Giuseppe Capogrossi (Italian 1900-1972),  'Opale 3'. Original lithograph. 1971-72 , hand signed, edition number 79/80, excellent condition, 35cm x 50cm, framed and glazed. Giuseppe Capogrossi participated in many group exhibitions in the 1930's in Rome, Venice, Milan and Paris, and in 1934 was one of the artists exhibited at the Western Art Museum’s ‘Exhibition of Contemporary Italian Painting’ in San Francisco. In the years following the Second World War his work changed to be more abstract, and he was  part of the 1948 Summer Olympics. He subsequently became one of the main exponents of Italian informal art.

PLOUGH PRESSThe Wakeman family collection of Plough Press books and pamphlets, comprising the near complete output of the Press (seemingly lacking only one pamphlet, 'Law & Ordure 1969. A Squib'), many illustrated with actual specimens of printing, most with prospectuses and other related ephemera inserted or loose in folders, together with correspondence etc., various bindings and sizes, 1968-2017Footnotes:The Plough Press was founded by Geoffrey Wakeman in 1967, the name deriving from a collection of blocks of ploughs brought back from Trinidad by Roderick Cave, and used in the first book issued by the press. 'Wakeman was a noted professor of printing history, author, and printer, and his work on papermaking, color illustration and printing processes, and binding techniques remains a lasting contribution to the study of print culture... The first book printed by the press was Share of Ploughs (1968), consisting of a series of color prints of plows with accompanying verses about plows and plowing. The first major Plough Press publication was XIX Century Illustration (1970). It describes sixteen printing processes with accompanying contemporary specimens. Such leaf books became a regular feature of Plough Press publications, as Wakeman believed the only way to properly study the history of paper and printing was by examining actual specimens' (University of Delaware website). The collection comprises:PLOUGH PRESS PUBLICATIONS BY GEOFFREY WAKEMAN:XIX Century Illustration. Some Methods Used in English books, NUMBER 1 OF 75 COPIES, with 2 original prospectuses and a bidding slip notice from Sotheby's dated June 1975 informing Geoffrey Wakeman of unsuccessful bids at auction, loose as issued in 15 fascicules preserved in linen-backed chemise and slipcase, folio, Loughborough, 1970 The Production of Nineteenth Century Colour Illustration, NUMBER 1 OF 100 COPIES, original cloth-backed textured boards; another copy, NUMBER 17 OF 100 COPIES, red morocco-backed marbled boards (described in prospectus as 'Alternative binding by Gray's of Cambridge to order', additional £10 as opposed to £5 for the cloth binding), both with original prospectus, folio, Loughborough, 1976Plates To Accompany Victorian Book Illustration, NUMBER 1 OF 23 COPIES, with original prospectus slips, original morocco-backed marbled boards, slipcase, folio, Loughborough, 1974Victorian Colour Printing, NUMBER 1 OF 150 COPIES, with original prospectus, proof illustrations and other samples in pocket at rear, original morocco-backed marbled boards, small folio, Loughborough, 1981Graphic Methods in Book Illustration, NUMBER 1 OF 120 COPIES, printed on Golding Pearl and Albion hand presses, with prospectus, loose as issued in fascicules preserved in solander box, 4to, Loughborough, 1981English Hand Made Papers Suitable for Bookwork, NUMBER 1 OF 75 COPIES, numerous sample papers bound in, with prospectus and some other samples etc. loosely inserted, original red morocco-backed cloth, folio, Loughborough, 1972A Leaf History of British Printing from 1610 to 1774, NUMBER 1 OF 110 COPIES, tipped-in samples in fascicules, loose with original prospectuses in cloth solander box, folio, Kidlington, 1986; together with a second solander box containing archival material for the work, correspondence, invoices, loose sheets, prospectuses etc.English Marbled Papers. A Documentary History, NUMBER 1 OF 112 COPIES, ONE OF 10 with additional samples and bound in full morocco; another copy, NUMBER 110 OF 112 COPIES, morocco-backed cloth, both with prospectuses, 4to, Loughborough, n.d.The Literature of Letterpress Printing 1849-1900, NUMBER 1 OF 120 COPIES, ONE OF 30 in full morocco gilt and with slipcase; another copy, NUMBER 3 OF 120 COPIES, quarter morocco, both with prospectuses, 4to, Kidlington, 1986[with PAUL WAKEMAN] The Plough Press 1967-1981. Fifteen Years Printing in a Loughborough Garage, NUMBER 1 OF 120 COPIES, illustrations and tipped-in samples, with prospectus, quarter Morocco, 8vo, Kidlington, 1982Printing Relief Illustrations. Kirkall to the Line Block, NUMBER 1 OF 100 COPIES, tipped-in samples, cloth, small 4to, Loughborough, 1977 Bradbuy & Evans Colour Printers, NUMBER 1 OF 100 COPIES, ONE OF 25 in quarter morocco, with 'Books Forthcoming' from The Plough Press loosely inserted, 8vo, Kidlington, 1984Twentieth Century English Vat Paper Mills, NUMBER 1 OF 102 COPIES, with prospectus, additional samples in pocket at end, quarter Morocco, small 4to,Loughborough, 1980Nineteenth Century Trade Binding, NUMBER 1 OF 150 COPIES, with samples of binding materials and brass type in a separate folder, but without the decorative tool issued with the first c.45 copies, folder and text in uniform linen within single matching slipcase; another copy, ONE OF 150, unnumbered, with samples as above, both copies with prospectuses, 4to, Kidlington, 1983Loughborough Marble, NUMBER 1 OF 18 COPIES, printed on J. Green & Son's 'Cranmer' paper, comprising 5 samples tipped-in on a single leaf, folding concertina style into cloth folder, 110 x 84mm., [Loughborough], 1971[with GRAHAM POLLARD] Functional Developments in Bookbinding, NUMBER 1 OF 180 COPIES, ONE OF 35 in half morocco over marbled boards, illustrations in pockets at rear, with prospectus; another copy, NUMBER 36 OF 180, bound in linen, 4to, New Castle, Delaware and Kidlington, 1993The Art of Anastatic Printing. Three Mid 19th Century Accounts... introduction by Geoffrey Wakeman, NUMBER 1 OF 150 COPIES, comprising introduction, 3 facsimile pamphlets and one plate, loose with 2 prospectuses in quarter buckram folder, 4to, Kidlington, 1986PLOUGH PRESS - OTHER AUTHORS AND EPHEMERA:FRANCES DOCKER [MRS F.M. WAKEMAN] John Paas & James Cook. Provincial Bookbinding in the Eighteen thirties, NUMBER 1 OF 200 COPIES, ONE OF 25 in quarter morocco, with prospectus; another copy, ONE OF 200 COPIES, unnumbered, cloth, Loughborough, 1979ANNE MORRIS. The Private Press in Leicestershire, 2 copies, NUMBER 8 AND 'PRESENTATION COPY' OF 100 COPIES bound in full cloth, limited to 500 copies overall, one with prospectus, 4to, Loughborough, 1976; together with 2 copies of the trade edition, limited to 500 copies, wrappersBARRY MCKAY. Patterns and Pigments in English Marbled Papers, 2 copies, NUMBERS 1 AND 21 OF 160 COPIES, quarter morocco and cloth respectively, 4to, [Printed at the September Press], 1988Anaglyptography... Reprinted... from the Art Exemplar [1859] by William John Stannard, NUMBER 1 OF 200 COPIES, 2 plates, wrappers, 8vo, Loughborough, 1967The Printer, LIMITED TO 100 COPIES, letterpress pamphlet, 8pp., printed wrappers, 4to, Kidlington, 1986The Paper Maker. Reprinted from the Book of Trades, NUMBER 1 OF 60 COPIES, with prospectuses, marbled paper wrappers, 8vo, Loughborough, 1971GAVIN BRIDSON and GEOFFREY WAKEMAN. Printmaking & Picture Printing: A Bibliographical Guide, cloth, dust-jacket, 4to Kidlington, 1984; and 2 other copies, one an unbound proof GAVIN BRIDSON and GEOFFREY WAKEMAN. A Guide to Nineteenth Century Colour Printers, cloth, dust-jacket; another copy, interleaved and annotated by GW, with loosely inserted correspondence and related ephemera, quarter cloth, 8vo, [Loughborough, 1975]C.W. WOOLNOUGH. The Whole Art Of Marbling, facsimile reprint of 1881 edition, with marbled paper samples by Katherine Davis of Payhembury, with her business card inserted (asking if the samples were acceptable) and 2 prospectuses, cloth, 8vo, Kidlington, 1985The Art of Making Paper Taken from The Universal Magazine, facsimile reprint by Skelton's Press, limited to 200 copies, with prospectuses, full buckram, 8vo, Loughborough,... 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

