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JOSE ANTIGUA (CARRIBEAN 20TH CENTURY), EXOTIC BIRDS IN A STYLISED LANDSCAPE oil on board, signed and dated 1995 90cm x 60cm Framed. Note: A vibrant example of contemporary Caribbean art.

A collection of art books many about contemporary potters and painters (17)

TOM NASH large oil on board - entitled verso on Contemporary Art Society for Wales exhibition label 'Landscape Form (Blue)', signed and dated 1962, 118 x 83cms Provenance: Betty Evans Collection, former President of CASW (see catalogue foreword) Presentation & Condition: contemporaneous frame, dirt and surfaces marks only, very slight losses commensurate with agePlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)

VICTOR NEEP oil on board - entitled verso on Contemporary Art Society of Wales label 'Beach', signed, 38 x 29cms Provenance: Betty Evans Collection, former President of CASW (see catalogue foreword) Presentation & Condition: original circa 1970s tired frame, surface dirt, no damagePlease note that this lot may be subject to Droite de Suite at 4% of the hammer price (Please see terms / enquire)

Approximately 70 contemporary auction catalogues to include Bonhams, Christies, Sworders, Tennants, Dominic Winter, Bellmans and Wooley & Wallis - Furniture, Works of Art, Clocks, 20th Century Design, various Collections, Modern & Contemporary Prints, Country House Sales, Asian Art and Modern British Art (2 boxes)

NO RESERVE Modern Art.- Saatchi Gallery. The Triumph of Painting, 2005 § Phillips (S.B.) & others. Sean Scully: Wall of Light, New York, 2005 § Falk (Hans) A Year's Work 1985-86, Lucerne, 1986 § Celant (G.) Anselm Kieffer, Milan, 2007 § Rosenthal (Norman) & others. Baselitz, 2007 § Adams (Brooks) & others. Sensation: Young British Artists from the Saatchi Collection, 1997, illustrations, many colour, the first three original cloth or boards with dust-jackets, the rest original wrappers; and c.35 others on contemporary art, some dealers' catalogues, 4to & 8vo (c.40)

Harris (James) Three Treatises. The First Concerning Art. The Second Concerning Music, Painting, and Poetry. The Third Happiness, first edition, scattered faint spotting, modern calf-backed boards, 1744 § A Chronological Series of Engravers from the Invention of the Art to the beginning of the Present Century, half-title, 3 engraved folding plates, ex-library with blind-stamps and faded ink-stamp to title verso, occasional faint spotting, previous owner's ink inscription, contemporary calf, rebacked, slight bumping to corners, Cambridge, 1770 § The Record of the International Exhibition 1862, folding double-page lithographed frontispiece, decorative title, 24 plates, some double-sided, 7 folding or double-page, illustrations, spotting, occasional off-setting, previous owner's name label to blank, later half-morocco, a little rubbed, Glasgow, William Mackenzie, [1862]; and others similar, 8vo & 4to (6)

Bindings.- Roscoe (Thomas) Wanderings and Excursions in North Wales, additional steel-engraved title and plates, folding map with outline hand-colouring, some foxing, contemporary blind stamped morocco, gilt, joints a little rubbed, c.1836 § Stevenson (Robert Louis) Familiar Studies of Men and Books, endpapers and half-title browned, contemporary half morocco, spine gilt with art deco design, minor scuffing, 1909; and 3 others, handsome bindings, 8vo (5)

Italy.- Rome.- Vedute Antiche e Moderne...della Citta di Roma, engraved vignette title and 100 engraved views on 50 plates, title lightly foxed and with contemporary ink inscription "Lucy Rolleston Rome 25.ii.1817" at head, a few manuscript poems etc. loosely inserted, stitched in contemporary wrappers, rubbed, slightly frayed at edges, Rome, Venanzio Monaldini & Stefano Piale, [c.1817] § Hare (Augustus J.C.) Walks in Rome, 2 vol., third edition, 2 double-page maps, extra-illustrated with c.45 contemporary photographs of views of Rome or works of art, all mounted on blank leaves and bound in, some a little faded, contemporary vellum,gilt, spines gilt with red & green roan labels, a little rubbed and soiled, 1872; and another, 4to & 8vo (4)

Two contemporary pieces of art glass including a bowl and square platter

Diogo de Contreiras (1500-1560)The meeting at the golden door Oil on panel Portugal, c. 1550 Provenance: Late Alpoim Calvão Collection118x50 cmAdditional Information:Present day Art Historians are unanimous in their appreciation of Diogo de Contreiras, one of the most creative painters of the Portuguese Mannerism who, by embracing a distinctive personal style, freed himself from the restrictive models defined by Gregório Lopes (ca.1490-1550). Through novel experimentation Contreiras would simultaneously be able to absorb contemporary Italian innovations on drawing, composition and colour.The artist’s biographical details have been thoroughly researched and it is today widely accepted that he worked from Lisbon for the wealthiest Portuguese patrons, namely Duke Teodósio I of Braganza (1510-1563), the Order of Christ’s Head–Commander Afonso de Lencastre (ca.1505-1572), the Royal House nobleman João Rodrigues Português and the aristocratic Costa family from Évora. This information, as well as other important data, resulted from research developed in 1977-78 by Professor Vitor Serrão, which led him to identify with certainty the artist previously known as the “Master of São Quintino”, as being in fact Diogo de Contreiras.Up until then the artistic production attributed to this “Master of São Quintino” had been mistaken, namely in 1954 by Luís Reis Santos (1898-1967), for the later phase of the painter Gregório Lopes. Reynaldo dos Santos (1880-1970) however, had argued that this artist had no connection to that master, being instead an independent, yet unknown, entity. Further research in 1957, by the Spanish Art Historian Martin Sória (1911-1961), on a group of over thirty paintings identified as being by “São Quintino” would later be reinforced by Vitor Serrão’s attributions.The work we are now presenting for sale at Veritas is one of three versions that Contreiras completed on the same subject. One first version was painted circa 1540 for Saint Catherine’s Parish Church. One other was completed at a later date for the central panel of the tryptic of the Conception at the Benedictine Monastery of Cástris, near Évora.Factors such as the robustness of the figures and their depiction in pray, rather than in the usual embrace of Conception, point to an evolution in Contreiras’ artistic development and suggest, with some certainty, that our painting is likely to date from the early 1550s.According to the Historian Joaquim Caetano who, following from Vitor Serrão’s research results, has focused his attention on Contreira’s work, the artist does not always follow the same exact models. As such, in this painting, the Saint Joachim’s figure – of long beard and grey hair - is portrayed in profile, and that of Saint Anne – of oval face characteristic of the artist’s female models – appears facing the viewer but placed towards the back.In this particularly tall and narrow panel the placement of the Golden Gate oblique arch, reinforced by a buttress, creates an angle at the centre of the painting and provides an opening for two backgrounds. One with buildings, to the left, and another to the right with a landscape that becomes the setting for the complimentary scene of the “Annunciation to Saint Joachim” both with considerable depth of perspective.By replicating the arch diagonally supported by the buttress, the artist created a central X intersection that overlaps at this particular point. One of the axes connecting to Saint Anne’s and the landscape (whose colours reflect the Saint’s mantle) and the other corresponding to Saint Joachim and the succession of warm colours in the background with buildings. Vertically these two axes are intersected by the line that, from the rose stems that extend from the spouses’ hearts, holds the Immaculate Virgin suspended on a fine crescent and resplendent on the luminous halo.According to Anísio Franco “this is an unsurpassable work in the production of this Portuguese Renaissance artist that, although out of his intended original context, has its own independent status and relevance as a work of art that will undoubtedly enhance and value any Old Master paintings collection.” Bibliografia/Literature:Joaquim Oliveira Caetano, A identificação de um pintor in "Oceanos", n.º 13, Lisboa, 1993;Grão Vasco e a pintura europeia do Renascimento: Galeria de Pintura do Rei D. Luís, 17 março a 10 junho 1992, Comissão Nacional para as Comemorações dos Descobrimentos Portugueses, em colaboração com Secretaria de Estado da Cultura, Instituto Português do Património Cultural, Instituto Português de Museus, 1992;Vítor Serrão, História da Arte em Portugal - o Renascimento e o Maneirismo, Lisboa, 2002  Vítor Serrão, Os painéis da igreja de Unhos: séculos XVI - XVII, Boletim Cultural, nº 73-74, Lisboa, 1970, p. 27-52;Pedro Almeida Flor, A autoria do Retábulo de Santa Maria de Almoster por Diogo de Contreiras (1540-1542), in ARTIS, Lisboa, Instituto de História da Arte da Faculdade de Letras de Lisboa, 2004, n.º 3, pp. 335-34;Vítor Serrão e Joaquim Oliveira Caetano, A Pintura Maneirista em Portugal. Arte no Tempo de Camões, catálogo de exposição comissariada por Comissão Nacional para a Celebração dos Descobrimentos Portugueses, galeria de D. Luís, Palácio Nacional da Ajuda, Lisboa, 1995, n.º 8, pp. 194 e 195; 

