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CATRIONA MILLAR, HELENA AND LITTLE WING oil on canvas, initialed framedimage size 33.5cm x 43.5cm, overall size 53cm x 62.5cmNote: Catriona Millar's work takes its inspiration from the stories that lie at the heart of the human condition, and the sparkle of a narrative behind the eyes of her subjects hints at everything from longing to melancholy. Her work often juxtaposes human characters with a variety of animal confidants, with some seeming physically present in the composition while others take on a talismanic quality. Born in Glasgow, Catriona Millar studied at Harrogate School of Art and Grays School of Art, Aberdeen. Since the success of her sell-out 2005 degree show she has exhibited across the UK including the Royal Scottish Academy, Edinburgh. In October 2006 she came to the attention of Charles Saatchi with her first solo exhibition at the Dundas Street Gallery, Edinburgh. Catriona Millar now lives and paints in the southeast of England. Catriona Millar is listed in the 2012 edition of Who's Who in Scotland. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).Condition is good overall, with no visible signs of damage and known issues

CATRIONA MILLAR, ESME AND CHICA oil on canvas, initialed, titled, signed and dated 2023 versounframed as intendedoverall size 30cm x 24cmNote: Catriona Millar's work takes its inspiration from the stories that lie at the heart of the human condition, and the sparkle of a narrative behind the eyes of her subjects hints at everything from longing to melancholy. Her work often juxtaposes human characters with a variety of animal confidants, with some seeming physically present in the composition while others take on a talismanic quality. Born in Glasgow, Catriona Millar studied at Harrogate School of Art and Grays School of Art, Aberdeen. Since the success of her sell-out 2005 degree show she has exhibited across the UK including the Royal Scottish Academy, Edinburgh. In October 2006 she came to the attention of Charles Saatchi with her first solo exhibition at the Dundas Street Gallery, Edinburgh. Catriona Millar now lives and paints in the southeast of England. Catriona Millar is listed in the 2012 edition of Who's Who in Scotland. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).

CATRIONA MILLAR, VILLETTE oil on canvas, initialed, titled, signed and dated 2023 verso unframed as intendedoverall size 30cm x 24cmNote: Catriona Millar's work takes its inspiration from the stories that lie at the heart of the human condition, and the sparkle of a narrative behind the eyes of her subjects hints at everything from longing to melancholy. Her work often juxtaposes human characters with a variety of animal confidants, with some seeming physically present in the composition while others take on a talismanic quality. Born in Glasgow, Catriona Millar studied at Harrogate School of Art and Grays School of Art, Aberdeen. Since the success of her sell-out 2005 degree show she has exhibited across the UK including the Royal Scottish Academy, Edinburgh. In October 2006 she came to the attention of Charles Saatchi with her first solo exhibition at the Dundas Street Gallery, Edinburgh. Catriona Millar now lives and paints in the southeast of England. Catriona Millar is listed in the 2012 edition of Who's Who in Scotland. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).

CATRIONA MILLAR, JUNIPER oil on canvas, initialed, titled, signed and dated 2023 versounframed as intendedoverall size 30cm x 30cmNote: Catriona Millar's work takes its inspiration from the stories that lie at the heart of the human condition, and the sparkle of a narrative behind the eyes of her subjects hints at everything from longing to melancholy. Her work often juxtaposes human characters with a variety of animal confidants, with some seeming physically present in the composition while others take on a talismanic quality. Born in Glasgow, Catriona Millar studied at Harrogate School of Art and Grays School of Art, Aberdeen. Since the success of her sell-out 2005 degree show she has exhibited across the UK including the Royal Scottish Academy, Edinburgh. In October 2006 she came to the attention of Charles Saatchi with her first solo exhibition at the Dundas Street Gallery, Edinburgh. Catriona Millar now lives and paints in the southeast of England. Catriona Millar is listed in the 2012 edition of Who's Who in Scotland. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).