A DIAMOND COCKTAIL RING, BY MESSIKAComposed of a double hoop, the frontispiece pavé-set with brilliant-cut diamonds, to a floating brilliant-cut diamond at the centre within collet-setting, mounted in 18K gold, signed Messika with a brilliant-cut diamond accent, numbered, with maker's mark, French assay mark, ring size M¾ Parisian born Valérie Messika started her eponymous brand in 2005. Valérie is the daughter of the famous diamond merchant André Messika, from whom she developed her keen sense of design and love of precious stones. Messika’s jewellery collections are consistently based on classical jewellery themes, yet incorporate modern twists, playing on Valérie’s love of contemporary art and urban street style. Above all, Messika’s aim is to produce pieces to be worn by the modern woman, ensuring that anyone can walk, dance, run or work when wearing expensive jewels. With boutiques all over the world including Paris and New York and Shangai, a 2019 collaboration with Gigi Hadid, and boasting a host of avid celebrity fans from Hailey Bieber to Beyoncé, the success of Messika in recent years has consolidated their status as one of the most successful contemporary jewellery houses of the last decade.Condition Report: Diamonds: unable to assess colour due to rose gold, estimated clarity VSNormal signs of wear, overall in good conditionTotal gross weight approx. 13.20g

A DIAMOND BROOCH, BY RAYMOND TEMPLIER, CIRCA 1958Composed of a stylised flowerhead, the polished gold petals with ropetwist detailing throughout, centring brilliant and single-cut diamond pistils to further similarly-cut diamond accents, mounted in 18K gold, diamonds approximately 2.50cts cts, maker's mark 'PRT' for Paul & Raymond Templier, French assay marks, length 5.8cmThe Parisian jewellery Raymond Templier (1891-1968) was one of a small group of innovative Art Deco designers known as ‘bijoutiers-artistes’. These were innovative, radical, artist jewellers in contrast to the ‘bijoutiers-joaillers’ in France in the first quarter of the 20th century, the latter of whom encompassed the more moderate and well established and famous jewellery houses. Templier came from a traditional jewellery family and grew up around the family business which his grandfather Charles had founded in 1849. However, after he joined the Templier firm in 1919, Raymond was determined to redefine Maison Templier in order to produce more innovative and for its time, radical designs. Bijoutiers-artistes such as Templier produced work in a minimal, geometric style that looked towards contemporary artistic movemts such as Cubism and were inspired by the imagery of industrial production and the machine age. Similarly, Art Deco’s love of geometric form which had initially flourished in the worlds of architectural design and the visual arts throughout the 1920s and 30s, similarly became absorbed into jewellery design and influenced the work of Templier. The geometric motifs of Templier’s jewellery thus reflect the dynamism of modern urban culture and the mechanised world, earning him the reputation of ‘architect of the jewel’.In 1929, Templier helped found the French Union of Modern Artists, a collective that also included Charlotte Perriand, Robert Mallet-Stevens, Eileen Grey and Sonia Delaunay. The aim of this association was to promote and uphold modern art, which Templier believed had to originate from contemporary life. He and his fellow jewellers produced monumental pieces including imposing bangles, sculptural rings and large pendants. He became one of the leading proponents in France of the Art Moderne movement and created some of the most iconic pieces of the period such as the diadem and earrings worn by the actress Brigitte Helm in the 1928 film L’Argent.Templier officially took over his father’s business in 1935, allowing him free reign on the business he had long strived to establish as a house which championed Modern and Art Deco design. Following the Second World War, Templier continued to make pieces, including the lot in this sale from the 1960s. In his later years, Templier made a return to the somewhat more traditional approach of his ancestors. Although he continued to be inspired by the Art Deco period of the 1920s and 30s, his later work transitioned from pieces that were almost entirely free of decorative ornamentation, to creations which of the more classical style, albeit still celebrating the Modernist style. As such, Templier exhibited his skill at acclimatising to his environment and catering for a new generation of clientele in the 1960s. The post-war period witnessed a shortage in platinum, so jewellers such as Templier made a return to gold. Although his style remained largely abstract in jewellery terms, Templier’s designs of this era are less figurative and were inspired by smoother lines drawn from nature. Today, Raymond Templier’s jewellery forms part of some of the world’s most famous museums including the V&A in London, The Met and the Musee des Arts Decoratifs in Paris. Raymond died in 1968 and is remembered for both his pioneering of the Modernist jewellery as well as his unique skill of combining in his later pieces a sense of traditionalism alongside a subtle twist of Art Deco.Condition Report: Eagle's head for French 18K gold located on pin and reverse of broochMaker's mark located on the reverse at about 6 o'clockPin on the reverse is a little stiffNormal signs of wear, overall in good conditionTotal gross weight approx.: 25.54g