JOHN BUTTS (c.1728 - 1764) A Mountainous Wooded Landscape with figures gathering woodOil on canvas, 94.5 x 128cm Provenance: Sotheby's, London, 6 July 1983, lot 250Exhibited: Dublin, Exhibition Palace, Arts, Industries and Manufactures (and Loan Museum of Works of Art), 1872.As one of the finest early Irish landscape painters, John Butts specialised in extensive woodland scenes, often based on his native county of Cork around the margins of the Blackwater river. His idealised and romanticised views reflect a particular stylistic tradition of landscape painting, greatly influenced by French 17th century artists' such as Claude Lorrain and Nicolas Poussin. Works by Butts are considerably scarce and large-scale landscape scenes, such as the present example are particularly important additions to the artist's known oeuvre. The early years of his career were spent in Cork, studying and painting from the environment around him, in which he was praised for his remarkable ability to render the breadth and variety of light and shadow in his compositions. While highly idealised views of the wild local environment, Butts handling of colour and the creation of distinctive atmospheric qualities established him as an artist of merit.In this work he captures the toil and hardship of the men at work, gathering large branches for building and fire wood, while the figure in the distant foreground, returning to the town, is bent over under the weight of his load. The centre of the composition is beautifully lit, the rocky cliff face bathed in the warm glow of the sun. Butts manages to create both a focused narrative in the foreground of the painting, while also alluding to the vast and expansive landscape and mountains in the distance. The sun breaks through the clouds, hitting the canopy of the forest and casting a dappled light over the entire scene. Little is known about his painting career, other than a move to Dublin in around 1757, where he was employed as scene painter for the Crow Street Theatre. Married and with a large family to provide for, Butts took on commissions for landscape and figurative paintings in order to supplement his income. Dogged by is penchant for alcohol, he struggled to maintain consistency in his work and this kept him and his family in near state of poverty. He resorted to selling ale house scenes, noted as 'grotesque assemblages' in Strickland, or painting signs for businesses and coaches. While his reputation is not as significant as other Irish landscape painters such as George Barrett or James Barry, the latter of which was a close friend and contemporary of Butts, the emergence of more works by him will help to establish his legacy as a key figure of 18th century Irish art.

Two German Second War Adolf Hitler Presentation Photograph Frames. Two identical official photograph frames from the office of Adolf Hitler, designed by Professor Gerdy Troost and manufactured by the high quality jewellers the Brothers Franz and Hermann Wandinger. Both frames measure 342mm x 240mm, the inner frame with three steps in a hand hammered finish overall, the lower plate having to the centre the outspread winged national eagle and swastika with the letters AH to either side of the central swastika. To the edge of this lower plate is the art deco style Greek key decoration. Both frames are maker and silver content stamped FHW within a block, the German silver half moon with the silver number 925 to one of the frames, to the other frame identical markings but also with the state silver marking of Munich. Both frames are with their brown/dark maroon grained leather back section with a folding stand, slight scuffs to the leather on both of the frames, complete with all of their closing catches. Both the frames are fitted with quality copies of contemporary Hoffman photographs of Adolf Hitler with facsimile signatures, both in excellent condition and highly desirable (2) £8,000-£12,000 --- Note: These presentation frames were presented with a long dedication or a simple Adolf Hitler signature on the original photographs and they were presented fitted within a very high quality red/maroon casket, with large silvered eagle to the front, the casket manufactured by the famous leather artisan Frieda Thiersch. They were presented to high ranking officials of the NSDAP, military dignitaries, and to foreign personalities who showed support to the Third Reich. 

Three trays of art pottery to include: large Carlton Ware pink and yellow lustre bowl, contemporary 'Old Foley' James Kent vase, Bristol pottery Lorna Doone, Faun Exmoor vase, a Portuguese Elfa Alcobaca vase, vintage Crown Devon humidor/tobacco jar, a Sylvac pebble planter, a Clay mills pottery Ewenny blue bowl etc. (15)(B.P. 21% + VAT)

FREE / AVANT/ CONTEMPORARY - JAZZ LPs. Here we have a superb collection of 13 jazz LPs. Artists/ titles include New York Art Quartet/ Leroi Jones - S/T (STL 5521, Ex+/ Ex), The Cecil Taylor Quartet - Looking Ahead! (LAC 12216, Ex/ Ex), Ornette Coleman inc Chappaqua Suite (CBS 66203) & Free Jazz (ATL 50240). Spontaneous Music Ensemble - The Source From And Towards (TNGS 107), Sun Ra - Pictures Of Infinity (2460 106), Carla Bley/ Paul Haines - Escalator Over The Hill (JT4001), Larry Coryell - Spaces (6359005), Henry Cow inc Concerts (CAD 3002), Barre Phillips - Mountainscapes (ECM 1076), Lennie Tristano - Lines (590 031), Joe Zawinul - Zawinul (SD 1579) & Sonny Rollins Trio - Sonny Rollins Brass (2304 192). Condition is generally VG+ to Ex+.

*GABRIEL SUMMERS (b.1962)The Tightropea prostitute with a pipe, with a lady doing the can-can on a tightrope in the background, signed and dated 'Nov/Dec 95' verso, inscribed with title on label verso, oil on canvas60 x 48cmGabriel Summers, painter, etcher and dealer-researcher, was born in Dorset, the grandson of the artists Gerald and Nora Summers. Summers' interest in art was encouraged as a child and he won an art scholarship to Canford School, 1975-80, where he was taught by Robin J Noscoe. He graduated in the history of art at Reading University, 1980-83, and gained his masters in that subject at the Courtauld Institute, 1983-84, concentrating on British romantic art, a continuing interest. In 1990, Summers was featured in the episode 'In Search of Bohemia', part of the BBC television 'Abroad in Britain' series, with Jonathan Meades. Group shows included 'Nudes for St Valentine', Bartley Drey Gallery, 1996; 'Contemporary British Art', The Millinery Works, 2003; and 'Little Venice Drawing Group', The Clifton Gallery, 2003. He had solo exhibitions at Odd Fellows Hall, Wimborne, 1997, and Canford School Library, 1999.*Artist's Resale Right may apply to this lot.

Collection of contemporary costume jewellery, Weinberg of New York triangular paste earclips, pair of Charles Jourdan large rectangular crystal earclips, Zappe frosted glass Art Deco style earclips, Ermani Bulatti 20mm wide gilt metal collar with heart shaped drop, Askew of London cherub pendant in the Art Nouveau style, Sodini flat curb link collar necklace with Roman medallion to centre, 100mm bar brooch with blue bead terminals, Ken J Lane 50mm butterfly brooch set with paste and grey and white faux pearls, Askew triangular paste earclips, 25mm, white and black paste bow brooch, 80mm, eight pairs of large white metal earclips.