CATRIONA MILLAR, GENEVIEVE oil on canvas, initialed, titled, signed and dated 2023 versounframed as intendedoverall size 30cm x 24cmNote: Catriona Millar's work takes its inspiration from the stories that lie at the heart of the human condition, and the sparkle of a narrative behind the eyes of her subjects hints at everything from longing to melancholy. Her work often juxtaposes human characters with a variety of animal confidants, with some seeming physically present in the composition while others take on a talismanic quality. Born in Glasgow, Catriona Millar studied at Harrogate School of Art and Grays School of Art, Aberdeen. Since the success of her sell-out 2005 degree show she has exhibited across the UK including the Royal Scottish Academy, Edinburgh. In October 2006 she came to the attention of Charles Saatchi with her first solo exhibition at the Dundas Street Gallery, Edinburgh. Catriona Millar now lives and paints in the southeast of England. Catriona Millar is listed in the 2012 edition of Who's Who in Scotland. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).

* HAMISH MACDONALD DA PAI (SCOTTISH 1935 - 2008), OLD SHED oil on board, signed, titled versoframedimage size 46cm x 61cm, overall size 49cm x 64cmNote: Hamish MacDonald was born in Glasgow in 1935. He studied at Glasgow School of Art between 1963 and 1967. From 1968 he successfully combined painting with teaching and also guest lectured throughout Scotland. In 1991 he retired from his post as an Art Department Principal to concentrate fully on the development of his painting. Much of his work was inspired by the Scottish Colourist movement, but MacDonald preserved an individuality which marks him out as both a vibrant and important artist. Throughout his career he succeeded in capturing dramatic scenes with his own passionately innovative palette. Hamish MacDonald is now widely regarded as one of Scotland's most successful contemporary artists. From 1964, Hamish staged numerous solo exhibitions in Scotland and Cornwall. He also participated in group shows with prominent galleries in London and throughout the UK. His works can be found in many major collections throughout the world.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018) RONDA, SPAIN oil on board, signed and dated 2001, titled verso but obscured by the backboardframed and under glassimage size 49cm x 49cm, overall size 66cm x 66cmNote: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018) BRORA oil on boardframed and under glassimage size 28cm x 38cm, overall size 46cm x 56cmNote: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).The condition is good overall, with no visible or known issues.

* ETHEL WALKER (SCOTTISH b. 1941) RED GLASS AND ROSES oil on board, signed, titled label versoframedimage size 44cm x 44cm, overall size 62cm x 62cm Handwritten label versoNote: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" (a slightly smaller oil on board than "Study in Blue") achieved £3000 (hammer).

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), KY217 oil on canvas, signedframedimage size 90cm x 121cm, overall size 109cm x 136cm Note: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficullt to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were £1800 and £4000 and the same paintings sold in April for £3800 and £7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years. In The Scottish Contemporary Art Auction of 25th May 2023, lot 282, "Restless Wave" a 90 x 90cm oil (by Bellany) sold for £9000 (hammer) and in our most recent auction (9th November) lot 92, "Harbour" a 90 x 120cm oil by Bellany sold for £11000 (hammer).The condition of the picture is good overall, with no visible or known issues.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), THE BLUE BOAT, PAIMPOL (BRITTANY) oil on canvas, signedframedimage size 91.5cm x 91.5cm, overall size 101cm x 101cmNote: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficullt to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were £1800 and £4000 and the same paintings sold in April for £3800 and £7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years. In The Scottish Contemporary Art Auction of 25th May 2023, lot 282, "Restless Wave" a 90 x 90cm oil (by Bellany) sold for £9000 (hammer) and in our most recent auction (9th November) lot 92, "Harbour" a 90 x 120cm oil by Bellany sold for £11000 (hammer).

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), MARY WITH A MACKEREL watercolour on paper, signedmounted, framed and under glassimage size 36cm x 26cm, overall size 51cm x 41cm Note: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficullt to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were £1800 and £4000 and the same paintings sold in April for £3800 and £7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years. In The Scottish Contemporary Art Auction of 25th May 2023, lot 282, "Restless Wave" a 90 x 90cm oil (by Bellany) sold for £9000 (hammer) and in our most recent auction (9th November) lot 92, "Harbour" a 90 x 120cm oil by Bellany sold for £11000 (hammer).

