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NORMAN STUART CLARKE; a contemporary art glass vase of bulbous form, with stylised iridescent and coloured linear decoration, signed and dated '84 to base, height 13.5cm.Additional InformationLight scratches to base, but good condition.

JO DOWNS; a contemporary art glass bowl 'Cornish Pilchards', diameter 47cm.Additional InformationThere is a tiny nibble to one edge, light scratches and scuffs.

MAX VERBOEKET; a contemporary art glass vase with internal linear decoration, signed to base, height 31cm.Additional InformationLight scratches to base and to the body of the vase in parts.

JOHN DITCHFIELD FOR GLASFORM; two contemporary art glass vases to include an iridescent example with stylised detail, signed and numbered 6437 and complete with original label to base, height 15cm.Additional InformationLight wear to the bases, but good condition.

MICHAEL HARRIS FOR ISLE OF WIGHT GLASS; a contemporary art glass bottle vase with internal mottled and linear decoration, bears original label to the underside, height 41cm.Additional InformationMinimal wear, but good condition.

SU LIUPENG (1791-1862)Scholars gathering in gardensInk and pigment on paper, a set of four leaves, each inscribed with a colophon, signed and with a seal of the artist. each 30cm (11 3/4in) x 52.5cm (20 5/8in) (4).Footnotes:Two paintings by the same artist were sold in our Hong Kong saleroom, Fine Chinese Paintings and Contemporary Asian Art, 23 Nov 2014, lot 1300.For further information on this lot please visit Bonhams.comAll mounted, two attached to a cardboard back through the corner edges. General surface deterioration, foxing and large areas of water damage. General old smoothed out creases and scattered small infilled holes. The painting with three scholars with an arrow vase particularly foxed and water damaged, with the inscription almost illegible. The painting of the scholars looking at paintings with also damage to the inscription, and a large area of damage and a large infilled hole around the ceiling and pine tree.

Ruth Evans (British Contemporary) I'll Deal You a Secret, mixed media, measurements 66.5 x 60 cm, frame 69.5 x 63.5 cm Provenance: from the private collection of an art therapist

Robin Bradbury (British Contemporary) Le Jour Nouveau, pigmented ink, signed and dated 2009 bottom right, measurements 27 x 34.7 cm (i), frame 45 x 53 cm Artist's gallery label verso Robin Bradbury is a British contemporary artist based in North Wales, where he maintains a studio and gallery. He has a background in philosophy, art history and theology, having spent much of his working life in the church, and his sympathies with early romanticism and idealist philosophy are evident within his artwork. Bradbury was a close friend of fellow artists John Knapp-Fisher and Chris Dunbabin, he paints predominantly in oil, combining an intensity of colour and tonal subtlety that compliments his atmospheric compositions. In addition to writing the forward to Knapp-Fishers books of Pembrokeshire, Bradbury has also released two publications of his own The Magi and the Moontree and Borders of Perception.

Jocelyn Clarke (British b.1958) Red Branch, acrylic on canvas, dated 1999, measurements 46 x 56 cm Label verso: Contemporary Art Society Market sale ticket

Patrick Hughes (British b.1939) Colour Process, screenprint, signed and dated '84 in pencil bottom right, numbered 107/250 bottom left, measurements 57.5 x 40 cm (PL), frame 76 x 57 cm Certificate of Authentictiy from Christies Contemporary Art versoCondition report: The print is a work on paper, framed under glazing, not examined external to the frame. The screenprint has full margins and there it has a pencil signature bottom right and is numbered bottom left. The colours are well preserved and there are no obvious signs of deterioration or surface losses. The paper is in good condition, no obvious evidence for rips, tears or creasing, there are some minor, sparse spots of foxing in the bottom left corner within the margin. There is some wear and tear to the frame.

Michael W Potter (b.1955) Downhill Skier Christies Contemporary Art Poster, measurements 70 x 50 cm (SH), frame 74 x 55 cm Condition report: The poster is framed under glazing, not examined external to the frame. The paper does not have any obvious signs for tears, folds or creases. There is some evidence for beginnings of foxing in the main image- please refer to additional photographs. There is some ageing to the paper but the colours do appear well preserved. The frame has general wear-and-tear.

Ruth Evans (British Contemporary) Rings on her Fingers, Bells on her Toes, mixed media on board, measurements 39 x 27 cm, frame 43 x 27 cm Provenance: from the private collection of an art therapist

Tully Crook (British b.1938) Straight Curves, screenprint on arches paper, 1982, signed bottom right, titled and numbered 63/200, measurements 55 x 40.5 cm (PL), frame 75 x 55 cm Label verso for Christie's Contemporary Art with signed certificate of authenticity

Tully Crook (British b.1993) Summergirl, screenprint, 1984, signed bottom right, numbered 24/200, measurements 39.5 x 40.5 cm (PL), frame 59 x 59 Certificate of Authenticity verso from Christie's Contemporary Art

Tully Crook (British b.1993) Nice, screenprint, signed and dated '80 bottom right, numbered 85/200, measurements 42 x 44 cm (PL), frame 72 x 67 cm Label verso- Christie's Contemporary Art with signed certificate of authenticity

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b 1948), CROFT AND COPSE, KILBERRY, ARGYLL oil on canvas, signed, further signed, titled and dated 2006 verso 31cm x 31cm Framed and under glass. Artist's label verso. Label verso: Eduardo Alesandro Studios, Dundee. Note: Jolomo remains one of Scotland's most celebrated contemporary artists and in The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer), just one 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.