Vantongerloo, Georges. Paintings, Sculptures, Reflections. XVI, 48 S. Mit mont. Portrait, zahlreichen Diagrammen sowie 49 (2 farb.) meist ganzseit. Abb. auf Tafeln. 25,5 x 19 cm. OKart. New York, Wittenborn, Schultz Inc., 1948.Problems of Contemporary Art, 5. Mit einem Vorwort von Max Bill versehene, von Paul Rand gestaltete Monographie über Vantongerloo (1886-1965), der 1917 mit Th. van Doesburg und Piet Mondrian die Gruppe "De Stijl" begründete (vgl. Vollmer V, 10). - Sehr gutes Exemplar. - Dabei: Georges Vantongerloo. (Ausstellungskatalog). 92 S. Mit zahlreichen Abb. 28 x 20,5 cm. Illustr. OKart. Mailand, Electa, 1986. - Katalog zur Ausstellung in Berlin und Bottrop. Vorsatz mit eigenh. datierter Signatur von Max Bill.

* JOHN G BOYD RP RGI (1940 - 2001), FLOWER PIECE oil on canvas, signed; further signed and titled verso 50cm x 50cm Framed and under glass. Provenance: Exhibited and acquired in 1996 at The Contemporary Fine Art Gallery, Eton. Labels verso and original sale ticket with price (£2000). Note: John Boyd was born in Stonehaven, Kincardineshire in 1940. He studied at Gray's School of Art, Aberdeen (1958 - 1962) where he was taught by Robert Henderson Blyth. He briefly studied at Hospitalfield where he met John Byrne and Sandy Fraser, who was to become a lifelong friend. Boyd moved to Glasgow and from 1967 - 1988 he taught at Glasgow School of Art before turning to painting full time. His first solo show was held in Edinburgh in 1967, after which he exhibited regularly at the RA, the RSA, the RGI and RSPP. A major retrospective of his work was held in Glasgow, in 1994. Boyd won numerous awards and was elected a member of the Royal Glasgow Institute of Fine Arts in 1982 and a member of the Royal Society of Portrait Painters in 1989. His work is held in private collections owned by, among others, the Earl of Moray and Lord MacFarlane as well as numerous corporate collections including The Fleming Collection, Bank of Ireland, Murray Johnson and Arthur Anderson. Public collections include the Paisley Art Gallery, the People's Palace, Glasgow Museums and the Lillie Art Gallery, Milngavie. He was noted for his strongly coloured landscapes, portraits and still life's, mostly in oils, with his best work being produced in the last ten years of his life.

CONTEMPORARY ART DECO DESIGN SILK CARPET, 300cm x 200cm, geometric pastel field.

Well known for his Blood River Studio in Kentucky. He is a master potter and widely collected for his contemporary design. Provenance: Purchased directly from artist. (1) Geometric Pottery Center Bowl. Highly finished, round center bowl with geometric design. Signed with signature "Wayne Bates" Dated 2001 Size: 10 in diameter (2) Geometric Pottery Center Bowl. Highly finished, round center bowl with geometric design. Signed with signature "Wayne Bates" Dated 1999 Size: 8 1/2 diameter (3) Geometric Pottery Charger. Highly finished, round charger with geometric design. Signed with incised signature "Wayne Bates" Size: 12 in diameter (4) Studio Art Pottery. Decorative oval ceramic plate with carved design signed Wayne Bates. Size: 13 x 8 1/2 in.

"Under Grapes" color lithograph numbered 6/100, signed & dated in margin: Andrew V. Stevovich 1992. Overall: 18 1/4 x 18 1/4 in. Sight: 12 x 12 in. A noted contemporary figurative painter, Stevovich was born in Austria but moved with his family to Washington, D.C., as a young child. He spent time roaming the halls of the National Gallery of Art, where he was particularly drawn to the Renaissance paintings that would come to inform his work. Stevovich's images depict ordinary men and women in everyday situations and locations -- in restaurants and bars, at the beach, on public transportation -- but they convey a sense of mystery, creating more questions than they answer.

One-color lithograph by Andrew Stevovich, titled "Bird in Red" and numbered 11/25. Overall: 11 1/4 x 10 1/4 in. Sight: 6 x 5 in. A noted contemporary figurative painter, Stevovich was born in Austria but moved with his family to Washington, D.C., as a young child. He spent time roaming the halls of the National Gallery of Art, where he was particularly drawn to the Renaissance paintings that would come to inform his work. Stevovich's images depict ordinary men and women in everyday situations and locations -- in restaurants and bars, at the beach, on public transportation -- but they convey a sense of mystery, creating more questions than they answer.

James Bond Goldfinger - Mondo Alamo Drafthouse poster from 2007, artwork by Todd Slater, signed in pencil and numbered 115/300, rolled, 17.75 x 33.75 inches.Information - Mondo, the collectible art boutique of the Alamo Drafthouse Cinema chain, focuses on bringing art back to movie posters by commissioning and producing limited edition screen-printed film posters by contemporary artists. As well as re-imagining cult classics, Mondo produces posters for featured Alamo Drafthouse events and special screenings. This poster was produced in a limited edition of 300 for a special screening of Goldfinger at Fort Knox, Friday 3 August, 2007.

Francois Ledan (French, b. 1949), Palace du Tetre, lithograph, 159/200, signed in pencil, Christie's contemporary art label verso, 62 x 81 cm

CONTEMPORARY GREEN ART GLASS VASE, with mottled inclusions, 34.5cm high, along with another vase

CONTEMPORARY ART GLASS JUG, likely Scandinavian, 25cm high, along with a matched vase, and other art glass comprising five perfume bottles, two jugs, two dishes and one carafe (12)

§ BOB AND ROBERTA SMITH O.B.E., R.A. (BRITISH 1963-) MAKE ART NOT WAR - 2005 Screenprint, 191/200, signed, dated and numbered in red ink(the sheet 94cm x 62cm (37in x 24.5in), unframed)Footnote: Provenance: BALTIC Contemporary

§ GROUP PORTFOLIO: DOMINIC DENIS, ANGUS FAIRHURST, DAMIEN HIRST, MICHAEL LANDY, LANGLANDS AND BELL, The set of eleven prints, each signed and numbered 6/15 by the artist, published by The Paragon Press, London: Dominic Denis (British B.1963), Untitled. Screenprint, 76cm x 82cm; Angust Fairhurst (British 1966-2008), When I woke up in the morning, the feeling was still there. Screenprint, 86cm x 65cm; Damien Hirst (British B.1965), Untitled. Screenprint, 86cm x 62cm; Michael Landy (British B.1963), Cor! What a Bargain! Screenprint, 70.5cm x 88cm; Langlands & Bell (British B.1955 & B. 1959), Uno City. Blind embossed print, 71cm x 74.5cm; Nicholas May (British B.1962), Anabatic Print. Screenprint, 89cm x 60cm; Marc Quinn, Template for my future plastic surgery. Screenprint, 85.5cm x 68cm; Gavin Turk (British B.1967), Gavin Turk Right Hand and Forearm. Screenprint, 86cm x 68cm; Marcus Taylor (British B.1964). Untitled, 86cm x 70cm; Rachel Whiteread (British B.1963), Mausoleum under construction. Screenprint, 71cm x 89cm; Craig Wood (British B.1960), Safeways Gel Air Freshener (Detail). Screenprint, 66cm x 86cm.(Various sizes, unframed)Footnote: Note: A further set of fifteen, apart from edition of 65, were produced for artists and collaborators. The work was conceived as a portable exhibition. Proceeds from the sale of this portfolio will go to The Ragdoll Foundation, supporting their grant-giving programme for young people and the arts. ‘The London Portfolio’ was conceived by Charles Booth-Clibborn and published under his imprint, The Paragon Press, London. In 1991 he invited a group of artists to contribute to this project; all were gaining recognition in the artworld at the time and based in London, hence the title. There was no overarching theme offered, just the practical considerations that each work must be within a standard size (76cm x 89cm) and two-dimensional. The majority of artists submitted screenprint designs and some common themes emerged – body parts, advertising visuals, appropriated imagery, urban locations and contemporary design. The resulting series of prints were published in 1992, and the final presentation was intended to operate as a portable exhibition – a surprisingly easy way of engaging with the cutting-edge of contemporary art at that moment.