* COLIN FRASER (SCOTTISH b. 1956), BREAKING WAVES egg tempera on panel, signed, titled and dated 2000 label versoframed and under glassimage size 78cm x 108cm, overall size 107cm x 137cm Label verso: The Gatehouse Gallery, GlasgowComment: An outstanding and very large work by Colin Fraser and probably the largest example to be offered at auction.Note 1: By repute, the lady is the artist's wife. Colin Fraser's work rarely appears at auction but in 2021 Bonhams, London sold "Warm Light" (61 x 65cm egg tempera) by Fraser for £3000 (hammer) - lot 153, Modern British & Irish Art 28th April 2021 and in The Scottish Contemporary Art Auction of 10th November 2022 lot 61 "Early Morning Light" (a 67 x 46cm egg tempera) by Colin Fraser sold for £2200 (hammer).Note 2: Colin Fraser was born in Glasgow in 1956. He studied art in Brighton while in his twenties before moving to Lund in southern Sweden, where he lives with his wife and children. He exhibits regularly at the Royal Academy Summer Show, Catto Gallery and Petley Fine Art in London, Mira Godard Gallery in Canada as well as at galleries in New York and Glasgow. His work is held in numerous private and corporate collections throughout North America, the UK, Europe and Asia. Ever since his first exhibition in Brighton in 1978, Colin Fraser has worked almost exclusively in egg tempera, which has the benefit of being very long lasting, with examples over two thousand years old still in existence, and was the most widely used painting medium until the sixteenth century, when it was superseded by oils. However, it is also extraordinarily time-consuming. The painted surface must be built up layer by translucent layer, with the paint drying instantaneously and not amenable to manipulation afterwards, unlike oil paints. Although a notoriously difficult medium, it has become a firm favourite of Fraser’s, who says that the “restrictions have been paramount in helping me be more direct in my approach to the work, with the instant drying and transparency of the paint actively contributing to a higher level of spontaneity of execution”. Colin Fraser is particularly drawn to its vitality which reminds him “of the dynamism of the sun – never static, always changing”. “Observed light is usually what attracts me into the process of painting,” he says. “The surface of a work painted in tempera simply has a unique glow which cannot be imitated in other mediums”. Constructing each painting is an arduous process, each beginning with an idea or a chance observation followed by weeks of experimentation with arrangements and preparatory drawings. Many of his scenes are staged with strategic placement of chairs, diaphanous textiles and trays of fruit. He believes that the painter “chooses the content and the arrangement, and then it becomes a question of striving to achieve a particular mood”. The prestigious Catto Gallery (London) has staged highly succesful solo shows for Colin Fraser in 2015, 2017, 2019 & 2022.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), PORT SETON FISHWIFE oil on canvas, signedframedimage size 76cm x 50cm, overall size 93cm x 67cm Note: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficullt to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were £1800 and £4000 and the same paintings sold in April for £3800 and £7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years. In The Scottish Contemporary Art Auction of 25th May 2023, lot 282, "Restless Wave" a 90 x 90cm oil (by Bellany) sold for £9000 (hammer) and in our most recent auction (9th November) lot 92, "Harbour" a 90 x 120cm oil by Bellany sold for £11000 (hammer).The condition of the picture is good overall, with no visible or known issues.

* ETHEL WALKER (SCOTTISH b. 1941) PEARS AND PLUMS oil on board, signed, titled and dated 1995 labels versoframed and under glassimage size 44cm x 47cm, overall size 64cm x 67cm Label verso: The Gatehouse Gallery, GlasgowNote: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" achieved £3000 (hammer).