* GERARD M BURNS, RED COAT IN THE CITY (GLASGOW) oil on canvas, signed 60cm x 60cm Framed. Note: The typical gallery price for a Gerard Burns 60 x 60cm painting is £3500. Note 2: 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 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 Surgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

* JOHN HASKINS (BRITISH b 1938), FISHING ON THE RIVER OUSE oil on board, signed, titled label verso 48cm x 55cm Framed. Label verso: Alastair Kerr, Loch Lomond. Note: John Haskins is a contemporary painter with vibrant flair and an impressionist style and remains a firm favourite among collectors. With a successful career spanning decades, Haskins has firmly established himself among some of the country’s most popular and collectible artists of today. He began his artistic career in illustration. After gaining his City and Guilds Diploma in illustration at art school, Haskins had a successful early career as a Chief Technical Illustrator with British Aerospace, Rolls Royce and NASA. Today, from his home studio in the heart of the English countryside, Haskins continues to create paintings that reflect all the atmosphere and colour of his surroundings. His life-long attention to detail lends an authenticity to the rural scenes he depicts in his landscapes. His figurative work too remains equally authentic; occasionally using his daughters and grandchildren as models, his figurative paintings vividly evoke intimate memory and nostalgia. John Haskins’ long and established career as an artist has seen great success. The universal popularity of his work has yielded successful exhibitions and one-man shows over the years in London, Frankfurt, Paris, Edinburgh, Los Angeles, Melbourne and Sydney, among others. His paintings can be found in major galleries and private collections around the world, and continue to be sought-after by a wide range of collectors. His published work also continues to thrive, with many international publishers specially commissioning his work for prints, limited editions and greeting cards. In The Scottish Contemporary Art Auction of 28th February 2021, lot 628 (The Beachcombers) a very slightly larger example by John Haskins, sold for £600 (hammer).

* PHILIP BRAHAM (SCOTTISH b 1959 - ), NARCISSUS' MIRROR (MONUMENTS TO CALEDONIA) gouache on paper, initialled and dated '92, titled on label verso 51cm x 39cm Mounted, framed and under glass. Handwritten artist's label verso. Note: Newspaper article about the artist affixed verso. Note 2: A graduate from Duncan of Jordanstone College of Art and Design, Philip Braham first came to prominence in the 1980s with the rise of figurative painting in Scotland, which culminated in "The Vigorous Imagination" an exhibition at the Scottish National Gallery of Modern Art in 1987. His career includes 22 solo exhibitions to date; in addition to numerous group shows both nationally and internationally. Among the awards received are the prestigious Royal Scottish Academy Guthrie Award for painting and the Royal Scottish Academy Morton Award. Recent exhibitions include solo shows at Raab Gallery Berlin, The Scottish Gallery and at the Royal Scottish Academy for the Edinburgh International Festival contribution in 2010. A longstanding interest in continental aesthetics informs his pedagogical role as Course Director for Art, Philosophy and Contemporary Practices at the University of Dundee. Philip Braham is represented by the prestigious Scottish Gallery (Edinburgh) and his most recent highly successful solo show "Closer to Home" at The Scottish Gallery (his sixth at the venue) was in January 2021. It was recently announced that this exhibition will also be presented at Perth Museum & Art Gallery from 30th April to 5th June 2021.

* GEORGIE YOUNG, BLUSTERY acrylic on board, signed, titled label verso 61cm x 61cm Framed. Artist's label verso. Provenance: From the private collection of the late Jan Morrison, proprietor of the Leith Gallery, Edinburgh. Note: Georgie Young is a graduate of Glasgow School of Art and paints mainly contemporary Scottish landscapes. Her work aims to evoke a feeling and capture a sense of place, an atmosphere, or an unexpected detail rather than reproduce a direct likeness. For many years Georgie lived, taught and painted in Ayrshire. She now divides her time between Edinburgh and Pittenweem in Fife. Georgie Young's work is exhibited widely, including: Morningside Gallery (Edinburgh), Gallery Heinzel (Aberdeen), The Whitehouse Gallery (Kirkcudbright), Aberfeldy Gallery and Red Rag Gallery (Stow-on-the-Wold). She is also a regular exhibitor at The Pittenweem Art Festival.

* CHRISTINE L. MCARTHUR RGI RSW (SCOTTISH b 1953), LEN HUNT'S BEAUTIFUL POEM oil on canvas, signed, titled label verso 91cm x 91cm Framed.Provenance: Roger Billcliffe gallery, Label Verso Note; Christine McArthur is one of the leading figures in Scottish contemporary Art. Her work is exhibited by Roger Billcliffe Gallery Glasgow and The Scottish Gallery in Edinburgh which is currently (1st April - 24th April 2021) staging her latest solo show. The typical gallery price for a large oil this size would be in the region of £8500. McArthur trained at Glasgow School of Art between 1971-76 and taught at both Glasgow University and Glasgow School of Art until 1980, when she became a full time artist. She has gone on to exhibit in Scotland, London and internationally and her work is held in many public and private collections."