A RARE AND COLLECTIBLE GOLD 'PETITE TÊTE CARÉE' PENDANT, BY ANDRÉ DERAIN (1880-1954)A rare 23K gold pendant, conceived circa 1965, stamped with the artist's signature, incised 'Exemplaire d'auteur 1/2', with the Francois and Pierre Hugo reference numbered '1702' and '2915', stamped with Francois Hugo's hallmark, published by Ateliers Hugo in 2012, within its original wooden fitted case, length 7.9cm, width 5.9cmFor a comparable piece by Andre Derain, see see Hugo, P. and Siaud, C. (2001) Bijoux d'artistes. Artist’s Jewels, Hommage à Francois Hugo, p. 89Long-time friend of François Hugo, Parisian artist and sculptor André Derain (1880-1954) was one of the many creatives who set out to create jewellery pieces at the workshop in the South of France. Alongside Henri Matisse, Derain was founder of the Fauvist movement at the beginning of the 20th century. Derain was initially friends with Francois’ older brother Jean, but later developed an even closer relationship with the younger of the Hugo brothers. Hugo and Derain influenced each other in both their personal and artistic lives. Derain was best man at Hugo’s wedding to his wife Monique and remained close to the couple throughout his life. Having devoted himself to painting in the 1920s, Derain turned increasingly to sculpture during the 1930s. Following World War II, he modelled some medallions in terracotta which were later cast in bronze. Although Derain continued to pursue his passion for sculptural works, his interest in jewellery design and casting emerged from his sculptural practices and was undoubtably propelled to new heights by his friendship with Francois Hugo.In the early days of their friendship, Derain had tried his hand at ceramics with the guide of Hugo, but the collaboration didn’t amount to much and the pieces do not survive. In the late 1940s, Derain once more turned to Hugo to draw upon his knowledge and skill in the creation of 10 sculptural jewels for his wife Alice Prense. Derain’s initial designs were crafted from the lead he had reused from empty paint-tubes from his studio. Six of these jewels were intended to be made in editions of 23 carat gold by Hugo, but Derain tragically died in a road accident in 1954 before the project could come to fruition. Hugo paid homage to the legacy of his friend and legendary artist by eventually making editions in 1966 and 1967.Jewellery made by artists is a rarity. This is not simply down to the fact that there have been only a select number of painters and sculptors who have managed to master the skill involved with making jewellery, but more so because the fruits of their work remain largely buried in private collections. Artist’s jewellery may be given as a gift to a lover, passed down as a family heirloom, or simply kept by the artist themselves. Jewellery of this kind is therefore imbued with a deeply personal nature which is integral to the creative process. The term ‘art jewellery’ itself signifies that the work is handmade and unique. Never mass produced, such jewellery is rather the result of a collaboration between the artist and a jeweller who is trained in the field, or the sole efforts of the artist to step outside his or her own métier to embrace an entirely different world. As with any creative endeavour, the jewellery becomes an extension of the artist’s wider body of work and offers an insight into a realm of design aside from painting or sculpture. The pieces in this sale offer just that and provide us with a glimpse into the intricate workings and personal motivations of three prolific early 20th century artists – Jean Cocteau, André Derain and Pablo Picasso. All three worked under the helm of goldsmith and master-craftsman François Hugo, who provided them with the tools to enable their artistic vision to flourish in the world of jewellery-making.The great-grandson of the eminent writer Victor Hugo and son of painter Georges Hugo, François Hugo’s well-established lineage boasts a host of widely celebrated French cultural figures. François was born in Rovezzano, Italy, in 1899, and trained as an engineer in his early years before entering the creative field by trying his hand at sculpture and painting. He then opened his own workshop in Paris in 1934, where he worked as a silver and goldsmith from 1936 onwards. Throughout the Second World War and following into the late 40s and 50s, François Hugo designed and created buttons from non-precious metals and enamel for fashion houses including Dior, Chanel, Givenchy and Lanvin. His first attempt at creating jewellery had in fact come before the War, in the form of a brief and experimental collaboration with his close friend Andre Derain, but it wasn’t until later that he fully dedicated himself to perfecting the craft of silver and goldsmithing.Francois Hugo was responsible for some of the most important collaborations in precious metals of the twentieth century. Since the 1950s, Ateliers Hugo have famously collaborated with some of the world’s greatest artists and sparked a movement of ‘Bijoux d’Artistes’. Initially, all the artists who Hugo worked with were long-time friends, and included the likes of Max Ernst, Jean Arp, Jean Cocteau, Andre Derain, Dorothea Tanning and Pablo Picasso amongst others. Hugo ingeniously proposed to them to make reduced versions of their works which would be crafted in his workshop and could serve as wearable jewellery. Over sixty-five years later, François’ 32-year-old grandson Nicolas now runs the family business, following in his father and grandfather’s footsteps as the third generation of Ateliers Hugo to create intricate treasures and develop new collections with contemporary artists at their goldsmith workshop in the South of France. The 65th anniversary of Ateliers Hugo was celebrated in 2020 and marked by new collaborations, including one with American artist Josh Sperling, released in April of this year.Condition Report: Minor signs of wear, overall in good conditionTotal gross weight approx. 60.80gplease note that this pendant was authenticated verbally by the workshop HUGO and a certificate of authenticity would be made by the workshop if purchased.

William Pope (British/Canadian, 1811-1902)An extensive archive of fifty-four Canadian animal studies, comprised of forty ornithological studies and fourteen ichthyological studies most signed with initials 'W.P.', dated between 1834-47 and inscribed with an identification of the animal depictedwatercolour, bodycolour and pen and ink50 x 33.8cm (19 3/4 x 13 1/4in) and smaller. (54)unframedFootnotes:ProvenanceThe artist's family and thence by descent.ExhibitedSimcoe, Ontario, Lynnwood Art Centre, Birds of a Feather, 3-31 May 1987 (a selection).Simcoe, Ontario, Eva Brook Donly Museum, May-7 June 1987 (a selection).Simcoe, Ontario, Lynnwood Art Centre, 4 August-3 September 1989 (a selection).William Pope has been described as the 'Canadian Audubon' in reference to his ornithological studies and their connection with the work of his contemporary, the great American artist and naturalist, John James Audubon. Both men had a passion for the birds of North America, their difference, however, lies in the approach to their work. Audubon was a professional whose greatest artistic achievement was the publication of his The Birds of America between the years 1827-38. On the other hand, Pope's artistic endeavours were of a highly personal nature and there is no evidence that he ever sought their publication or sale. Instead, his drawings were left to his family, and a large number are subsequently in the collection of the Toronto Public Library. The present collection comes from his direct descendants and represent the first of Pope's work to have ever been offered at auction. Born in Kent in 1811 to a wealthy family, Pope was able to indulge in his two great passions of painting and shooting. In 1834 he made his first journey to Canada to explore what he understood to be a place of great natural beauty, but also opportunity. In his journals from the time, he outlines his excitement upon setting sail from the UK:'...thoughts of a brighter hue rose quickly in my breast while fancy and imagination were busy picturing scenes and objects of the country I am going to visit'Although an arduous journey plagued with extreme weather, Pope recalls with great humour the delights to be found in these more difficult situations:'One other great source of fun and amusement was created by the total disarray of the eatables and drinkables at mealtimes, it being almost impossible sometimes to keep anything on the table... Sometimes legs of mutton and pork would all at once have the life instilled into them again, would quit their respective places and scrape an acquaintanceship with your person by bounding into your lap from which curious freak your dress would assuredly receive most sad and lasting remembrances of their close embrace.'These journals not only shed light on the realities of travel during this time, but they also highlight Pope's knowledge of birds, as from the moment of setting sail and throughout his travels, he lists the various species that he sights. Belonging to a different time, we also receive a first-hand account of how Pope came to get such a close look at these animals: 'To help pass away the time which hung heavily and wearily in travelling by tow boat at the rate of two miles per hour I got my gun out and amused myself in shooting some small birds. I killed a yellow bird a species of gold finch very similar to the European. I also shot a bird called the brown thrush. I saw several of both sorts of these birds and many others, robins, blue jays, kingfishers, crows and woodpeckers. I also observed some of the pretty little blue bird and some sand pipers.' He goes on to describe in greater detail his observations and interactions with some species:'I also saw many other sorts of birds, most of which were quite new to me (...) One (...) called the red headed woodpecker is a very beautiful and brilliant bird, its colours are bright scarlet upon the head and neck, back wings and tail black rump, secondaries of the wings and breast white. It is a very conspicuous and sprightly bird flying and sitting upon fences having but little fear or regard for man.'Returning to England in 1835, Pope would go on to make several more trips to North America before settling permanently near Port Ryerse, Ontario, in 1859 until his death in 1902. Throughout this time, he continued to document with great artistry the wildlife of North America. He summarises this passion in his journal:'[I]n the morning I went out shooting the rest of the day I was occupied in painting a bird – these were my two principal amusements during the [time in Upper Canada].'For further information on this lot please visit Bonhams.com