§ PETER DOIG (SCOTTISH 1959-) DRIFTER - 2001 Etching and aquatint, 20/46, from 100 Years Ago, published by The Paragon Press, London, signed and numbered in pencil(the sheet 112.5cm x 167.5cm (44.25in x 66in)) Peter Doig is one of the most renowned contemporary figurative painters and for a while held the record for most expensive artwork sold at auction by a living artist. Based across New York, Dusseldorf and Trinidad, his large-scale works often have a dreamy, imaginative quality. Doig uses found photography and other existing imagery such as film stills, newspaper cuttings and art historical references as a basis for work, then painting expressively in response to them – this approach and his particular painterly technique often generate a sense of slipping and emergence, of things evolving and receding, memory, sensation and remembering. In ‘Drifter,’ there is a sense of the found photograph, with the focal light source bleaching out some of the details. In this haziness, we feel we know this figure but in this moment we can’t remember him, we are overcome with the reaching, the heat and the light.

§ ◆ JACK VETTRIANO (SCOTTISH 1951-) RITUAL OF COURTSHIP Signed lower right, oil on canvas(81.5cm x 71cm (32in x 28in))Footnote: Jack Vettriano is one of the UK’s best loved contemporary artists. Indeed his career might best be described as something of a phenomenon. The passion with which the public have taken his work into their hearts is rivalled by few others over the last 30 years. Vettriano was born Jack Hoggan in Fife in 1951 into a background of poverty. Famously completely self-taught, Vettriano was gifted a set of watercolours by a girlfriend for his 21st, thus beginning his passion for painting. His early work, signed Hoggan, was heavily influenced by Impressionism and the artists he observed at Kirkcaldy Museum and Gallery. Art became a burning passion, and in 1986 at the age of 36, he quit his job in educational research and moved to Edinburgh to pursue art full time. Though rejected from the Edinburgh College of Art, he submitted two paintings to the Royal Scottish Academy’s open exhibition in 1987. Both sold on the first day and a number of galleries immediately made their approach. What followed was a stratospheric rise to success with major gallery representation and shows that would sell out within hours. Reproductions of his most famous painting ‘The Singing Butler’ (1992) became the “best selling image” in Britain. His 2013 retrospective at the Kelvingrove Gallery in Glasgow was their best attended of all time. Hailing from the same period as ‘The Singing Butler’, this work from his series ‘Ritual of Courtship’, captures the quintessence of what so appeals to the public about his painting. Bathed in the golden glow of summers past, his figures wear the distinctive style of the 1940s, from the capacious double-breasted blazer of the central figure to the cat-eye flicks of the lady’s sunglasses. The scene reads like a vignette from an old photograph or a piece of classic cinema, and recalls the work of American realist, Edward Hopper. The inscription ‘Fish Teas’ on a nearby wooden building nods to a sense of realism, charmingly grounding the painting in a Scottish setting and tapping into our British nostalgia for seaside resorts from eras gone by. Romance and attraction are near constant undercurrents of Vettriano’s work and this piece is no different; the two gentlemen clearly taking an interest in the stylish woman right of centre in the frame. Though his unorthodox rise to success out-with the usual art world frameworks was the source of much controversy, his keen market - which once again seems to be on the rise - attests to the longevity of interest in his work and his firm position in the canon of British art.

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) GWEN JOHN COURTING RODIN II Inscribed with title exhibition label verso, oil and emulsion on canvas(101cm x 127cm (39.75in x 50in), unframed)Footnote: Exhibited: Yorkshire Contemporary Group, St. Paul's Gallery, Leeds, 1984-85 "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) UNTITLED, 1989 Signed and dated '89 upper left corner, indistinctly inscribed lower left corner, oil and emulsion on canvas(130cm x 97cm (51in x 38in))Footnote: Exhibited: Bears remnants of Yorkshire Contemporary Group exhibition label verso "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.

Carter (Matthew). Honor rediviuus [sic] or an Analysis of Honor and Armory, 1st edition, London: printed by E[llen] Coates, 1655, signatures a4 B-F8 G4, A-E8 F4, F4-8 G-K8 L6, [8] 88, 84 87-9 [1], 87-171 pp., engraved frontispiece, engraved title-page by Richard Gaywood, 7 engraved costume plates, woodcut coats of arms in the text, small hole at foot of B8 just clipping text, small tear in E6 touching headline, contemporary panelled calf gilt, 8vo, together with: Schoonebeek (Adrien). Histoire de tous les ordres militaires ou de chevalerie, 2 volumes, 1st edition in French, Amsterdam: H. Desbordes, P. Sceperus and P. Brunel, 1699, signatures *-2*8 3*4(+1) A-S8; 2A-2X8 2Y2, engraved title-page to each volume, numerous full-page engravings throughout (counted in the pagination and register), volume 1 lacking letterpress title-page (signature 2A1), a few marks and stains, hole in volume 1 leaf Q1, ownership inscriptions of English herald and antiquary Peter Le Neve (1661-1729; 'Petri Le Neve Norroy') to engraved title-pages, bookplates of English naturalist and collector William Constable FRS FSA (1721-1791), contemporary mottled tan sheep, rubbed, joints splitting superficially but remaining firm, 8vo (15.5 x 9.3 cm), Charles I. Eikon basilike [graece], [London]: [Thomas Newcomb], 1648, engraved folding frontispiece (with misprint 'Mundn' for 'Mundi'), final blank (N4) discarded, title-page closely trimmed at foot shaving part of date, closed tear in G3, endpapers renewed and bearing 19th-century ownership inscriptions, gilt gauffered edges, contemporary calf, rebacked with original spine laid down, 12mo (14.4 x 7 cm), Gyllius (Petrus). De Constantinopoleos topographia libri IV, Leiden: ex officina Elzeviriana, 1632, engraved title-page, blanks discarded, light browning, leaf 2A2 bottom line and 2A7 catchword shaved, 18th-century bookplate of William Massey of St John's College, Cambridge, contemporary vellum, 24mo (10.2 x 5.4 cm)Qty: (5)NOTESProvenance: Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015. Colas 2687 (Schoonebeek); ESTC R173407 (Carter); Madan 7 (Charles I); Willems 367 (Gyllius); cf. Lipperheide 1898 (Schoonebeek, first edition, in Dutch, 1697). Rare variant of Carter's work, with the imprint simply reading 'printed by E. Coates', with 'Sould by Thomas Heath in Covent garden, and Henry Herringman at the Ancker' omitted; ESTC traces six copies only for the present version.

Heauville (Louis Le Bourgeois, sieur d'). Catechisme en vers, dédié à Monseigneur le Dauphin, 1st edition, Paris: Frédéric Leonard, Impr[imeur] du Roy, 1669, [14] 131 [9] pp., engraved arms to title-page, woodcut head- and tailpieces and initials, slightly browned, a few marks, gift inscription to initial blank ('Pour Mademoiselle le Vaché, donné à Mlle Mordieu, il lui apartient [sic]'), contemporary red goatskin gilt, French royal arms to covers within French fillet frames gilt, wear to joints and tips, joints cracked at ends, 12mo signed in alternate fours and eights (13.2 x 7.4 cm)Qty: (1)NOTESProvenance: 1) Eugène Viollet-le-Duc (1814-1879), with his book-label 'Ex libris Viollet Le Duc' to front pastedown, and doubtless the same copy as that described in Viollet-le-Duc's catalogue of his library, Catalogue des livres composant la Bibliothèque poétique de M. Viollet-le-Duc (1843, p. 574). 2) Hester Swift (modern bookplate). 3) Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015. The author is described on the title-page as the abbé de Chantemerle.

Burnet (Gilbert). Bishop Burnet's History of His Own Time, 2 volumes, 1st edition, London: Thomas Ward [-for Thomas Ward], 1724-34, contemporary sprinkled calf, spines gilt with insect devices, red and green labels, rubbed, some wear, joints partially cracked but firm, folio (34.8 x 22.8 cm)Qty: (2)NOTESProvenance: Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015. ESTC T144689. Annotated by the editor 'The original manuscript of both volumes of this his History will be deposited in the Cotton library by T. Burnett' on the verso of the title-page to volume two.