* JUDITH GARDNER NEAC RBA, MELTING SNOW oil on board, titled label verso 24cm x 24cm Framed. Artist's label verso. Note: Judith Gardner studied contemporary art at Maidstone College of Art where she gained a BA Honours in Fine Art. For a number of years she taught art at the East Berkshire College, Windsor. In 1998 she decided to become a full time contemporary artist. Judith Gardner was elected a member of the Royal Society of British Artists in 2000 and of the Small Paintings Group in 2003. Judith Gardner is quoted as saying 'My painting is representational to a certain extent. It begins with an idea based on strong observation. Once the composition has been decided upon, the reality to a point is not so necessary for me to develop the painting. This enables me to create light and atmosphere with tone, colour and brushwork'. Judith Gardner paintings are regularly exhibited at The Royal Academy of Art Summer Exhibition (London), the RBA, Royal Institute of Oil Painters, New English Art Club Exhibitions, British Painters Exhibition, Pastel Society and The Royal Society of Marine Artists. Judith Gardner has been awarded numerous contemporary art awards the most significant being The Italia Prize and the De Laszlo Art Medal at the Royal Society of British Artists 2003 Exhibition. Her work is promoted, exhibited and sold at Red Rag Gallery, Thompson's Gallery and others.

* DAVID TONER (SCOTTISH B. 1944), THE HOUSE AT MIRLEES DRIVE mixed media on paper, signed and dated '85 43cm x 61cm Mounted, framed and under glass. Provenance: The late Helen E.C. Cargill Thompson. Note: Dr Helen E C Cargill Thompson (1933 - 2020) has been recognised for her contribution to both librarianship and the art world. Born in Burma in 1933, on the outbreak of World War II she returned to Glasgow to live with her grandparents in Mirrlees Drive, close to Glasgow Botanic Gardens. Her great grand-uncle was a founder of Burmah Oil Company. Her love of art developed in the city’s Kelvingrove Galleries. Dr Cargill Thompson was educated at Cheltenham Ladies College and then read Physiology and Pharmacology at St Andrews University. She went on to do a PhD at Edinburgh University which was research into the contraceptive pill. In 1970, Dr Cargill Thompson began work at the Andersonian Library at Strathclyde University, being appointed as the Head of the library’s new Reference and Information Division in 1982. Close to retirement in 1999, she was awarded the Princess Royal Medal for services to the discipline. Dr Cargill Thompson’s collecting and patronage was in the family tradition. A well-known character in the West of Scotland, especially at exhibition openings and private views. She lived frugally using public transport around the city and never viewed her passion for collecting art as a monetary investment. Dr Cargill Thompson was a truly public-spirited Glaswegian and throughout her time at Strathclyde University she supported the Collins Gallery (closed 2013) and in 1999 she gifted a substantial part of her collection of contemporary art to the University and a portion of her contemporary silver collection to The Glasgow School of Art.

* CONSTANTIN KLUGE (RUSSIAN/FRENCH 1912 - 2003), BORDS DE SEINE ENNEIGÉS À RUEIL (SNOWY DAY ON THE RIVER SEINE AT RUEIL, PARIS) oil on canvas, signed 51cm x 61cm Framed. Note: Constantin Kluge was a Russian-born French painter best known for his naturalistic scenes of Paris and 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 river banks and streets before returning to Shanghai. With the rise of Communism in China, the artist fled to Paris in 1950 and began exhibiting in the 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. Our only recent example of Constantin Kluge's work was "Notre Dame, Paris" from the same private collection, which sold for £4200 (hammer), Lot 547 (The Scottish Contemporary Art Auction, 26th May 2019).

* MARGOT SANDEMAN (SCOTTISH 1922 - 2009), STILL LIFE WITH FRUIT, oil on canvas, initialled and dated '88 66cm x 41cm Unframed. Note: Personal inscription verso, 'all my best wishes to both, with love from Margot, 4th August 2006' Note 2 : Margot Sandeman was an accomplished Glasgow painter, who worked with Ian Hamilton Finlay and became Joan Eardley`s longest-standing friend, a friendship that lasted until Eardley`s death in 1963. At the Glasgow School of Art she was quickly singled out, along with Eardley, by Hugh Adam Crawford, head of drawing and painting, for an experiment in which a very small number of outstanding students in that 1939 session were selected for special attention. This effectively amounted to a three-year course in two years, with Crawford himself as tutor. The war interrupted her painting career as did the bringing up of her children following her 1946 marriage to ceramicist James Robson. In 1970 she won the Guthrie Award of the Royal Scottish Academy, the Redpath Award from the Society of Scottish Artists and a Scottish Arts Council prize. In 1988-89 she produced a series of large canvases of bathers echoing Matisse and Seurat and in 1989 she was the Scottish Winner of the prestigious Laing Competition. She also collaborated with her old contemporary Ian Hamilton Finlay on his texts and also created a parallel series of still-lifes plus all the illustrations for his "concrete poetry". Sandeman contributed to mixed exhibitions in the UK and US, with her principal solo exhibitions being at the Demarco Gallery in Edinburgh and the Hughson Gallery in Glasgow, with a final show at the Talbot Rice Gallery in Edinburgh in 2006. Her work is represented in public and private collections in Scotland and in private collections in the US and UK.