Anatole Shister (Russian, 1884-1961)Indonesian lady with gold earrings signed 'A Shister' (lower right), bears date '1942' (lower right)oil on canvas laid to board45.1 x 38.4cm (17 3/4 x 15 1/8in).Footnotes:Having struggled to find work as an artist in Russia and Eastern Europe, in 1926, Anatole Shister travelled to Southeast Asia in search of commission. Originally planning on travelling on to Java and Bali, Shister settled in Singapore having secured work carrying out restoration work on portrait paintings held in the city's Memorial Hall.Alongside Shister, two other Russian painters, Vasily Zasipkin and Vladimir Tretchikoff, also settled in Singapore at the same time. These artists shared an interest in capturing the local community and following the development of Singaporean art. In 1941, works from each artist were featured in the Fight for Freedom exhibition held at the Victoria Memorial Hall in the city. Today, Shister's work can be found in the National Museum of Singapore, and the National Museum of Contemporary Art, Korea.For further information on this lot please visit Bonhams.com

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948), WASH DAY, IONA oil on canvas, signed, further signed, titled and dated 2003 verso image size 31cm x 31cm, overall size 51cm x 51cm Framed and under glass. Artist's label verso. Label verso: Walker Galleries Contemporary Art, North Yorkshire. 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" (a 76 x 76cm oil) achieved £6000 (hammer). In our most recent auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the still 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), IONA COTTAGE oil on canvas, signed and dated 2000, further signed and dated verso image size 31cm x 31cm, overall size 51cm x 51cm Framed and under glass. 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" (a 76 x 76cm oil) achieved £6000 (hammer). In our most recent auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the still growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.

* JOHN KINGSLEY RSW DA PAI, DAWN LIGHT AND THE OLD TREE oil on canvas, signed image size 54cm x 59cm, overall size 68cm x 72cm Framed and under glass. Note: John Kingsley was born in Glasgow in 1956. He studied drawing and painting at Glasgow School of Art from 1973-77. His art tutors included James D Robertson, David Donaldson and Geoffrey Squire. From 1980-86 he exhibited in one-man shows at the annual S.N.O. promenade concerts at the Kelvin Hall, Glasgow and in 1986 he was elected a member of Group 81 Artists, who exhibited regularly at the McLellan Galleries, Glasgow. John Kingsley has established a reputation as a leading Scottish contemporary artist. He was a finalist in the Hunting Art Prizes competition in London in 1989, 1993 and 1998, and was highly commended in the same competition in 1996. In 1991 Kingsley won the William Bowie Landscape Prize and in 1992 the Mary Armour Award at the Paisley Art Institute. Kingsley has an international reputation with art works in many public and private art collections across Europe, Australia, Canada and the USA. His paintings are found in the art collections of HRH The Duke of Edinburgh, Argyll and Bute District Council and the Royal College of Physicians and Surgeons, Glasgow and in numerous corporate collections throughout the UK.

* LYNN MCGREGOR RSW (SCOTTISH b. 1959), MORNING LIGHT oil on board, signed, titled label verso image size 67cm x 65cm, overall size 83cm x 81cm Framed and under glass. Artist's label verso. Note: Lynn McGregor was born in Pittenweem, Fife and trained at Edinburgh College of Art. She was elected RSW (Royal Scottish Society of Painters in Watercolour) in 2001 and is a professional member of VAS (Visual Arts Scotland) and SSA (Society of Scottish Artists). For twelve years Lynn lived on an otherwise uninhabited island in Strangford Lough with her husband Michael Faulkner, who is a writer and editor. Mike had two island books published by Blackstaff Press, "The Blue Cabin" and "Still on the Sound." They now live in Argyll, where Lynn's studio overlooks Loch Awe. Lynn exhibits at Thompson’s Gallery, London; The Mall Galleries, London; Wren Gallery, Burford; Ardquin Fine Arts, Surrey; Heinzel Gallery, Aberdeen; Frames Contemporary Gallery, Perth; Kilmorack Gallery, Beauly; Aberfeldy Gallery; Strathearn Gallery, Crieff; Annan Gallery, Glasgow; Fotheringham Gallery, Bridge of Allan; Crinan Gallery; Hillhouse Gallery, Broughton; Gallery TEN, Edinburgh; The Open Eye Gallery, Edinburgh; The Scottish Gallery, Edinburgh; Oriel Gallery, Dublin; Ross’s, Belfast. Lynn shows regularly at the annual exhibitions of RSW at the Royal Scottish Academy, Edinburgh and also with RGI, PAI, VAS, SSA and RUA. She also shows at Pittenweem Arts Festival (her place of birth). Lynn McGregor's paintings are held in a number of corporate and public collections including Robert Fleming Holdings Ltd (The Fleming Collection), Edinburgh College of Art, Royal Bank of Scotland, National Trust for Scotland, Bank of Scotland, Scottish Arts Club, Royal College of Physicians and Eli Lilly Industries..

* MARION DRUMMOND PAI (SCOTTISH b. 1958), AFTER THE DANCE oil on board, signed, titled verso image size 92cm x 80cm, overall size 113cm x 101cm Framed and under glass. Note: Marion Drummond was born in Glasgow in 1958. Largely self-taught as an artist, she acknowledges benefiting greatly from attending life classes under Christine Ironside, Drummond Mayo and Ann Johnston. Marion doesn't use brushes but paints with her fingers and rags. Her work is exhibited widely throughout Scotland at many of the best known private galleries. She is also a frequent exhibitor in the RSA, RGI and PAI annual exhibitions and in England her galleries include Thompson's, Lime Tree Gallery and Red Rag Gallery. In 2007 she was acknowledged by the Glasgow Herald as one of the top 50 Scottish artists in whom to invest. In The Scottish Contemporary Art Auction of 19th January 2020 lot 539 "Before The Dance" by Marion Drummond, probably a sister painting to "After The Dance", sold for £2200 (hammer).

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006), THE CAMPSIES FROM BALFRON oil on board, signed and dated '56, titled label verso image size 58.5cm x 71.5cm, overall size 65.5cm x 78.5cm Framed. Handwritten artist's label verso. Note: A relatively rare early work, completed when the artist was in his mid-twenties. Not obvious at first is the bull lurking behind the tree and looking with interest as a small herd of cows are arriving in the field below. Note 2: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule, and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.

* LYNN RODGIE, WINE WAITER oil on canvas, signed, titled label verso image size 50cm x 50cm, overall size 73cm x 73cm Framed. Artist's label verso. Note: Lynn Rodgie has become one of Scotland's best known artists and she has collectors all around the UK. Her work is promoted and sold by the Whitewall Galleries network through over forty retail outlets around Britain. Although larger, the most recent example we have offered of Lynn Rodgie's work sold for £1100 (hammer) - lot 511, The Scottish Contemporary Art Auction 9th May 2021.