Gell (Sir William). The Itinerary of Greece; containing One Hundred Routes in Attica, Boeotia, Phocis, Locris, and Thessaly, 1st edition, London: Rodwell and Martin, 1819, engraved folding map frontispiece, toning, a few marks, contemporary half calf, label renewed, 8vo (18.6 x 10.8 cm)Qty: (1)NOTESProvenance: 1) Robert Finch (1783-1830), antiquary, connoisseur of the arts, and 'pretentious ass' (ODNB), with his bookplate; bequeathed by him to the Taylor Institution, University of Oxford (relevant bequest label and deaccession stamp to front pastedown). 2) Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015. Blackmer 664. Uncommon. 'The work is not to be confused with Gell's Itinerary of Greece, 1810, which is a description of the Argolid only' (Blackmer).

[Diderot, Denis & D'Alembert, Jean]. Recueil de Planches, sur les sciences, les arts libéraux, et les arts méchaniques, avec leur explication, Troisieme livraison, 298 planches, & Dixieme et derniere livraison, ou onzieme et dernier volume, 239 planches (volumes 4 & 11 from the total of 11 volumes of plates), Paris, chez Briasson, 1765 & 1772, volume 4: 275 engraved plates (some double-page) of 276, half-title with pictorial bookplate of Lessac to blank verso, a few minor spots or marks, dampstain to blank gutter at front, stitching showing but firm, contemporary mottled calf gilt, worn, two front corners with pinned metal covers (two rear corners with pinholes), joints cracked, folio, volume 11: 194 engraved plates (many folding, one double-page), a few minor spots, two plates spotted or marked, contemporary mottled calf gilt, rubbed with a little wear to extremities, spine with contrasting labels, folioQty: (2)NOTESVolumes 4 and 11 of the eleven plate volumes which form part of the original 28-volume 'Encyclopédie' published between 1751 and 1772, edited by Diderot and co-edited by d'Alembert until 1759. Volume 4 includes plates relating to cabinetmaking (marquetry), enamelling, fencing, floristry, tinsmithing, horology, furriery, large forges or iron art, and making pins, spurs, earthenware, gloves and glass, among other crafts and trades. Volume 11 includes weaving, passementerie, and gauze- ribbon- and silk-making.

[Brontë, Charlotte]. Villette. By Currer Bell, 3 volumes, 1st edition, London: Smith, Elder & Co., 1853, [4] 324, [4] 319 [1], [4] 350 pp., bound without publisher's advertisements, no half-titles called for, toning, a little finger-soiling to lower margins, a few old marks and stains, a few nicks to bottom edges, top edges gilt, near-contemporary red half morocco, spines gilt in compartments, wear to headcaps and corners, 8vo (19.4 x 11.9 cm)Qty: (3)NOTESProvenance: Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015. Sadleir 342; Wolff 828.

Pissarro (Ludovic Rodo & Lionello Venturi). Camille Pissarro, son art- son oeuvre, Catalogue Raisonné, 2 volumes, 1st edition, San Francisco: Alan Wofsy Fine Arts, 1989, numerous black & white illustrations, uniform original cloth in dust jackets, volume 2 spine lightly rubbed to foot, large 8vo, together with; Duret (Théodore), Histoire de Édouard Manet et de son oeuvre, Paris: Librairie Charpentier et Fasquelle, 1906, 12 black & white illustrations, some toning throughout, contemporary quarter morocco to marbled boards, boards & spine slightly rubbed, 8vo, and Krumrine (Mary Louise), Paul Cézanne, The Bathers, 1st edition, New York: Museum of Fine Arts, 1989, original cloth in dust jacket, large 4to, plus others on French Impressionism and Post-Impressionism, including Gaugin, Henri Fantin-Latour, Cezanne, Rodin, Toulouse Lautrec, some original cloth in dust jackets, some paperback editions, 8vo/4toQty: (54)

Lucey (Conor). The Stapleton Collection, Designs for the Irish neoclassical interior 1st edition, Tralee: Churchill House Press, 2007, numerous colour & monochrome illustrations, original cloth in dust jacket, covers lightly rubbed to head of the spine, large 8vo, together with; Northwick Gallery, Catalogue of the Northwick Collection of Pictures, Miniatures, Enamels, Bronzes, Sculptures, and other choice works of art:...at Thirlestane House, Cheltenham; the property of John Rushout, Baron Northwick,...,1859, monochrome frontispiece, some light spotting & toning, top edge gilt, contemporary gilt decorated green half morocco, boards & spine rubbed, 8vo, and Tattersfield (Nigel), Thomas Bewick, The Complete Illustrative Work, 3 volumes, 1st edition, London: The Bibliographical Society, 2011, colour & black & white illustrations, publishers uniform original green cloth, spines slightly rubbed, 8vo, plus Laffan (William), The Cries Of Dublin, Drawn from the Life by Hugh Douglas Hamilton, 1760, 1st edition, Dublin: Irish Georgian Society, numerous monochrome illustrations, original cloth in dust jacket, covers very lightly rubbed, large 4to, and other Irish & British art & architecture reference, many in original cloth in dust jackets, some paperback editions, 8vo/4toQty: (Approximately 100)

Sprat (Thomas). The History of the Royal Society of London, for the improving of Natural Knowledge, 3rd edition corrected, London; printed for J. Knapton, J. Walthoe, B. and S. Tooke, D. Midwinter.., 1722, imprimatur leaf before title, with large engraved coat of arms to verso, title printed in red and black, with contemporary ownership inscription in brown ink at head 'Perryn XtCh;76;-', two folding engraved plates, contents in clean condition with wide margins, 19th century stamped ownership name of James F. Anderton to front pastedown, contemporary panelled calf, worn with covers detached, small 4to, together with: Hodder (James). Hodder's Arithmetick: or that necessary art made most easie; being explain'd in a way familiar to the capacity of any that desire to learn it in a little time, the seven and twentieth edition, revised, augmented, and above a thousand faults amended, by William Hume, Philomath, London: printed for D. Midwinter..., 1739, without portrait before title, some marks and occasional soiling, outer corners rubbed, later quarter calf, rubbed, 12mo, plus Bacon (Francis). The Essays or Counsels, Civil & Moral, or Sir Francis Bacon, Lord Berulam, Viscount St Albam, with a Table of the Colours of Good & Evil..., printed by T. N. for John Martyn, 1673, some light marks and occasional pale browning, all edges gilt, 19th century straight-grained dark green morocco, scuffed to spine, 8vo (Gibson 23a Wing B287A), and Quintilianus (Marcus Fabius). The Declamations of Quintilian, being an exercition or praxis upon his XII. Books, concerning the Institution of an Orator. Translated (from The Oxford Theatre Edition) into English by a Learned and Ingenious Hand, printed by J. R. for John Taylor, 1686, occasional light marginal browning, some early ink marginalia, contemporary blind-panelled full calf, rubbed and somewhat worn with upper cover detached, 8vo (Wing Q224), plus other miscellaneous antiquarian, mostly 19th century, including several volumes of Edinburgh Annual RegisterQty: (a carton)