* ALESSANDRO NOCENTINI (ITALIAN B 1949 - ). FIORE watercolour on paper, signed, titled and dated 1983 67cm x 48cm Mounted, framed and under glass. Gallery label verso. Note: Alessandro Nocentini was born in Florence, Italy in 1949 and has continued to live there ever since, devoting his life to his artwork. Nocentini has been exhibiting his work for over 50 years and has received widespread recognition from the international art world. He is known as one of Italy's greatest watercolourists and is also a leading contemporary engraver/etcher of the second generation. Nocentini derives his inspiration from the landscapes of his native country. His work has a lyrical effect of remarkable intensity, beauty and vitality. His subjects are drawn from nature and hold an organic quality that is the founding strength of all his work.

* ALESSANDRO NOCENTINI (ITALIAN b 1949 - ), FUNGHI watercolour on paper, signed, titled and dated 1984 74cm x 55cm Mounted, framed and under glass. Gallery label verso. Note: Alessandro Nocentini was born in Florence, Italy in 1949 and has continued to live there ever since, devoting his life to his artwork. Nocentini has been exhibiting his work for over 50 years and has received widespread recognition from the international art world. He is known as one of Italy's greatest watercolourists and is also a leading contemporary engraver/etcher of the second generation. Nocentini derives his inspiration from the landscapes of his native country. His work has a lyrical effect of remarkable intensity, beauty and vitality. His subjects are drawn from nature and hold an organic quality that is the founding strength of all his work.

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b 1948), HENS IN THE SPRING MOONLIGHT, ISLE OF MULL oil on canvas, signed, further signed, titled and dated 2017 verso 51cm x 51cm (excluding frame) Framed and under glass. Note: Jolomo remains one of Scotland's most celebrated contemporary artists and in The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer), just one 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.

* STEPHANIE DEES RSW, TREES AND RIVER mixed media on paper, signed 20cm x 24cm Mounted, framed and under glass. Label verso: The Scottish Gallery, Edinburgh. Note: Stephanie Dees attended Edinburgh College of Art, obtaining MFA Degree in Painting 1996 to 1998, adding to her Edinburgh College of Art, BA(Hons) Degree in Drawing and Painting from 1992 to 1996. Dees is a regular exhibitor at Society and Commercial Gallery group exhibitions throughout the UK and has been showing with The Scottish Gallery since 1997. Her works feature in private and public collections worldwide. Stephanie’s Works of Edinburgh capture different seasons and changing light. From the pale light of winter with silhouetted bare trees, to the light and shade of a beautiful summer day and the bright bursts of green and vibrant colour that summer brings, through to the warm comforting glow of an autumnal day. With her East Lothian paintings, she considers the importance of space and the calmness and serenity she feels when looking out to sea. Having been brought up in North Berwick the certainty of the sea gives Stephanie time to reflect and look back to nature in the chaotic and busy time we live in. The warm character and joyous colours of the East Neuk harbour paintings conjure happy memories of her childhood holidays as she hopes to convey the unspoilt charm of this part of Scotland. Stephanie has enjoyed no less than seven solo shows at The Scottish Gallery (Edinburgh) which is widely regarded to be the most prestigious contemporary art gallery in Scotland. He most recent solo show at the gallery was in 2019.

HUW WILLIAMS (AKA THE HORSE PAINTER) (b. 1968 - ), JUMPING HORSE oil on canvas, signed 100.5cm x 180.5cm Unframed, as intended. Note: Huw Williams (The Horse Painter) is a fine artist whose work is dominated by the horse, specifically stunning, striking stallions showing their power and movement. From his Perthshire studio Huw produces works on a large scale, ranging from 5ft to 12ft, always in oil. Typically any individual piece can take from four to eight weeks to complete. His work hangs in the homes of many well-known private clients and prestigious corporate collections Worldwide. These include those of : Beverly Hills Luxury Interiors for His Majesty Hamad bin Isa Al Khalifa (King of Bahrain), Roger Myers, Cafe Rouge; Exponent, London; Mr Teo Khing, TAK Design architect to Sheikh Mohammed bin Rashid al-Maktoum.; Mr Kenneth Bordewick (Designer BHLI Los Angeles); Mr. Robert Friedland – Ivanhoe Mines (corporate); Darren Clark (Golf); Squire De Lisle (corporate); Sir Stephen Hastings; Mr. Philip Gerrard Esq (corporate) Gerrards; Mr. Raymond Andersen Green Esq (racehorses/corporate); Lloyds TSB Bank (corporate); Prudential Bank corporate); Form (Los Angeles); Mrs. Fiona Martin; Mr Clive Wells Skadden, London; The China Horse Club; The Meydan, Dubai; Lady Fiona Savory; Ms Whitney Kroenke (Walmart); Ms Chitrangda Singh (Bollywood); The Audeh Group; Le Gray, Amman; Michela Auert Design; Kathryn Levitt Design and Ms Jenny Wang (Chairman AEC). Huw Williams paintings rarely appear at auction but one of similar dimensions to the one offered sold at Mander Auctions (Suffolk) lot 260 19th August 2017 for £4800 and in The Scottish Contemporary Art Auction on 8th November 2020, lot 520. "Peleton III" sold for £4600 (hammer).