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), BONJOUR TRISTESSE (WOMAN WITH A FISH) oil on canvas, signed, titled versoframed image size 60cm x 50cm, overall size 79cm x 68cm Note 1: John Bellany’s artworks often drew inspiration from literature, most noteably his serious of paintings and prints of “Old man and the sea” by Hemingway. “Bonjour Tristesse” (Hello Sadness) is a novel by Francoise Sagan, published in 1954 the book was a huge success and was adapted in English for a film in 1958 by Otto Preminger. The plot for the novel surrounds the activities of a 17 year old girl named Cecile, who spends the summer with her father Raymond and his mistress on the French riviera.Note 2: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficult to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were £1800 and £4000 and the same paintings sold in April for £3800 and £7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years. In The Scottish Contemporary Art Auction of 25th May 2023, lot 282, "Restless Wave" a 90 x 90cm oil (by Bellany) sold for £9000 (hammer).

* JAMES ORR (SCOTTISH 1931 - 2019), GOING SLEDGING acrylic on board, signed, titled label versoframed and under glass image size 29cm x 34cm, overall size 53cm x 58cm Exhibition label verso: Ayrshire Art ExhibitionNote: James Orr was a regular and successful contributor to The Scottish Contemporary Art Auctions. A modest man when it came to his own achievements, his work is held in the collection of HRH The Late Duke of Edinburgh and in many private collections across the world. He won several awards for his work, including the RGI’s Royal College of Physicians & Surgeons of Glasgow Award. His paintings have given and continue to give great pleasure to many people. Renowned for his kindness and generosity, he also nurtured many budding artists and gave his time generously through artist demonstrations for many art clubs across Scotland.

* MICHAEL SCOTT (SCOTTISH 1946 - 2006), NEWSPAPER AND FISH oil on board, signed, titled and dated 1996 labels versoframed and under glassimage size 60cm x 50cm, overall size 74cm x 64cm Label verso: The Gatehouse Gallery, Glasgow.Note: Born in Aberdeenshire in 1946, Michael Scott (Mike Scott) studied Political Science at Liverpool before doing a one year's teacher training course in Huddersfield. After moving to Glasgow, Scott took a full-time research post at Glasgow University followed by a lecturing post at the re-named Glasgow Caledonian University. By 1997 demand for his work had become so great that he had to resign his post at the University to paint full time. Awards Include The David Cargill Senior Award, Royal Glasgow Institute. Exhibitions Include 1988~John D Kelly Gallery, Glasgow: 1994~Roger Billcliffe Fine Art, Glasgow ~Contemporary Fine Art, Eton; 1995~Portland Gallery, London; 1997~Fosse Gallery, Stowe on Trent ~Contemporary Fine Art, Eton; 1998~Portland Gallery, London; 2001~Portland Gallery, London, 2004~Portland Gallery, London; 2010~A Memorial Exhibition, Roger Billcliffe, Glasgow. Collections Include Distillers plc, Robert Fleming Holdings Ltd, Spencer Stuart & Associates, Teachers Whisky, Whyte and Mackay and others. To mark the 10th anniversary of Michael Scott's death, The Roger Billcliffe Gallery staged an exhibition of his work 1st April - 30th April 2016. In The Scottish Contemporary Art Auction of 24th October 2021, lot 599 "Echo & Narcissus" a 60 x 60cm oil by Michael Scott sold for £3800 (hammer) and in recent times, other examples in our auctions have more than once achieved prices in excess of £4000 (hammer). In The Scottish Contemporary Art Auction of 23rd December 2021, lot 655 "Dancing The King" sold for £5000 (hammer).Condition of the picture is good overall, with no visible or known issues.

* JAMES ORR (SCOTTISH 1931 - 2019), FARM IN CALVIA, MAJORCA oil on board, signed, titled label versoframed and under glassimage size 30cm x 35cm, overall size 46cm x 51cm Handwritten labels versoNote: James Orr was a regular and successful contributor to The Scottish Contemporary Art Auctions. A modest man when it came to his own achievements, his work is held in the collection of HRH The Late Duke of Edinburgh and in many private collections across the world. He won several awards for his work, including the RGI’s Royal College of Physicians & Surgeons of Glasgow Award. His paintings have given and continue to give great pleasure to many people. Renowned for his kindness and generosity, he also nurtured many budding artists and gave his time generously through artist demonstrations for many art clubs across Scotland.