Broelmann (Stephan). Epideigma, sive specimen historiae vet[eris] omnis et purae, florentis. atq. amplae civitatis ubiorvm, et eorum ad Rhenum Agrippinensis oppidi, quod post Colonia Clavdia Avg. Agrippinensis, 2 parts in 1 volume, 1st edition, Cologne: Gerard Grevenbruch for the Author, 1608, 36 unnumbered leaves including 2 frontispieces, 5 double-page maps including the Middle East with Cyprus and Crete, 4 double-page bird's-eye plans, 3 plates (2 double-page) of Roman antiquities, all with contemporary hand colour, errata leaf at rear present but lacks blanks before I1 & O1, title-page on thicker paper and with contemporary Latin presentation inscription at foot for Cardinal Scipione Borghese, following frontispiece and dedication leaves browned, some lighter, mostly marginal, browning throughout, bound with an additional 3 leaves of contemporary manuscript index (browned, some paper thinning with loss to outer margins of final leaf) and a hand-coloured double-page bird's-eye plan of Cologne from Braun & Hogenberg's Civitates Orbis Terrarum (c.1620), blank verso, 34 x 49 cm, contemporary limp vellum with small oval arabesque blind stamp and double rules to both covers, the upper cover inscribed neatly in brown ink, 'Ubiorum civitas et antiquitatum quaedam copia Scipioni Card[inali] Burghesio dicata 1813’ [the city of Cologne and its antiquities; a copy dedicated to Cardinal Scipione Borghese, 1813], with the initials 'A.D.R.' upper left, soiled, spine cracked and chipped with some loss, vertical crease-mark to upper cover, folio (30.5 x 19 cm)Qty: (1)NOTESProvenance: 1) Scipioni Borghese (1577-1633), Italian cardinal, art collector and eminent patron of the arts (contemporary presentation inscription to title: ‘Ill[ustrissi]mo et R[everendissi]mo D[omi]no D[omino] Scipioni Bürghesio Cardinali’. The umlaut on Burghesio suggests that the inscription might have been written in Cologne, possibly by the author or the printer. 2) John Lawson (1932-2019), bookseller. Meurer, Atlantes Colonienses, pp. 90 ff. A very rare hand-coloured presentation copy of the only edition of this work, and one of only a few copies with the errata leaf. Stephan Broelmann (1551-1622) wrote a detailed four-volume history of the city of Cologne, the only part published being this part containing the history of the city until the end of the Roman period. The manuscript index is not called for or found in other printed copies, the hand appearing to be the same author as that for the presentation inscription on the title-page (see note above).

* Botanical drawings. Three drawings, comprising two pencil and wash drawings on laid paper, probably by the same competent hand, one depicting sweetpea flowers, with watermark ... , lightly toned, the other depicting daisy flowers, with watermark ..., light marginal toning, a few fox spots, and an ink stain to lower left corner, contemporary pencil inscription in Dutch on verso pertaining to the characteristics of the plant pictured, sheet size of each approximately 32 x 20cm (12.5 x 8ins), and a third pencil drawing on laid paper, depicting a stem of ivy leaves, with watermark ..., some light spotting, sheet size approximately 31 x 18cm (12.25 x 7ins), all 3 drawings with blue ink stamped monogram 'ES' on verso denoting collection of Eugène Susini (Lugt 3769), each mountedQty: (3)NOTESLugt 3769. Professor Eugène Xavier Dominique Susini (1900-1982) amassed a collection of mainly Italian, French and Northern European drawings from the 16th to 18th centuries, which was sold after his death in a series of auctions at Christie's, London, and elsewhere. His friend the art historian Jacques Fryszman (1909-1998) had the monogram stamp made and the drawings marked so that knowledge of ownership would be preserved.

Miraeus (Aubertus, editor). Rerum toto orbe gestarum chronica a Christo nato ad nostra usque tempora. Auctoribus Eusebio Caesariensis episcopo, B. Hieronymo presbytero, Sigeberto Gemblacensi monacho, Anselmo Gemblacensi abbate, Auberto Miraeo Bruxell. aliisq. Omnia ad antiquos codices mss. partim comparata, partim nunc primum in lucem edita, 1st edition, Antwerp: Jeroen Verdussen, 1608, signatures *4 *4 2*4 A-H4 +4 A-Y4 Z2 a-i4 k6 l-z4 Aa-Gg4, [96] 390 101-120 [4] pp., woodcut devices to main title-page and to 2 of 3 section-titles, woodcut initials and tailpieces, variably browned, short closed tear in 2*4, paper disruption to A2 affecting catchword, gilt edges, contemporary red goatskin, cipher of Jacques Auguste de Thou gilt to spine-compartments, his arms impaling those of his second wife Gasparde de la Chastre gilt to covers within French fillet frames, contemporary manuscript shelfmark to front cover and pastedown, joints rubbed and with wear in places, tips rubbed, 4to (26 x 17.4 cm)Qty: (1)NOTESProvenance: 1) Jacques Auguste de Thou (1553-1617), French statesman and bibliophile, bound for him not before 1602 (his marriage to Gasparde de la Chastre). A large collection of books from de Thou's library is now held by the British Library; for another binding with his arms in the same style see British Library shelfmark c19c21. 2) Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015; acquired by him from Tintagel Books, East Springfield, NY, in 1999.

Eadmer of Canterbury. Historiae novorum sive sui saeculi libri VI ... in lucem ex Bibliotheca Cottoniana emissit Joannes Seldenus et notas porro adjecit et Spicilegium, London: typis et impensis Gulielmi Stanesbeii, ex officinis Richardi Meighen et Thomae Dew, 1623, title-page in red and black, woodcut headpieces, initials and other illustrations, occasional Anglo-Saxon, Hebrew and Arabic types, lacking initial and final blanks (+1 and 2F2), light browning, occasional light spotting, annotations in ink and pencil to title-page and margins, front free endpaper detached, edges dyed red, contemporary tan calf, rebacked with original spine laid down, gilt arms of Jean-Pierre de Montchal to sides, rubbed and scuffed overall, wear to extremities, folio (33.1 x 21.4 cm)Qty: (1)NOTESProvenance: 1) Jean-Pierre de Montchal, seigneur de la Grange (d. 1653; armorial binding; see Chairman, French Book-Plates, 2020, p. 50). 2) John Sherren Brewer (1810-1879), clergyman and scholar (ownership inscription 'John Brewer, Q. Coll. Oxford' to front pastedown). 3) Augustus Jessop (1823-1914), clergyman and scholar (ownership inscription 'A. Jessop D.D.' to title-page). 4) N. H. MacMichael, keeper of the muniments at Westminster Abbey (ownership inscription 'N. H. MacMichael, 25th January 1978, 2B, Little Cloister, Westminster Abbey' to front free endpaper). 5) Malcolm Rogers CBE FSA (1948-), British art historian and director of the Museum of Fine Arts, Boston from 1994 to 2015 (acquired from Unsworths Booksellers). ESTC S121437; STC 7438. First edition. There was a variant with the names of Richard Meighen and Thomas Dew omitted from the title-page.

A Large contemporary limited edition [3/36] art work painting titled 'Decoy' signed by the artist.

Large quantity of auction catalogues mainly 1990s/2000s, predominantly Christies Post war and Contemporary Art Sales but also including some earlier Sothebys etc; in four boxesClick here to view further images, condition reports, sale times & delivery costs for this lot.

William Davis (British, 1812-1873)Pond near Highgate signed 'WDAVIS' (lower left); indistinctly signed and inscribed with title (on the reverse)oil on canvas30.5 x 45.5cm (12 x 17 15/16in).Footnotes:ProvenanceAnon. sale, Sotheby's Belgravia, 9 March 1976, lot 43.Julian Hartnoll, London.Private collection, UK (on loan to Williamson Art Gallery & Museum, Birkenhead).The present lot probably depicts a pond at Millfield Lane, Highgate.The Liverpool SchoolIn the middle years of the nineteenth century the city of Liverpool saw the emergence of a remarkable group of artists, some born in the city while others had transferred there for professional reasons, and who came retrospectively to be known as the Liverpool School. The foremost source of information about this disparate circle, linked principally by their association with the Liverpool Academy, is H.C. Marillier's The Liverpool School of Painters, published in 1904.A leading figure among the painters of modern-life subjects based in the North-West, James Campbell showed scenes set in the streets of Liverpool and Birkenhead, and rustic subjects done during painting expeditions in the countryside of the Wirral peninsular, north Wales and south Lancashire. Campbell lived in London as a young man but returned to Liverpool in about 1851, enrolling as a probationer in the Liverpool Academy schools and later elected as a member of the Academy. By the late 1850s he was regarded as the de facto leader of the progressive group of painters in the city and was at the same time acknowledged more widely by being invited to show at the Russell Place exhibition of Pre-Raphaelite art in London in 1857 and in the following year was asked to send works to the travelling exhibition of contemporary British held in New York, Philadelphia and Boston. Campbell's The Fisherman's Lesson (lot 27) appeared at the Liverpool Academy in 1861 and is typical of the figure subjects showing day-to-day events in the lives of working-class folk for which the artist was known. According to Marillier, Campbell often painted at Eastham Woods on the Cheshire shore of the Mersey and on other occasions at Bidston on the Wirral. It is likely that The Fisherman's Lesson records a visit to one or other of these places. Among the collectors of Campbell's paintings in Liverpool John Miller was pre-eminent, while George Rae, of Birkenhead, and James Leathart, of Gateshead, were also notable enthusiasts for his distinctive works. A less well known but nonetheless remarkable painter who likewise specialised in subjects showing men and women struggling against hardship was Joseph Edward Worrall.