* MICHAEL SCOTT (SCOTTISH 1946 - 2006), COME SAIL YOUR SHIPS AROUND ME oil on canvas, signed 120cm x 117cm (approximately 48 x 46 inches) - excludes frame. Framed. Label verso: The Contemporary Fine Art Gallery, Eton. Notes: This lot includes a hardback copy of "Michael Scott, Testament" published in 2010. The painting features as a full page image on page 81 and confirms it was completed in 2001.This painting was inspired by "The Ship Song", the 1990 indie classic love song written and first performed by Nick Cave. The title of the painting is the first line of the song. The song has been covered by numerous artists most notably the 2010/11 collaboration of over 100 musicians as a promotional film and song for the Sydney Opera House. What became known as "The Ship Song Project" took almost a year to complete and in the first 24 hours after its launch, the film clip was shared online more than 1.7 million times. It became a major media success and is credited with bringing about a 40% increase in ticket sales at the Sydney Opera House. (extensive details online and video on YouTube). Michael Scott's large work rarely appears at auction but The Bathers, a 36 x 40 inch oil on canvas sold at Christie's, London on 28th October 2004 (lot 299) for £7170 (premium) and At The Riverbank, a smaller example was sold by McTear's for £4000 (hammer) - lot 1720, 26th August 2014. 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. We believe "Come Sail Your Ships Around Me" is the finest example of Michael Scott's work to have been offered at auction.

* FIONA STURROCK, STILL LIFE OF FLOWERS IN A VASE oil on board, signed 59cm x 59cm Framed. Note: Fiona Sturrock’s paintings demonstrate her love of colour and the practice of mixing colour, laying down patterns of light, shade and texture to produce bold representations of what she is observing. She tends to work on one painting at a time, giving it full focus and energy, which often translates visibly in the intensity of colour and boldness of the finished piece of work. Fiona paints from a mixture of life scenes, photographs and imagination. She is influenced by historical works of Colourists and Impressionists, and is hugely inspired by the wealth and richness of contemporary Scottish art that surrounds us in the present day. Fiona’s work features across a number of galleries and is held in private collections internationally.

* STEPHEN BROWN RBA, SAILBOATS AND SEAMIST oil on board, initialled, titled label verso 16cm x 18.5cm Framed. Label verso: Rowley Gallery Contemporary, London. Note: Stephen Brown was born in Chard, Somerset in 1947. He attended the Somerset College of Art in the late sixties and studied under Patrick Larking RP ROI in the 1970s. He has exhibited at the Royal West of England Academy, the Royal Academy Summer Exhibition and the New English Arts Club. He also exhibits annually with the Royal Society of British Artists (RBA) where he was elected member in 1997. At the beginning of 2003 he was elected membership of The Small Paintings Group and has written articles for International Artist magazine on painting the English Landscape. He exhibits throughout the country. Galleries include the Clifton Gallery in Bristol, Rowley Gallery Contemporary Arts, The Sheen Gallery, Thompson’s Gallery in London, Red Rag Gallery in the Cotswolds and Wykeham Gallery in Stockbridge, Hampshire.

Moderner Tierbildhauer (Tätig im 20. Jh.)Schleichender PantherBronze, dunkel patiniert; dunkelgrauer Marmorsockel. Zeitgenössischer Guss (Ende 20./Anfang 21. Jh.) eines Panthers im Art Déco-Stil. L. 42,5 cm.Modern sculptor (active 20th cetury). Dark patinated bronze figure on dark grey marble base. Contemporary cast, late 20th/early 21st century.

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

Tingry (P.F.) The Painter and Varnisher's Guide, second edition, 2 engraved plates (one folding), folding letterpress table, 4pp. advertisements at end, contemporary ink manuscript recipe for making milk white paints to front free endpaper and another for bronzing statues and medals loosely inserted, small hole to P1 and short tear to one leaf, original boards, uncut, a little rubbed and marked, rebacked in calf, 1816 § Scultura-Historico-Technica: or, the History and Art of Engraving, fourth edition, 10 engraved plates, staining to some leaves, contemporary sprinkled calf, red roan label, rubbed, J.Marks, 1770; and 3 others including a duplicate of the second, 8vo & 12mo (5)

• SIR TERRY FROST, RA (1915-2003)ARBOLE, ARBOLE (TREE, TREE) (LORCA SUITE), 1989signed lower rightetching with hand colouring, signed artist's proof565 x 385 mmEdition of 75 plus 15 APThe Lorca Suite is made up of eleven poems by Federico Garcia Lorca 1989 Each image and sheet on Somerset Satin wove paper, published by Austin Desmond Contemporary Books London, designed by Gordon House, printed by Hugh Stoneman and Alan Cox at the Print Centre, London. Edition 75 plus APS (10 numbered). Each print individually signed and numbered.Literature: Terry Frost Prints (Dominic Kemp) p. 126-136 reproduced in colour page 136, plate 107 Terry Frost, David Lewis pages 216-219Provenance: London, Modern Art Auctions, November 26 2014, Lot 177; John Constable