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948) SCARBA oil on canvas, signed, titled and dated 2005 versoframed and under glassimage size 23cm x 23cm, overall size 47cm x 47cm Artist's label versoLabel verso: The Carby Art Gallery, AberdeenNote: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick's Tug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison. In The Scottish Contemporary Art Auction of 28th September 2023 lot 38 LEE SHORE - NO LANDING ON STAFFA, sold for £8000 (hammer) setting a new auction record for a painting by John Lowrie Morrison.

Buckinghamshire.- Stowe.- [Seeley (J.)] Stowe. A Description of the House and Gardens of the...Duke of Buckingham & Chandos, large paper copy, 24 engraved plates by and after Thomas Medland (one folding) & 7 plans, 2 folding, crested ink signature erased at head of title with contemporary manuscript notes loosely inserted, light foxing to plates and offsetting, frontispiece cropped close to image at foot, contemporary marbled boards, rubbed, rebacked and recornered in calf, green morocco label, spine slightly faded, Buckingham, J.Seeley, 1827 § Forster (Henry Rumsey) The Stowe Catalogue Priced and Annotated, mezzotint frontispiece of Rembrandt's Unmerciful Servant' (foxed), title in red & black, lists of both subscribers & purchasers, plates, advertisements at end, title soiled and frayed at edges (repaired), contemporary blind-stamped cloth, rebacked, 1848, 4to (2)⁂ The first is a guide to the house and delightful landscape gardens of Stowe, the work of Bridgeman, Vanbrugh, Kent, "Capability" Brown and Gibbs. This is the issue including engraved plates of the various temples and monuments and is rarely seen in large paper format.The second records the 1848 sale of the majority of the great art collection at Stowe following the bankruptcy of the Duke of Buckingham and Chandos, who was rumoured to have left for the Continent with debts exceeding £1,000,000. It totalled £75,562 4s 6d over 35 days, and included the famous "Chandos Portrait" of Shakespeare which sold to the Earl of Ellesmere for £372 15s. and in 1856 became the first donation to the newly-created National Portrait Gallery.

[Evans (Mary Ann)], "George Eliot". [The Novels], 7 vol., new edition, half-titles, light foxing to first few pages, bookplates, occasional faint spotting, contemporary crimson half morocco, spines gilt with decorative art nouveau-style floral motifs, in 2 compartments, light scuffs, mainly to joints, overall a very attractive set, 8vo, [c.1880]

Gloucestershire & Herefordshire.- Rushout (John, 2nd Baron Northwick) [Sale Catalogue] Catalogue of the late Lord Northwick's Extensive and Magnificent Collection of Ancient and Modern Pictures...at Thirlestane House, Cheltenham, tinted lithographed frontispiece (lightly foxed), some prices in pencil manuscript by Rev.H.Cottingham of Hathersage Vicarage, Sheffield with ink notes of his purchases and 3pp. A.L.s. to him from the art dealer P.D.Colnaghi loosely inserted, engraved bookplate of William Wynne Jeudwine, original cloth, rebacked preserving original spine, Phillips, 1859 § Moffatt (Rev. J.M.) The History of the Town of Malmesbury, only edition, list of subscribers, 3 engraved plates and plan, folding letterpress table, contemporary half calf, Tetbury, 1805 § Storer (J. & H.S.) Delineations of Gloucestershire, engraved additional vignette title and plates, ink inscription of Maria & Emma Codrington to head of title and their bookplate, some spotting, original cloth, uncut, recased, spine faded, [1825] § Britton (John) Graphic Illustrations...of Toddington...the seat of Lord Sudeley, tinted lithographed frontispiece, plates, original cloth, faded, 1840 § Robinson (Rev. Charles J.) A History of the Mansions and Manors of Herefordshire, lithographed title and plates, tables, Francis Capper Brooke of Ufford's copy with printed note on subscription and 2 A.Ls.s. to him from the author tipped in at beginning, bookplate of John Harris, later half red morocco, spine gilt, t.e.g., others uncut, London & Hereford, 1873 § Kingsley (Nicholas) & Michael Hill. The Country Houses of Gloucestershire, 3 vol., illustrations, original cloth with dust-jackets, Cheltenham & Chichester, 1989-2001, all but the last a little rubbed; and 8 others on Gloucestershire & Herefordshire, 4to & 8vo (16)⁂ Lord Northwick (1770-1859) was one of the greatest collectors of the first half of the nineteenth century. He acquired so many paintings he had to buy a second mansion, Thirlestane House in Cheltenham, to display them and when he died intestate in 1859 the contents were sold over 22 days.