SUN TZUArt militaire des Chinois, ou recueil d'anciens traités sur la guerre composés... par differents généraux chinois, translated by Jean-Joseph-Marie Amiot, half-title, 33 hand-coloured engraved plates (5 folding, some heightened in gold or silver), the single plates shaved just within platemark (just touching imprint on 3), contemporary calf gilt, sides with 3-line fillet border, the upper cover lettered 'Bibliothèque de Houlbec', neatly rebacked retaining original gilt-tooled spine with gilt morocco lettering label, g.e., corner tips repaired [Cordier Sinica, 1555; Löwendahl 560], 4to (255 x 195mm.), Paris, Didot l'Ainé, 1772Footnotes:An attractive copy of the first European edition of The Art of War by the Chinese military strategist Sun Tzu (544-496 B.C.). Illustrated with plates depicting battle formations, armour and dress, it was translated by Jean Joseph Marie Amiot (1718–1793), a Jesuit missionary to Beijing.Provenance: J. Manoury, Fils ainé, Caen, near contemporary bookseller's label o front paste-down; Bibliothèque de Houlbec, stamped in gilt on upper cover.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

BURNS (ROBERT)Autograph manuscript of his song 'The Banks of the Cree', comprising sixteen lines in four stanzas of four lines each, beginning: 'Here is the glen & here the bower,/ All underneath the birchen shade,/ The village bell has told the hour,/ O, what can stay my lovely maid...', and ending '...And art thou come, & art thou true!/ O, welcome dear to love & me!/ And let us all our vows renew,/ Along the flowery banks of Cree.', with annotations in another hand 'by Burns' after the title and 'Written in Burns' own hand' at foot, one page, light dust-staining, page slightly trimmed at head, affixed to an album leaf surrounded by contemporary newspaper cuttings, one slightly overlapping the edge of the page, 4to (230 x 175mm.), album leaf 460 x 290mm., [1794]Footnotes:'AND LET US ALL OUR VOWS RENEW, ALONG THE FLOWERY BANKS OF CREE'.Also known as 'Here is the Glen', these romantic verses were written by Burns to a tune composed by Lady Elizabeth Heron (1745-1811), daughter of the 8th Earl of Dundonald and married to Patrick Heron of Heron (1736-1803) through whose estate, Kerroughtree near Galloway, ran the River Cree. Heron was an MP for Kircudbright in the decade before his death and Robert Burns, ever interested in local politics, wrote several satirical ballads to aid his election campaign in 1795, including Inscription for an Altar of Independence at Kerroughtree, the seat of Mr Heron. Burns visited Kerroughtree often, and family legend has it that he would often sit at the foot of the main stairs and recite his poetry. Here he has immortalised his friend Lady Elizabeth as the enchanting Maria. The verses were originally sent by Burns in a letter to his publisher, George Thomson on 7 May 1794, now in the Morgan Library (Dalhousie Manuscripts, MA.50.1), in which Burns noted, '...Now, and for six or seven months, I shall be quite in song, as you shall see by-and-by... I got an air, pretty enough, composed by Lady Elizabeth Heron, of Heron, which she calls 'The Banks of Cree.' - Cree is a beautiful romantic stream, and, as her ladyship is a particular friend of mine, I have written the following song to it:— Banks of Cree/ Here is the glen, and here the bower...' ending with the note '...The air I fear is not worth your while, else I would send it you...', which seems to infer that he was not overly impressed with Lady Elizabeth's composition. However, the literature surrounding these verses agrees that it was Thomson himself and not Burns who disapproved of Elizabeth Heron's setting and was allegedly 'always wanting to set Burns's words to tunes other than those they were written for...' and that Burns insisted they be 'printed to the air for which they were written, or else leave them out' (Burns Chronicle and Club Directory, second series, volume IV, 1929). They were printed in the second volume of Thomson's Original Scottish Airs in 1798 and have been included in many collections of Burns' works. As with so many original Burns manuscripts, as opposed to those produced by the likes of 'Antique' Smith, our fair copy of the verses is unsigned but is finished by a characteristic calligraphic flourish. It has one or two small differences in wording compared with the version in his original letter to Thomson, for example the title 'The Banks of the Cree' used here rather than 'Banks of Cree' and the use of 'thro' the grove' in our copy rather than 'in the grove' in Burns' letter. Provenance: These verses were rediscovered in an album originating from Denston Hall in Suffolk, the seat of Sir John Robinson (c.1757-1819), who married Rebecca Clive, daughter of Clive of India in 1782. Whether this version was written out for Elizabeth Heron herself is not known, neither is it clear how it came into the possession of John Robinson, but it was evidently added to the album only a few years after publication. Surrounding it, and on the reverse of the leaf, are a selection of newspaper cuttings which can give an approximate terminus ante quem for when our piece was pasted into the album - for example, the verses 'The Flight of King Joe' published in the Morning Post on 2 September 1808, and an account of the poisoning by champignons of a Mitcham woman, Mary Attwood, and her children reported in the Gentleman's Magazine and Historical Chronicle the following month. A skit on Bonaparte, and handwritten anti-French sentiments on the reverse all date it firmly to the first years of the nineteenth century.For further information on this lot please visit Bonhams.com

Circle of Ignaz Günther (1725-1775), a large Austrian or Bavarian sculpted limewood model of an Angel, mid-18th century, portrayed standing and fully draped, looking to dexter and holding a fragmentary cornucopia, on a scrolled plinth, 112cm high overallThe handling and treatment of the angelic subject show great similarities to works by Bavarian Rococo sculptor Ignaz Günther, including the Archangel in his Annunciation group at the Parish church at Weyarn, and his 'Schützengel' at the Bürgersaalkirche in Munich. Further examples of kneeling and standing angels by sculptors of the South German tradition are illustrated in: Christine Hertel, Pygmalion in Bavaria, The Sculptor Ignaz Günther and Eighteenth-century Aesthetic Art Theory, Pennsylvania, 2011.The renditions of angels by Gunther's mentor Paul Egell, and his contemporary Johan Baptist Straub are of particular interest.Condition Report: Some radial movement to wings, and evidence of previous re-attachment. Loss to left hand as evident from photographs.Smaller losses to hair, right hand and right toes. Restoration to right foot where there is an old split, also reaching across the base.Evidence of old worm activity, though no longer appears to be active.Further, shorter old splits to sections of the toga and parts of the wings.Likely previously polychromed and at one point stripped. Evidence of white gesso in a number of the crevices.Some circular apertures and cracking to rear where possibly previously mounted.This being said, the work appears stable overall and remains in presentable condition.Condition Report Disclaimer