SIR JOHN ARNESBY BROWN, RA (1866-1955)EARLY EVENING IN NOTTINGHAM CITY CENTREsigned with monogram and dated lower left AB/87oil on canvas 89 x 59.5 cm/35 x 23 1/2 in.This rare early work is a product of Arnesby Brown~s time studying in his home town at Nottingham School of Art in the late 1880s. Even at this date Brown revealed himself to be far ahead of many of his contemporaries in his approach to subject matter. Rather than a tightly painted topographical record of the city, he presents us with an already impressionistic and highly evocative view of an industrial city centre, together with the restless bustle of its street life. The work is rich with contemporary reference; the wall of advertisements in the background referring to a performance by one of the most lauded sopranos of the century, Adelina Patti, on a tour to Nottingham's recently opened theatre with Gilbert and Sullivan's The Mikado (one of the duo's most successful operettas).Part proceeds to benefit The Grange Festival

Contemporary Scottish silver brooch by William Hardwick Hall (Studied Glasgow School of Art) (1937-2006) of Rothesay Isle of Bute, Edinburgh 1999, 6cm wide

Contemporary Scottish silver brooch by William Hardwick Hall (Studied Glasgow School of Art) (1937-2006) of Rothesay Isle of Bute, Edinburgh 1999, 5cm wide

Contemporary Scottish silver pendant by William Hardwick Hall (Studied Glasgow School of Art) (1937-2006) of Rothesay Isle of Bute, Edinburgh, 4cm wide

Contemporary Scottish silver brooch by William Hardwick Hall (Studied Glasgow School of Art) (1937-2006) of Rothesay Isle of Bute, Edinburgh 1986, 3.5cm wide

Contemporary Scottish silver wishbone pendant set with cabochon moonstone, makers mark MC, Edinburgh 1987 and a Art Deco style foil back pendant in Henderson of Dundee box

An Art Deco style contemporary sunburst wall hanging mirror having a central circular glass with other rectangular glass in the form of sunrays. Measures approx.: 60cm wide.

EZIO CICCIARELLA (Vittoria (RG) 1976) Scultura in pietra "Elastica" - 2018 Più che i banchi di scuola, da ragazzo lo attirano gli spazi aperti, il cantiere con gli attrezzi e i materiali adoperati dal padre artigiano. S’interessa precocemente soprattutto di tecniche edilizie, di restauro, di lavori da scalpellino e d’intarsio.Maturando, cresce anche la brama di conoscenza, d’incontri e di esperienze, tale da indurlo a continui viaggi e soggiorni sia in Italia che all’estero.Ma, insoddisfatto ed inquieto, è sempre in cerca del quid che lo gratifichi e realizzi compiutamente; intorno al 2001 inizia così ad eseguire le sue prime sculture, non ancora cosciente d’avere scoperto la musa donatrice di senso.Nel 2008 la svolta decisiva: fra molte difficoltà, decide di avviare un suo laboratorio nel centro storico di Vittoria per dedicarsi interamente all’arte, dalla cui fascinazione è ormai soggiogato.Inizia da allora a produrre un’ampia serie di opere, elaborando un suo linguaggio autonomo ed affinando costantemente la tecnica. Intanto legge, discute di arte ed estende il circuito delle sue relazioni, entrando in contatto con personaggi del calibro di Franco Sarnari e Vittorio Sgarbi; un lungo e impegnativo percorso coronato dalla partecipazione alla Biennale di Venezia 2011. Nello stesso anno allestisce anche uno spazio espositivo in via Cavour, a pochi passi dal laboratorio dove continua a realizzare le sue opere.La scultura - dice Ezio - ha illuminato la mia vita, ma esigendo dedizione assoluta, coraggio e sacrifici infiniti. Se l’arte non è mestiere ma predestinazione, ad Ezio Cicciarella è stata fatale la sua attitudine, che di certo continuerà ad assecondare.PersonaliScultura Uno, a cura di Ezio Cicciarella, 9 - 24 juin 2012, Laboratorio Cicciarella, Vittoria. Cicciarella-Iozzia, a cura di Ivano Fackin, may - june 2014, Modica. Stessa strada - Mostra Bipersonale Cicciarella-Nigro - convento delle Grazie, a cura di Luciano D'Amico, july 2015, Vittoria. Segni duo - Cicciarella-Iozzia, a cura di Antonio Sarnari, 2015, QUAM, Scicli. Senza Titolo, a cura di Factory Associazione Culturale, may 2016, Vittoria. Segni del visibile - Cicciarella-Iozzia, a cura di Piero zuccaro, may 2016, Galleria Arté, Acireale. Alcune delle Mostre collettive Biennale di Venezia, a cura di Vittorio Sgarbi, december 2011, Padiglione Italia, Sala Nervi, Torino. Il dogma del debito - Mostra denuncia, a cura di Gianluca Gulino, 21 september– 12 october 2012, Spazio Tadini, Milano. Sculpture Tour Salina/em>, may 2014 - april 2015, Kansas - USA. Premio Ars Mirabilis, a cura di Mirabilia arte&cultura, 2015, Reggio Emilia. Biennale di Genova - 1° Premio sezione Scultura, a cura di Mario Napoli, 2015, Palazzo Stella, Genova. Arternative Playground Contemporary Art Fair, a cura di plasticine art factory, 2015, London UK. 31st Chelsea International Fine Art Competition, giurati: Marisa Kayyem, Irene Tsatsos, Seb Patane, Xiaoyun Zhang, Holly Myers, 2016, Agora Gallery, New York USA. cm 21 x 18 x 11.