Carter (A. C. R.) The Year's Art: A Concise Epitome of All Matters relating to the Arts of Painting, Sculpture, Engraving and Architecture, 5 vol., a broken run, all but 1933, half-titles, plates, two typed letters signed by Joseph Duveen to the author loosely inserted, dated 1932 and 1934, very occasional light foxing, advertisement endpapers with margins lightly toned, contemporary uniform navy crushed morocco, gilt, very lightly rubbed, spines slightly sunned, g.e., 8vo, 1932-7.⁂ In the two letters, influential British art dealer Joseph Duveen thanks the author for sending 'the annual addition to your wonderful series of The Year's Art'. One letter is signed Joe Duveen, the other Joe.

Rocketry & pyrotechnics.- Simienowicz (Casimir) The Great art of artillery, translated by George Shelvocke, first edition in English, title printed in red and black, engraved frontispiece and 22 plates, all but one folding, woodcut head- and tail-pieces and decorative initials, title soiled, Yy2 large hole in text with loss, with some resulting loss of text to Xx2v opposite, short tear(s) to frontispiece and the odd other plate, without loss, lower margins water-stained, spotting or staining (including ink), lightly browned, contemporary half calf over marbled boards, spine in compartments, boards soiled, rubbed and scuffed, folio, Printed for J. Tonson, 1729.⁂ Scarce first English edition of this Polish-Lithuanian general's treatise on rocketry and pyrotechnics, first published in Latin in 1650. It remained the standard work for at least two centuries. The translator Shelvocke was a naval officer and privateer. Provenance: 'John Parker his book, October 23 1790'; 'R.Gibbins, Esq., Ashby-de-la-Zouch, Leicestershire, Artillery thou noble Art!' (ink inscriptions to front free endpaper).

[Martyn (Thomas)] The English Connoisseur: containing an Account of whatever is curious in Painting, Sculpture, &c. in the Palaces and Seats of the Nobility...of England..., 2 vol., first edition, one or two small marginal stains, modern half calf over marbled boards, spines gilt with red labels, uncut, L.Davis & C.Reymers, 1766 § Waagen (Dr.Gustav F.) Treasures of Art in Great Britain, 3 vol. (without the supplement), contemporary tan calf gilt, spines gilt with red & green roan labels, very slightly rubbed at edges, a handsome set, 1854-57; and 2 others, 8vo et infra (7)⁂ The first item is "the first general review in book form of collections of pictures in England" (Frank Herrmann. The English as Collectors, p.422) although much of the material was taken from earlier publications. The work covers Blenheim, Chatsworth, Devonshire House, Hampton Court, Kensington Palace, Stowe, Wilton and Windsor amongst others.The second is a pioneering and invaluable record of the wealth and provenance of art treasures in public and private collections in England in the early nineteenth century. Waagen (1794-1868) was the Director of the Berlin Royal Museum and a respected art historian and connoisseur. "Dr Waagen's encyclopaedic survey of art in England is the most important single work available to us in the history of collecting". (Herrmann, p.425).

Neale (John Preston) Views of the Seats of Noblemen and Gentlemen, in England, Wales, Scotland, and Ireland, First & Second Series, together 11 vol., first edition, additional engraved pictorial titles and 720 plates only (of 722), wood-engraved vignettes, subscriber's copy with contemporary ink inscription "N.Micklethwait Beeston 1819" to head of first title and with his engraved bookplate and ink correction to list of subscribers, plates all numbered in ink in top right-hand corner, some light foxing (mostly to tissue guards), water-staining to vol.1 of Second Series affecting a few plates, contemporary tan straight-grain morocco, gilt, spines gilt, rubbed, splits to joints, some repairs, [Millard, British 45], 8vo, 1818-29.⁂ Including details of architects, owners, and art collections. "The whole comprises the single most important early-nineteenth-century source of country-house architecture". (Millard) Rev. John Nathaniel Micklethwait (?son of the subscriber) inherited the Taverham estate in Norfolk in 1850 through his mother. He demolished the existing house and built a neo-Jacobean mansion; in 1920 it became a preparatory school.