* KATHLEEN RUSSELL (SCOTTISH b. 1940), STILL LIFE watercolour on paper, signed and dated '14 image size 61cm x 49cm, overall size 81cm x 69cm Mounted, framed and under glass. Note: Artist in gouache, watercolour, oil, pastel, pen and wash, and teacher, born in Edinburgh. Studied at Edinburgh College of Art 1958–63, her tutors including Robin Philipson and Sir William Gillies. She lectured there (ECA) full-time, 1963–72, then taught part-time in London schools until 1980, when she became a full-time painter. Had a long series of solo exhibitions, including French Institute, 1965, New 57 Gallery, 1969, and Douglas & Foulis, 1972, all in Edinburgh; Durham University, 1975; and at The Scottish Gallery, Edinburgh from 1981 onwards. Durham University, King’s College and Royal Botanic Gardens, Kew, hold examples of her work and twelve of her paintings are included in UK public collections. In The Scottish Contemporary Art Auction of 20th September 2015 lot 2161 "Sill Life" (ex IBM Collection) by Kathleen Russell sold for £900 (hammer).

ERNI UPTON FRSA, CRAIL HARBOUR REFLECTIONS oil on canvas, signed, further signed and titled verso image size 47cm x 36cm, overall size 71cm x 61cm Framed. 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).

* GERARD BURNS, IN THE CITY (GLASGOW) oil on canvas, signed image size 60cm x 40cm, overall size 87cm x 67cm Framed. Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

* SYLVIA ALLEN (SCOTTISH b. 1951 - ), A SPLASH OF FLOWERS gouache on paper, signed and dated 1992 verso image size 55cm x 81cm, overall size 88cm x 114cm Mounted, framed and under glass. Artist's label verso. Note: Sylvia Allen graduated from Glasgow School of Art 1974. She exhibited regularly in group and solo shows whilst in various teaching and graphics employment. A Glasgow School of Art tutor in Life Drawing and Drawing and Painting in the years 1986-1994. Elected artist member of Glasgow Art Club in 1989.Has also exhibited in USA, France and Germany and as a result her work is in many collections at home and abroad including: Price Waterhouse Coopers, Arthur Andersen and Kempen Capital Management. Exhibited in RGI, RSA, SSWA and PAI. Scottish finalist in 1997 Laing exhibition, London. Painting selected for 1998 calendar. Now works solely for exhibitions. The work is characterised by strong involvement with colour and expressive movement. Themes include weather moods in landscape, atmospheric cityscapes and vibrant colours of flowers caught in sunshine. Solo Exhibitions/Group Exhibitions MacLaurin Gallery, Ayr; McLellan Galleries, Glasgow; Willamette Uni. Salem, Oregon; Main Fine Art, Glasgow; Harbour Arts Centre, Irvine; The Kunsthaus, Nurnberg; Scottish Amicable, Glasgow; The Metro Gallery, Glasgow; Zabo Gallery, Nurnberg; Turberville Smith Gallery, London; Galerie Reiter, Bad Tolz; Seen Gallery, London; Galerie in der Linden, Weidenberg; Cormund Gallery, Glasgow; Usiskin Gallery, London; Mall Galleries, London; Home Studio, Glasgow; Glasgow Art Gallery; Woodside Library, Glasgow; Green Gallery, Aberfoyle; Devonshire Hotel, Glasgow; Adam Gallery, Bath; Kelly Gallery, Glasgow; Hanover Fine Art, Edinburgh; Torrance Gallery, Edinburgh; Dept. Philosophy, Edinburgh Festival; Kingfisher Gallery, Edinburgh; Westgate Gallery, North Berwick; Ainscough Contemporary Art, London; MacMillan Fund, Strathclyde Arts Centre; Gatehouse Gallery, Glasgow; Kelly Gallery, Glasgow; Cornerstone Gallery, Stirling; Leith Gallery, Edinburgh; Chatton Gallery, Chatton; Riverside Gallery, Stonehaven; Thompson's Gallery, London; McEwan Gallery, Ballater and Roger Billcliffe Gallery, Glasgow.

* NEIL MACDONALD RSW RGI PAI, THE WHISTLE BLOWER pastel on paper, signed (Macdonald) and dated 95 image size 45cm x 33cm, overall size 70cm x 57cm Mounted, framed and under glass. Note: Neil Macdonald has been the recipient of many awards including 2013 Elected RSW (Royal Scottish Society of Painters in Watercolour); 2013 Joe Hargan Award, Maclaurin Fine Art Exhibition, Ayr; 2013 Elected RGI (Royal Glasgow Institute of Fine Arts); 2012 The Smithy Gallery Award (PAI); 2012 Diploma of the Paisley Art Institute; 2011 Robert Innes Award - Scottish Drawing Competition; 2009 Discerning Eye, London- Scottish Regional Winner; 2009 Charles Jamieson Award PAI; 2008 University West Scotland Award PAI; 2006 EDC Ann Stevenson Memorial Award; 2005 EDC Purchase Prize; 1997 Contemporary Art Prize (Eton) Paisley Art Institute; 1981 David Cargill Travelling Scholarship (Italy and Belgium); and 1979 William Shanks Painting Prize. Neil MacDonald trained at Glasgow School of Art from 1975 until 1980, where he developed his considerable skills as a painter and consummate draughtsman. He is drawn to locations that exert historic and mythic presence, exploring the lyrical narrative of natural sites and strong bold shapes of castles, old townships and harbours. He does this through distortion of perspective, invention and editing, aiming to capture an essence of the structure or place. Colour is used in an emotive way to heighten the sense of mood, applying each layer upon layer of paint in a divisionist manner until a unity of statement is realised as the image emerges, revealing the subject’s unique sense of place. A new UK auction record was established in the most recent Scottish Contemporary Art Auction when "First Light, St Abbs" (by Neil Macdonald) sold for £3000 (hammer) - lot 539 1st August 2021.

* ROY HODRIEN (BRITISH b. 1957), STILL LIFE WITH CHERRIES oil on board, signed image size 29.5cm x 24.5cm, overall size 45cm x 40cm Framed. Label verso: E Stacy-Marks Ltd, East Sussex. Note: Born in 1957 on the Wirral, Roy Hodrien studied at the local art college and then went on to further study at Coventry. As a brief foray into advertising, Roy began a freelance career as an animal painter and Illustrator, often producing private animal portrait commissions for owners and breeders. As his reputation grew he began to publish several well regarded books on pedigree dogs, featuring over a hundred of his illustrations. He also established a line in copying orientalist paintings for Middle Eastern clients. During the mid 1980’s Roy began producing his first still life paintings, his passionate interest in the genre led him to study the techniques of the Dutch Masters Willem Kalf and De Heem and the Victorian painters Duffield and Preyer. His adaption of traditional techniques to his unique contemporary style has earned Roy an enthusiastic following amongst collectors of the genre. A regular exhibitor in London, Monaco and the USA, Roy’s work can be found in many private collections throughout the world.

* ALAN KING PAI (SCOTTISH 1946 - 2013), PASQUALE WITH FLAG oil on canvas board, signed, titled verso image size 28cm x 20cm, overall size 51cm x 42cm Framed and under glass. Note: A very fine example of the work of the much missed Alan King, a frequent contributor and a great favourite in The Scottish Contemporary Art Auctions. McTear's has established a succession of UK auction record prices for Alan King's work in recent years and the current record is £3600 for Weavers of Truth, lot 275 27th November 2016. Although Alan was a much respected and successful artist during his lifetime, auction prices since 2013 have continued to rise, even though very few collectors have so far opted to sell their examples of his work. The red hat and stripey trousers are Alan King "trade marks".