*Hanne Enemark and Louis Thompson (contemporary), London Glassblowing Studio,'Extracted Ununoctium 118',blown glass, with engraved signatures,37 and 33cm high (5)Founded by Peter Layton in 1976, London Glassblowing is one of Europe’s most prominent studio glass galleries and longest running hot-glass studios.Hanne Enemark graduated from the Royal College of Art and has represented Denmark at the European Glass Context in the Emerging Artist category. She has also worked with Louis Thompson, an artist who has worked with glass for over thirty years. During his career, he has taught and worked internationally, as well as being invited to create installations for various museums.*Artist's Resale Right may apply to this lot.Condition report: In good order

*Hanne Enemark and Louis Thompson (contemporary), London Glassblowing Studio,'Penumbra', blown graduated yellow to clear glass, engraved signature,24.5cm highFounded by Peter Layton in 1976, London Glassblowing is one of Europe’s most prominent studio glass galleries and longest running hot-glass studios.Hanne Enemark graduated from the Royal College of Art and has represented Denmark at the European Glass Context in the Emerging Artist category. She has also worked with Louis Thompson, an artist who has worked with glass for over thirty years. During his career, he has taught and worked internationally, as well as being invited to create installations for various museums.*Artist's Resale Right may apply to this lot.Condition report: Good order

*Hanne Enemark and Louis Thompson (contemporary), London Glassblowing,'Penumbra', blown in graduated amethyst to clear glass, engraved signature,34cm highFounded by Peter Layton in 1976, London Glassblowing is one of Europe’s most prominent studio glass galleries and longest running hot-glass studios.Hanne Enemark graduated from the Royal College of Art and has represented Denmark at the European Glass Context in the Emerging Artist category. She has also worked with Louis Thompson, an artist who has worked with glass for over thirty years. During his career, he has taught and worked internationally, as well as being invited to create installations for various museums.*Artist's Resale Right may apply to this lot.Condition report: In good order

Lots 398-408The following eleven lots come from the retired studio of Marie Machen SPS SWA. Marie was born in Manchester, but has lived in Hertfordshire for the last twenty years. Trained at Kennington School of Art and the Sir John Cass College, Marie has shown in numerous galleries and is an elected member of the Society of Women Artists and the Society of Portrait Sculptors.*Marie Machen SPS SWA (contemporary),figure of a reclining nude in a hammock, with a separately cast wide brimmed hat resting on her torso, bronze, signed 'M.Machen', raised on a black marble plinth,43cm wide18cm deep23cm high*Artist's Resale Right may apply to this lot. Condition report: Overall good order

C.3000-2000 BC. Bactrian. Stunning dark alabaster chalice. A tall stem and a conical base are topped with a bowl with slightly flaring walls. Alabaster was a precious material, widely traded in the region from the 4th millennium BCE onward. The purpose of such a vessel is not known. Pieces like this one often came from burials and votive offerings. Along with others that make up the typology of stone vessels, together with the well-known column or circular idols, these are all characteristic of the Bactrian material culture. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system.It was one of many economic and social entities in the vicinity, and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India and the Arab States, amongst others.Through local stone carvers inhabiting the regions of Margiana and Bactria experienced no shortage in material; the main raw material was soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi- precious lapis-lazuli, was in Bactria, at Badakhshan in north-western Afghanistan, which provided material not only for the Bactrian and Margian carvers but also farther to the west into Mesopotamia, for the Assyrian kings. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market. Size: L:175mm / W:96mm ; 1.15kg

C. 2nd-1st millennium BC. A spectacular ram-shaped bronze oil lamp. The ramp stands foursquare, looking forward. Large, curved horns, project from its head. On its back is a large filling hole with an out-turned rim and the remains of a hinge for the lid. The ram's long legs terminate in carefully modelled feet. A length cylindrical spout with an upturned end juts out from its chest. Bactra was the Greek name for the area of modern Balkh, in what is now northern Afghanistan and Margiana was the Greek name for the Persian satrapy of Margu, the capital of which was Merv, in today's Turkmenistan. This civilisation was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. Excellent condition; beautiful patina. Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent. Size: L:205mm / W:240mm ; 1.6kg