Surrey.- Prosser (George Frederick) Select Illustrations of the County of Surrey comprising Picturesque Views of the Seats of the Nobility and Gentry, lithographed title, 46 plates and 14 vignettes, with 4 additional engraved plates bound in at end, list of subscribers, some light foxing or browning, architect's embossed stamp to some leaves, contemporary half calf, 1828 § Roundell (Mrs. Charles) Ham House: Its History and Art Treasures, 2 vol., Edition de Luxe (one of 15 copies but unnumbered), plates, some hand-coloured, original half morocco, spine gilt, t.e.g., others uncut, scuffed, spine faded, 1904 § Harrison (Frederick) Annals of an Old Manor-House Sutton Place, Guildford, plates, original pictorial buckram, gilt, uncut, 1893, all rubbed; and another, Surrey, 4to & folio (5)

Wiltshire.- William Beckford & Fonthill Abbey.- [Sale Catalogue] Magnificent Effects at Fonthill Abbey, Wilts. to be sold by Auction, By Mr. Christie, contemporary roan-backed boards, original printed paper label to upper cover, worn, upper cover almost detached, 1822 bound with Valuable Library of Books in Fonthill Abbey (The). A Catalogue of the Magnificent, Rare, and Valuable Library (of 20,000 Volumes)...which will be sold by Auction by Mr. Phillips, [including] The Unique and Splendid Effects of Fonthill Abbey [&] The Pictures and Miniatures at Fonthill Abbey, parts 1, 2 & 4 only (lacking part 3: Second Part of Books & Prints, 19th-23rd Days, also 33rd-39th Days), erratically bound, engraved frontispiece to each part (foxed at edges and offset on titles), 1823, together all bound in 1 vol., some pencil notes to endpapers, bookplate of Edward Harman F.S.A., contemporary half calf, rubbed, rebacked preserving old spine § Britton (John) Graphical and Literary Illustrations of Fonthill Abbey, lacking half-title, with engraved additional pictorial title and 10 plates including 2 hand-coloured aquatints, tissue guards, 4pp. list of subscribers and advertisements at end, foxing to uncoloured plates, contemporary half morocco, spine gilt with architectural motifs, a little worn, 1823, 4to (2)⁂ The Beckford sale was one of the most famous of the nineteenth century. Beckford's financial resources had diminished and he was forced to sell Fonthill and much of his collection. The sale was entrusted to Christie's and catalogued but before it took place John Farquhar, a Scottish gunpowder-manufacturer, bought the whole estate together with its contents. He then put the contents up for sale at auction with Phillips the following year. Choice items from Beckford's library and art collection had already been removed to his new residence in Lansdowne Terrace, Bath, and were inherited by his son-in-law the 10th Duke of Hamilton; they were later sold as part of the Hamilton Palace sales in 1882 and 1884.

A BACTRIAN LIMESTONE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central Asia, page 49, fig. 45.Oxus Civilization. The column of waisted form flaring towards the ends, the top and base with a crescent-shaped central groove. The stone of light brown hue with deep red veins.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2004. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 30 June 2004, and stating a purchase price of EUR 4,800 or approx. EUR 7,500 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, chips, and natural fissures.Weight: 9,304 gDimensions: Height 29 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 187Price: EUR 8,963 or approx. EUR 14,000 adjusted for inflation at the time of writingDescription: A Bactrian marble column idol, 2nd millennium BCExpert remark: Compare the related form and color of the stone. Note the size (29.5 cm).Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 186Price: EUR 6,573 or approx. EUR 10,500 adjusted for inflation at the time of writingDescription: A Bactrian alabaster column idol, 2nd millennium BCExpert remark: Compare the related form and color of the stone. Note the size (36 cm).