* DAVID SHRIGLEY, CHOCOLATE IS NOT THE PROBLEM lithograph on 150g silk paper image 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.

John Ditchfield art glass vase, signed and numbered 1910, 14.5cm high together with a collection of contemporary art glass vases and a dish, etc (5)

FOUR VARIOUS CONTEMPORARY ART WORKS OF VARIOUS SUBJECTS, INITIALLED AND INSCRIBED VERSO, SIZES VARY.

A contemporary Hebrew blessing silver mounted easel photograph frame, the stylised frame raised in relief with figures, Star of David, buildings and script, stamped Isha Art 925 lower right, 28 x 18.7cm

Jessica Brown (b.1971) - Still life with figs, oil on board, signed and dated '06 lower right, 16.5 x 19.5cmSold with Quantum Contemporary Art purchase receipt, hand-inscribed, date of sale 16th January 2007, stated price of work £3800

A contemporary Italian wall mirror by Cristal Art, having green tinted zigzag detail, 56.5 x 102.5cm

Zinsky (Contemporary) ''Winter is Coming'' ''Mother of Dragons'' Signed and numbered 13/195 and 28/195, giclee prints on board, 49cm by 49.5cm and 49cm by 49.5cm (2) Each sold together with the DeMonfort Fine Art certificate of authenticity Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Todd White (Contemporary) American ''Malibu'' Signed and numbered 61/135, giclee print on board, 47cm by 75cm Sold together with the DeMontfort Fine Art certificate of authenticity

Barry Hilton (Contemporary) ' ''Lavender Skies'' Signed and numbered 46/195, giclee print on canvas-board, 39cm by 39cm Sold together with the DeMontfort Fine Art certificate of authenticity Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Vincent Kamp (Contemporary) ''Hold Back it's Not Your Night'' Signed and numbered 35/150, giclee print on board, 50cm by 39.5cm Sold together with the DeMontfort Fine Art certificate of authenticity Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Philip Gray (Contemporary) ''Forest of Light'' Signed and numbered 24/195, giclee print on canvas-board, 49cm by 49.5cm Sold together with the DeMontfort Fine Art certificate of authenticity Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Nuala Mulligan (Contemporary) ''Diamonds are a Girl's Best Friend III'' Signed and numbered 23/95 verso, silkscreen with diamond dust, 101cm by 76cm Sold together with the DeMontfort Fine Art certificate of authenticity Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Paul Normansell (Contemporary) ''The Time is Now'' Signed and numbered 60/195, giclee print on board 45.5cm by 60.5cm Sold together with the DeMontfort Fine Art certificate of authenticity Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Barry Hilton (Contemporary) ''Shades of Dawn'' Signed and numbered 49/195, giclee print on canvas-board, 30cm by 61.5cm Sold together with the DeMontfort Fine Art certificate of authenticity Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Marc Appleton (Contemporary) ''Life Study'' Oil on board, together with a limited edition print by Diana Leslie, 92cm by 92cm and 45cm by 27cm respectively (2) Provenance: Purchased from Ferens Art Gallery Open Exhibition Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Peter Ward (Contemporary) ''Penwith Evening'' Signed and inscribed verso, oil on board, together with a further mixed media work by the same hand, 38cm by 49cm and 72cm by 54cm respectively (2) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business ''Penwith Evening'' Exhibited: The Lane Art Competition, Bristol

Doug Hyde (Contemporary) ''Daisy Trail'' Signed and numbered 344/595, cold cast porcelain, 29cm high Sold with certificate of authenticity from DeMontfort Fine Art and original box Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

April Shepherd (Contemporary) ''Raring to Go'' and ''Paying Attention'' Each signed and numbered 12/295 and 10/295, cold cast porcelain, 34cm high Each sold with certificate of authenticity from DeMontfort Fine Art and original box. Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Leonard (William Ellery, translator) Beowulf, one of 950 copies signed by the artist with his thumb print, printed in red and black with decorative initials in blue and red, lithographed title and plates by Rockwell Kent, original pictorial cloth blocked in white, dust-jacket, frayed and spine defective, New York, 1932 § Ruskin (John) The King of the Golden River, colour plates and decorations in red by Arthur Rackham, original cloth, pictorial label to upper cover, uncut, Philadelphia, [c.1932] § Drayton (Michael) Nimphidia The Court of Fayrie, printed in blue & black, bound in tan calf, uncut, a little spotted and browned, Oxford, printed at the Shakespeare Head Press, 1924 § Holt-White (Rashleigh) The Life and Letters of Gilbert White of Selborne, 2 vol., plates, foxing, contemporary Art Nouveau half tan morocco, by Maclehose of Glasgow, spines with small bees, butterflies and flowers in gilt extending onto upper covers, t.e.g., others uncut, 1901, all a little rubbed, 4to & 8vo (5)

NO RESERVE Bookplates.- Revista Iberica d'Exlibris, vol.IV (nos.1-4), one of 300 copies, printed in red & black, plates and illustrations, some colour, some folding, some printed on thick paper, one preliminary leaf creased, contemporary cloth, original wrappers to nos. 3 & 4 bound in at beginning, John Vinycomb's copy with his bookplate to front pastedown and label to upper cover, rubbed, spine worn, joints split, 4to, Barcelona, 1906.⁂ Important work on Catalan bookplates with many attractive Art Nouveau designs.John Vinycomb (1883-1928), artist, designer, and writer on heraldry, illumination and bookplates. His collection of bookplates is held by Belfast Central Library.

ALEXANDER NISBET: A SYSTEM OF HERALDRY SPECULATIVE AND PRACTICAL WITH THE TRUE ART OF BLAZON..., Edinburgh, printed for William Blackwood and London, Rodwell and Martin, London, 1816 new edition, 2 vols, vol 2 lacks frontis otherwise plates collated complete, fo, contemporary half calf marbled boards worn, boards detached (2)

HALWIN CALDWELL: THE ART OF DOING OUR BEST..., ill John Absolon, H K Browne and the Brothers Dalziel, London, James Hogg & Sons, [1864], vignette title and 7 plates as list, contemporary calf gilt, prize binding, spine gilt in compartments, all edges marbled