C.3000-2000 BC. Bactrian. Beautiful, large alabaster vessel with amber-coloured slip and dark bands swirling around its body. Clearly, the craftsman knew how to take advantage of the swirling bands of colour of the alabaster to give a sense of movement as a decorative element on the vessel. The shoulder are presented with knobs and topped with a flared rim. Alabaster was a precious material, widely traded in the region from the 4th millennium BCE onward.The purpose of such a vessel is not known. Pieces like this one often came from burials and votive offerings. Along with others that make up the typology of stone vessels, together with the well-known column or circular idols, these are all characteristic of the Bactrian material culture. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system.It was one of many economic and social entities in the vicinity, and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India and the Arab States, amongst others.Through local stone carvers inhabiting the regions of Margiana and Bactria experienced no shortage in material; the main raw material was soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi- precious lapis-lazuli, was in Bactria, at Badakhshan in north-western Afghanistan, which provided material not only for the Bactrian and Margian carvers but also farther to the west into Mesopotamia, for the Assyrian kings. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market. Size: L:200mm / W:165mm ; 3.9g

C. 3000-2000 BC. Bactrian. A large and impressive stone jar with a lid. The vessel has a round flat body and the lid shows traces of incisions, probably intended as a decorative element by the maker. Bactrian vessels were commonly made from this grey stone, made of a type of stone widely available in Oman that was traded north through Arabia, the Gulf, Iran, Baluchistan, and Pakistan. Archaeologists believe that these objects were traded not just as vessels, but for what they held.This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system.It was one of many economic and social entities in the vicinity, and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India and the Arab States, amongst others.Through local stone carvers inhabiting the regions of Margiana and Bactria experienced no shortage in material; the main raw material was soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi- precious lapis-lazuli, was in Bactria, at Badakhshan in north-western Afghanistan, which provided material not only for the Bactrian and Margian carvers but also farther to the west into Mesopotamia, for the Assyrian kingsProvenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:80mm / W:145mm ; 800g

C. 3000-2000 BC. Bactrian. A stunning stone vessel shaped like a six-pointed star. Each spike has an opening. The rim of the round centre is decorated with notches. Bactrian vessels were commonly made from this grey stone, widely available in Oman that was traded north through Arabia, the Gulf, Iran, Baluchistan, and Pakistan. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system.It was one of many economic and social entities in the vicinity, and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India and the Arab States, amongst others.Through local stone carvers inhabiting the regions of Margiana and Bactria experienced no shortage in material; the main raw material was soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi- precious lapis-lazuli, was in Bactria, at Badakhshan in north-western Afghanistan, which provided material not only for the Bactrian and Margian carvers but also farther to the west into Mesopotamia, for the Assyrian kings.Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:35mm / W:115mm ; 250g

C. 3000-2000 BC. Bactrian. Beautiful square stone palette. Decorated with geometric patterns on the outside and the rim. The four compartments inside suggest that it was used to hold cosmetics. Bactrian vessels were commonly made from this grey stone, widely available in Oman that was traded north through Arabia, the Gulf, Iran, Baluchistan, and Pakistan. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system.It was one of many economic and social entities in the vicinity, and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India and the Arab States, amongst others.Through local stone carvers inhabiting the regions of Margiana and Bactria experienced no shortage in material; the main raw material was soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi- precious lapis-lazuli, was in Bactria, at Badakhshan in north-western Afghanistan, which provided material not only for the Bactrian and Margian carvers but also farther to the west into Mesopotamia, for the Assyrian kings.Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:50mm / W:98mm ; 450g

CONTEMPORARY ART DECO DESIGN SILK RUNNER, 300cm x 80cm, geometric sky blue field.

Edition Of 20 , Year- 2020 , Medium- Screen print on fine art paper , Signed and Numbered , Size- 54 x 80 cm , Condition Report- As New , SHIPPED FROM UK David Studwell is a contemporary British artist and print maker who studied at Central St Martins School of Art. Having worked as an artist for over 20 years, Studwell harnesses the spirit of the sixties and seventies, the cult of celebrity and the legacy of Warhol to produce iconic screen prints.

Original 1/1 , Medium : Acrylic and marker on cotton canvas with uv ray protective gloss , Size : 80 x 78.5 cm , Year : 2021 , ORIGINAL 1/1 Condition- As New SHIPPED FROM EUROPE 1990, Cristina Savoca was born and lives in Rome.Fascinated by art from an early age, she expressed he passion between the walls of the house and the street.Today her participates in exhibitions in his city,some of his canvases are exhibited in Roman galleries. She creates contemporary, abstract, street art, pop art paintings. His paintings are born above all from inspiration, from moods and from the knowledge of techniques.

Edition Of 50 , Year- 2020 , Medium- Screen print on fine art paper , Signed and Numbered , Size- 48 x 62 cm , Condition Report- As New , SHIPPED FROM UK David Studwell is a contemporary British artist and print maker who studied at Central St Martins School of Art. Having worked as an artist for over 20 years, Studwell harnesses the spirit of the sixties and seventies, the cult of celebrity and the legacy of Warhol to produce iconic screen prints.

After David Pentland (Contemporary), A large scale Second World War action study of German panzers and Panzergrenadiers in action on the Eastern Front, fine art print on canvas board, framed, 66 x 92 cm