China, 81 Ancient round coins, Tang to Northern Song dynasty, (618-1127), see Condition Report for further detailsCONDITION: The 30 Tang coins include a Qian Yuan zhong bao, Hartill CCC-14.101, 16.5g and a Shi Siming (758-61) De Yi yuan bao, (possibly a contemporary copy), CCC-14.140, 33mm, 19.2g, Ten Kingdoms coins include, three Zhou Yuan tong bao, CCC-15.12, Wang Jian (907-918) two Tian Han yuan bao, CCC-15.36, and a Guang Tian yuan bao, CCC-15.38, Wang Yan (919-925), Qian De yuan bao, CCC-15.42, Emperor Gao Zhu (947-48), two Han Yuan tong bao, CCC-15.5, Emperor Yuan Zhu (943-61), four Tang Guo tong bao, CCC-15.80, Emperor Yuan Zu (943-961), Da Tang tong bao, CCC-15.95 & H.15.96, Emperor Li Yu, two Kai Yuan tong bao, CCC-15.99, Northern Song dynasty: Emperor Tai Zu (960-76) five Song Yuan tong bao, CCC-16.1, Emperor Tai Zong (976-97) six Tai Ping tong bao, CCC-16.16 & H.16.17, eight Chun Hu yuan bao, CCC-16.25/26/28/29, ten Zhi Dao yuan bao, CCC-16.35 & CCC-16.41/2 Provenance - Alfred Theodore Arber-Cooke (c.1905-1993); thence by family descent. Arber-Cooke was an antiquarian and avid collector of Asian works of art, coins and antiquities principally collecting from the 1930s to the 1970s. He amassed a good reference library on Chinese & Asian coins and wrote on several occasions (1969-70) to to the academic F.A. Turk regarding the study of coin amulets and other non-currency coinages of China. A number of the Asian numismatic reference books will be offered in our 29th March sale.Arber-Cooke initially lived in Wimbledon, Greater London and was involved with the Surrey Archaeological Society. He wrote the book 'Old Wimbledon', with a foreword the MP Sir Arthur Fell, published in 1927. He later moved to Llandovery in Carmarthenshire, Wales, again involved with local archaeology and wrote the History of Llandovery, published in 1975.

* MICHAEL SCOTT (SCOTTISH 1946 - 2006), EASY DAY IN AUTUMN oil on canvas, signed, titled and dated 2000 verso 51cm x 61cm Framed. Note: Michael Scott's larger pictures rarely appear at auction but "The Bathers" 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. More recently, "Come Sail Your Ships Around Me" sold for £4400 (hammer) in The Scottish Contemporary Art Auction 19th August 2018 lot 35 and "The Tryst" sold in The Scottish Contemporary Art Auction 8th November 2020 lot 569 for £3000 (hammer). 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 a major exhibition of his work 1st April - 30th April 2016.

* RYAN MUTTER, BENEATH THE TITANIC oil on canvas board, signed 36cm x 71cm Framed. Note: Ryan Mutter was born in 1978, he studied at the Glasgow School of Art, where he graduated in 2001. He has now won many distinguished awards, including four from the Royal Glasgow Institute of Fine Arts (RGI). His inspiration comes from Britain's industrial heritage and its connection between man and the sea. In Glasgow alone shipbuilding provided work for 70,000 men in more than 50 yards spread along 11 miles of quayside. But today these yards sit empty, a shadow of their former self. The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant. This is what drives Ryan as he looks to capture and remind people of how important this workforce was in the development of the modern world. A new UK auction record was established for a Ryan Mutter painting when "The Launch" was sold in McTear's Scottish Contemporary Art Auction on 2nd July 2017 (lot39) for £2600 (hammer). His work rarely appears at auction, anywhere.

* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014), OBSERVATION DE LA NATURE (OBSERVATIONS OF NATURE) gouache on paper, signed, titled and dated '91 57cm x 68cm Mounted, framed and under glass. Note: This work is the original artwork design for a tapestry, which was made at the Australian Tapestry Workshop in Victoria, Australia in 1995. Alan Davie was a Scottish painter. Strongly inspired by Zen philosophies, his paintings consist of responsive and spontaneous primitive compositions painted with obsessive, conglomerate mark-making to form images that slip in between abstraction and representation. Davie’s roster of references and influences is extensive, and includes Jungian psychoanalysis, Pictish symbol stones, contemporary abstract painters, and his lifelong passion and aptitude for playing music. Born on September 28, 1920 in Grangemouth, Scotland, he was educated at the Edinburgh College of Art, and exhibited his work in a regional setting until his death in Hertfordshire, England on April 5, 2014 at the age of 93. His work can now be found in a number museum collections throughout the world.

* ANDREW HUNT, FLIGHT (GEORGE) oil on canvas board, signed 92cm x 61cm Unframed, as intended. Note: This exceptional painting was commissioned by IKEA with the intention that it would be sold at a charity auction with the proceeds being donated to Sheffield Children's Hospital. The child in the picture is "George" and the artist's title is "Flight". The vendor acquired the picture at the charity auction. Note: ANDREW HUNT is widely regarded to be one of the UK's finest portrait painters. Born in Chester in 1973 Andrew grew up in North Wales and attended Bath Academy of Art in 1992 where he studied for a degree in graphic design and illustration. In 1996 he moved to Sheffield where he settled after discovering the city's industrial heritage provided rich settings and narratives for his figurative oil paintings. Selected Exhibitions 2015 Tiger Aspect commission for BBC drama 'Peaky Blinders', Portraits of the cast and consultancy on set. 2015 The Contemporary Art Gallery, Eton. Battersea AAF 2014 Solo Exhibition Cadogan Contemporary, London 2013- present Manchester Artzu Gallery Resident Exhibiter 2012 Olympics show Cadogan Contemporary. Usain Bolt portrait donated to the Jamaican High Commission 2012 30TH Anniversary Exhibition, Cadogan Contemporary, London 2012 Works on Paper, Cadogan Contemporary, London 2012 An Exhibition in Hampshire, Cadogan Contemporary, Winchester 2011 Andrew Hunt, Solo Exhibition, Porter Brook Gallery, Sheffield 2011 An Exhibition in Hampshire, Cadogan Contemporary, Winchester 2010 Andrew Hunt, Solo Exhibition, Porter Brook Gallery, Sheffield 2010 New Work, Solo Show at Cadogan Contemporary, London 2008 National Portrait Gallery, BP National Portrait Award Exhibition 2006 Sheffield to Tobago, Solo Show at Cadogan Contemporary, London 2004 Cadogan Contemporary, Solo Show 2003 Cadogan Contemporary, Summer Exhibition 2002 Cadogan Contemporary, Solo Exhibition 1996 Manchester Academy of Fine Arts, Bi-Annual Open 1995 National Portrait Gallery, BP National Portrait Award.

* 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).

* PAT DOUTHWAITE (SCOTTISH 1934 - 2002), THE SNEER lithograph on paper 52cm x 38cm Mounted and unframed. Note: Pat Douthwaite was born in Glasgow in 1934. She began to study mime and modern dance with Margaret Morris, whose husband, J. D. Fergusson (Scottish Colourist) encouraged her to paint. This important influence apart, she was self-taught. In 1958 Pat lived in Suffolk with a group of painters, including the Scots Colquhoun and MacBryde, and William Crozier. From 1959-1988 she travelled widely, to N. Africa, India, Peru, Venezuela, Europe, U.S.A., Kashmir, Nepal, Pakistan, Ecuador and from 1969 lived part of the time in Majorca, but more latterly in various properties across the Scottish Borders. She died in July 2002 at Broughty Ferry. Interest in Pat Douthwaite's work has seen a major resurgence in recent years and her work has been strongly promoted by The Scottish Gallery (Edinburgh), generally considered to be Scotland's most prestigious contemporary art gallery.

ANGELA REILLY, CHANGE oil on board, signed and titled verso 26.5cm x 23cm Framed and under glass. Note: Investigating the luminosity and tone of flesh, Angela Reilly’s paintings technically exude the precision of an old master, likened to a contemporary Holbein. Unusually, Reilly’s paintings becoming more detailed the larger their scale. Though almost photo-realist in their accuracy, Reilly’s work powerfully communicates what is felt as well as seen; realising the intangible. Reilly believes, "Portraiture is a preservation of ones memory not just preservation of appearance." Born in 1966 Angela Reilly studied Fine Art at Duncan of Jordanstone from 1984-87. In 1987 she moved to London working as an illustrator. In 1995 she began to concentrate solely on painting, moving back to Glasgow in 2003. Subsequently Reilly has exhibited in National Portrait Gallery, The Scottish Royal Academy and The Royal Glasgow Institute. In 2006 Reilly was commissioned to paint Lord Falconer’s - then The Lord Chancellor’s - portrait; was awarded a prize for portraiture by the National Portrait Gallery BP Prize 2006 and in 2007 featured in a BBC documentary. Angela Reilly's work is widely exhibited in London and Scotland.