Full title: Fernando & Humberto Campana (the Campana Brothers, 1953 & 1961): 'Cabana' cabinet for Edra, 2010Description: H 192 cm - Dia.: 100 cm The 'Cabana' is a storage unit arranged around a central column supporting five shelves. The structure, made in aluminum and other metals, is entirely concealed by dangling lengths of fire-proofed raffia. The Campana Brothers, Humberto and Fernando, are among the icons of contemporary furniture design. Since 1983, the Brazilian siblings have achieved both national and international recognition and popularity thanks to their ingenious designs and creativity. The brothers (Humberto Campana, b. 1953 and Fernando Campana, b. 1961) created Estudio Campana in 1984 in São Paulo. From the very beginning, collaboration with local communities, factories, and industries have been an important part of their activities. In view of this mindset, it comes as no surprise that there is a huge emphasis on handcrafted and artisanal work. Via their pieces, the Campana Brothers institute conversation around ethical production, sustainability and social awareness into some of the world's most alluring interiors. Estudio Campana is recognized for its intriguing and one-of-a-kind pieces. There is no better evidence of their overflowing creativity than listing their current activities: the studio operates in the areas of architecture, landscaping, scenography, fashion as well as special projects and commissions. Their creative process raises everyday materials to nobility, bringing not only creativity to design but also Brazilian characteristics - the colours, the mixtures, the creative chaos - the triumph of simple solutions, in an artistic and poetic way. Campana pieces are part of permanent collections of renowned cultural institutions such as Centre Pompidou and the Musee Des Arts Decoratifs, Paris, MoMa, New York, Museum of Modern Art of São Paulo and Vitra Design Museum, Weil am Rhein. They have worked with Alessi and Fontana Arte on limited edition pieces, and their studio crafts its own unique handmade pieces. Those special editions are included in the permanent collections of renowned cultural institutions as well. The São Paulo-based studio is acknowledged internationally as pioneer of disruptive design, which led them to create a ground-breaking language in their field. Proudly rooted in Brazilian culture and traditions, their works carry universal values in their core, such as freedom and human dignity, through the search of our identity from life experiences. In 2009, the Campana Brothers founded Instituto Campana, in order to preserve their ever-growing collection for future generations and to promote design as a tool for transformation through social and educational programs. Their unique designs have earned them numerous awards, including the Ordre des Arts et Lettres from the Ministry of Culture in France and the Order of Cultural Merit in Brazil. Their work has been the subject of several exhibitions, including the 2008 exhibition at the Cooper Hewitt Smithsonian Design Museum in New York (link). Interior photo by Kato Peeters.

An extensive Contemporary fine art Noritake Blue Hill 2482 pattern dinner and tea service, comprising large circular plate, large bowl, two oval serving dishes, dinner plates, bowls, dessert plates, side plates, soup bowls, soup stands, dishes, teapot, teacups, saucers, milk jug, ect.

Roderic O'Conor (1860 - 1940)ÿ "Bull by Moonlight" oils on canvas, 36 1/2" x 28 3/4" (93cms x 73cms) in ornate contemporary gilt frame. (1) Note:ÿÿ ÿIn the early 1890?s, while living in Brittany, Roderic O?Conor delighted in painting night scenes, seeking to capture the emotional qualities of landscapes illuminated by moonlight or firelight. His etching Pleine Lune Sur La C“te (1893) depicts a full moon over a rocky coastline, while his canvas Moonlit Breton Landscape dates from the end of that decade. One of his favourite places to paint was the Laita River near Le Pouldu, a favourite also of his contemporaries, including Paul Serusier. In this powerful image of a bull in a moonlit field, O?Conor moved away from his earlier technique of striped brushstrokes, instead weaving together different strands of art, from the early nineteenth-century Romanticism of James Arthur O?Connor, through Symbolism, to the immediacy of Les Nabis and Post-Impressionism. At its heart however, this is a Romantic painting, redolent of the troubled emotional response of an artist when confronted with the implacable power of nature. In Bull by Moonlight, theÿ composition is dominated by the dark silhouette of the animal, beneath a cloudy sky, with the moon casting a cold white light on the landscape below. O?Conor was certainly familiar with depicting nature, having attended Karel Verlat?s Natuur course in Antwerp, and he was also immersing himself in the Post-Impressionist movement, which he encountered in Brittany during the 1890?s, when he became friendly with Paul Gauguin and other artists. Gauguin used O?Conor?s studio in Paris, even asking the Irish artist to join him in the South of France, an invitation which?to the abiding disappointment of art historians in Ireland?O?Conor declined. Born in Co. Roscommon in 1860, when he was just four years old, Roderic O?Conor?s family moved to Blackrock in Co. Dublin. He was educated at Ampleforth before enrolling at the Metropolitan School of Art in Dublin. He was a contemporary of Nathaniel Hill, with whom he shared lodgings in Pembroke Road. After further studies at the RHA schools, in 1883 O?Conor enrolled at the Academie Royale des Beaux Arts in Antwerp, where Hill and Walter Osborne were also students. The professor at the Academie was the realist painter Charles Verlat. A year later O?Conor was back in Dublin, submitting paintings to the 1885 Royal Hibernian Academy exhibition. His early style, learned from Verlat, was characterized by bright colours, a plein-air technique, and spontaneous but controlled brushwork. However O?Conor?s response to Verlat?s teachings was more progressive than that of his fellow Irish students, who remained rooted in an academic realist style. In 1886, O?Conor moved to Paris to study under Carolus-Duran, before spending time at Grez sur Loing. In 1903 he participated in the inaugural Salon d?Automne, and he continued exhibiting there until 1935. For the rest of his life, until his death in 1940, O?Conor remained in France, living for the most part in Nueil-sur-Layon, Maine-et-Loire, with his wife Renee Honta. A retrospective exhibition of his work, held at the Barbican Centre in 1985, afterwards travelled to the National Gallery of Ireland and the Ulster Museum. O?Conor?s work can be found in the collections of both these museums, as well as the Hugh Lane Gallery. He was the subject of two biographies in 1992, one by Paula Murphy in the Lives of Irish Artists series, and a second, more extensive publication, by Jonathan Benington. "Bull by Moonlight" was included in Julian Campbell?s 1984 Irish Impressionists exhibition (Cat No. 106) at the National Gallery of Ireland. See also Jonathan Benington ?From Realism to Expressionism: the Early Career of Roderic O?Conor? in Apollo April 1985, p 257. Dr.ÿPeterÿMurrayÿ2021

Rich (Jeremiah). The Whole Book of Psalms in Meter According to the Art of Short-Writing written by Jeremiah Rich, Author and Teacher of the said Art, London: Printed for the author and are to be sold at his house the Golden Ball in Swithins Lane near London Stone, [1660], [226] p., signatures: pi? A-N? O?, engraved portrait frontispiece, engraved title within decorative border ("Tho: Cross sculpsit" beneath imprint), engraved throughout, very light damp stain to few leaves, without front free endpaper and rear endpaper, all edges gilt (gilt rubbed), loosely inserted 19th century manuscript note "Miss Anne Manfield with Mr M. Colson's compliments", contemporary dark brown/black morocco, gilt double-rule border to boards with decorative motifs to corners, 6 x 3.7 cmQty: (1)NOTESESTC R40293; Wing B2803A. The number of leaves signed varies from copy to copy. Bondy pp.17-20: "Amongst the most extraordinary volumes are the all-engraved editions of the Whole Book of Psalms in Meter and the New Testament in the shorthand of Jeremiah Rich, a leading stenography specialist of the period (circa 1660) who perfected the system invented by his uncle, William Cartwright, but without giving him credit, claiming it to be his own invention. The late Percy E. Spielmann had copies in his collection... The Spielmann copy of the Psalms ... also has a frontispiece with Rich's portrait and at the end a short list of 'the Names of those Ingenious Persons of my Schollars that were the first Incouragers of this incomparable peice'. Other editions, all published around the year 1660, were 'sold by Samuel Botley over against Vintners Hall' or 'at Colonel Masons Coffee House in Cornhill', or published 'for the author and sold by Henry Eversden'. All the copies we have seen are extremely well engraved, showing hardly any signs of wear and must have taken years to produce. Their manufacture did evidently require a very steady hand and infinite patience. Most copies are beautifully bound in contemporary black morocco and are finely gilt-tooled. They were obviously prized possessions and have remained most desirable collector's items to this date, notwithstanding the fact that hardly anyone will nowadays be able to decipher their obsolete shorthand". Spielmann 422, "J. Rich was one of the most famous stenographers of the seventeenth century."

Manuscript Literary Periodical. The Companion, Volume 1 (Nos. 1-12), no place, circa 1830, title page, 256 pages, plus final page with beginning of contents listing, written neatly in a consistent hand throughout, occasional light pencil corrections, paper watermarked 'J. Coles, 1828', ownership and probable compilers signature 'Charles Wilkinson 1830' visible under glued paper from torn page facing in blank free endpapers, contemporary boards with small paper ticket spine label, some wear, 8voQty: (1)NOTESThe various authors of the stories, verses, essays and opinions are mostly identified by single initials, including R, E, N, plus Theta, etc. Titles include: Voyage to Fairy Land; Charles Deloraine, a tale of the Pretender; Herbert Delacour - A Sketch; an essay on the art of swearing; history of the Drama; Henry Gresham; the hermit - a fragment; the young Neapolitan; Edmund Fitzherbert, etc. A published periodical of the same name and edited by Leigh Hunt and Carew Henry Reynell (1828-1838) appears to be unrelated.

Kerr (Lord Mark Robert) Hamilton (William). Manuscript Copy of Letters concerning the Northern Coast of the County of Antrim. Containing a Natural History of its Basaltes: with an Account of such Circumstances as are worthy of notice respecting the Antiquities, Manners and Customs of that Country, 164pp, map, frontispiece and 51 original grisaille watercolours by the artist, each signed with his monogram, manuscript pages, offsetting, occasional marginal spotting, bookplate of Lord Kerr to front pastedown, contemporary full brown morocco gilt with floral embellishments to turn-ins, gilt text block, boards rubbed, spine extremities and joints worn, corners bumped, 4toQty: (1)NOTESA sumptuous manuscript copy of a cornerstone of 18th century Irish topography. Lord Mark Robert Kerr was Vice-Admiral of the Royal Navy (1837-1840) and an artist. He commanded the Fisgard in the Napoleonic War and it was he who alerted the Royal Navy to the movement of the French fleet through the Strait of Gibraltar in 1805, this being the initial advice that they were at sea. He maintained close correspondence with Admiral Nelson and Nelson thought of him highly; "..I fear Lord M Kerr is falling into the same complaint [as I have]. I have now got him to the fleet and shall keep an Eye upon him for he is too valuable an Officer and good a Man to be lost for want of care" (Nelson, the New Letters, 2005, pp.304). However, he was also an artist of high regard. "What Nelson did not know, however, was that, in addition to being an excellent naval officer, Kerr was also an exceptionally interesting artist: a Regency surrealist" (British Art Journal, Vol 6, No 2 pp.28-30). He married Charlotte MacDonald, Countess of Antrim in 1799 which no doubt contributed to his desire to create this work. Beautifully illustrated with 51 watercolours, all signed by the artist, based upon the corresponding passages in Hamilton's work. The passages of the text have been handwritten (presumably by Kerr) in a fine, flowing hand. Furthermore, the map and two further manuscripts were contributed by his daughter Letitia Louisa Kerr.

[Barker, Thomas]. The Country-mans Recreation, or the Art of Planting, Grassing, and Gardening in Three Books... Hereunto is Likewise Added the Art of Angling, 4 parts in one volume, T. Mabb for William Shears, 1654, separate title to each part (parts 2 & 4, A Perfect Platform of a Hop-Garden / The Art of Angling, both dated 1653), parts 3 and 4 with separate pagination and register, some wood engravings to text of first two parts, 22 full-page engravings to third part (The Expert Gardener) and final 4 leaves of this part misbound (pp. 51-54, 47-50), some spotting and light browning throughout but signatures D and K of first part more heavily browned, one and then two pinhead wormholes to lower blank margins not affecting text, beginning signature R of second part and continuing to the end, contemporary marbled boards with calf tips (some wear), old calf reback with leather spine label, 4to (190 x 140mm)Qty: (1)NOTESWestwood & Satchell pp. 66-67; Wing B783, 784, C1700, S946. A rare complete copy of Barker's treatise on garden horticulture, including the important fourth part, a pre-Waltonian section devoted to angling. This is the second edition of that treatise which was first published in 1651 and is of legendary rarity in that edition. Barker, who made a living as an angling tutor, suggested that ‘fishing far surpasses all other recreations in promoting health and pleasure. The text offers much hard practical advice on fish species, tackle and bait, together with recipes, including pike with stewed oysters, and employs a successful formula for angling writing which has been much copied subsequently’ (ODNB).

Calthrop (Captain Everard Ferguson, translator). The Book of War. The Military Classic of the Far East, 1st edition in English, London: John Murray, 1908, half title, 132 pp., occasional light spotting, contemporary half calf, loss of first compartment of spine, joints cracking, a little rubbed, 8voQty: (1)NOTESThe first English translation of The Art of War, attributed to Sun Tzu, first written in China in the fifth century B.C. and regarded as the definitive work on military strategy and tactics of its time.

[Smith, John]. The Compleat Fisher; or, The True Art of Angling ... by J.S. A Brother of the Angle. The fourth edition enlarged, London: printed for G. Conyers and J. & B. Sprint, 1716, woodcut frontispiece, [2], 164 pages, 8 woodcut illustrations of fish, tightly bound, close-trimmed at upper margin shaving a few running heads and page numbers in first two signatures, closed tear to blank lower margin of A[7] and to blank outer margin of B[10], last four leaves of signature G misordered (G6, G5, G8, G7), slight marginal fraying to foremargins and lower corners of final few leaves, a little spotting or browning, particularly at front and rear, near-contemporary ownership inscription of Wm. Newe[ll] to frontispiece recto with name written again in pencil in a later hand beneath, contemporary sheep, joints cracked and weak, a little wear to extremities, 12mo (110 x 55 mm)Qty: (1)NOTESThe fourth of 12 editions issued between 1696 and 1770, and the second to be published in the 18th century. The original title The True Art of Angling of 1696 was changed in the 1704 third edition to The Compleat Fisher. The frontispiece to this fourth edition, representing two male anglers, is new and used here for the first time. 'This minute work by an anonymous writer forms one of the marked features of most angling collections … partly from its merits as a manual, but far more from its rarity, only a few copies of the earlier issues having escaped the wear and tear of time’ (Westwood & Satchell, p. 182). ESTC N28008 records only 7 copies of this edition, of which six are in USA and one is at the National Library of Australia. The only copy we have traced at auction is the Albert Petit copy (Petit 1860) sold by Christie’s, London, 8 October 1999, lot 186 (£1,380).

THE ART OF SOUND BUILDING, William Halfpenny, 2nd edition, 1725, Sam Birt, contemporary calf, both boards detached. Illustrated throughout with plans and diagrams. Engraved frontispiece, woodcut initials, head and tailpieces, numerous folding engraved plates. Sold with all faults (Est. plus 17.5% premium)

ANTHONY WHISHAW (b.1930), Interior with Shadow, acrylic collage on board, signed with initials, Contemporary Art Society Market label to reverse, 8" x 8", framed (subject to Artists Resale Right) (Est. plus 21% premium inc. VAT)Good

A contemporary Art Deco design smoked glass and chrome oval 2-tier occasional table, W74cm, H58cm