A BACTRIAN STONE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central Asia, page 48, fig. 44.Oxus Civilization. The column of cylindrical form flaring to the foot, the top and base with a deep central groove which runs down the sides of the body. The stone of a red and orange hue with yellow and reddish-yellow bands.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2005. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 28 February 2005, and stating a purchase price of EUR 5,200 or approx. EUR 7,900 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, chips, and natural fissures.Weight: 14.4 kgDimensions: Height 28.2 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Auction result comparison:Type: Closely relatedAuction: Christie's London, 12 May 2004, lot 183Price: EUR 7,170 or approx. EUR 11,200 adjusted for inflation at the time of writingDescription: A Bactrian marble column idol, 2nd millennium BCExpert remark: Compare the related form and color of the stone. Note groves to the side and the size (29.5 cm).

A BACTRIAN MARBLE COLUMN IDOL, LATE 3RD TO EARLY 2ND MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central Asia, page 50, fig. 46.Oxus Civilization. The column of waisted form flaring towards the ends, the top and base with a crescent-shaped central groove. The stone of dark brown marble with white veins, and stress lines filled with calcite.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2003. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 28 February 2003, and stating a purchase price of EUR 4,100 or approx. EUR 6,500 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Very good condition commensurate with age showing expected old wear and traces of use, some obvious losses, chips, and natural fissures.Weight: 5,320 gDimensions: Height 25.5 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Several stone objects of this shape have been excavated at sites of the Oxus Civilization. However, it is still unknown what purpose they once fulfilled. It is suggested that these miniature columns at some point entered the rituals of the Oxus funerary practices, having previously performed a practical function that involved strong laces running around and causing intensive wear to the grooves. The present object belongs to a group of shorter, heavily polished columns with one central groove along the top and bottom.Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 22 October 2003, lot 464Price: USD 6,600 or approx. EUR 9,900 converted and adjusted for inflation at the time of writingDescription: A Bactrian marble ritual object, 3rd millennium BCExpert remark: Compare the closely related form and color of the stone. Note the larger size (38.1 cm).

A BACTRIAN STONE RITUAL OBJECT, LATE 3rd TO EARLY 2nd MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central, page 75, fig. 61.Oxus Civilization. The staff of cylindrical form, bulging at the center and tapering to the ends. The dark heavy stone with orange-russet inclusions on one side.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2003. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 30 July 2003, and stating a purchase price of EUR 7,500 or approx. EUR 12,000 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, some chips, and natural fissures.Weight: 9.1 kgDimensions: Height 80 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.Auction result comparison:Type: RelatedAuction: Christie's London, 15 April 2015, lot 62Price: GBP 23,750 or approx. EUR 40,000 adjusted for inflation at the time of writingDescription: A Bactrian green stone ritual object, c. 2300-1700 B.C.Expert remark: Compare the related form and color of the stone. Note the size (83 cm).Auction result comparison:Type: RelatedAuction: Christie's London, 25 October 2007, lot 104Price: GBP 8,125 or approx. EUR 17,000 adjusted for inflation at the time of writingDescription: A Bactrian gray stone 'idol', late 3rd-2nd millennium B.C.Expert remark: Compare the related form and color of the stone. Note the size (94 cm).

A BACTRIAN DARK GREY STONE OXSCHIST RITUAL OBJECT, LATE 3rd TO EARLY 2nd MILLENNIUM BCPublished: Massimo Vidale, Treasures from the Oxus: The Art and Civilization of Central, page 75, fig. 61.Oxus Civilization. The stone of a greenish-black color, the staff of long cylindrical form tapering on one side.Provenance: Axel Vervoordt Art & Antiques, Antwerp, Belgium. Paolo Bertuzzi, acquired from above in 2003. A copy of the original invoice addressed to Mr Paolo Bertuzzi, dated 30 July 2003, and stating a purchase price of EUR 6,800 or approx. EUR 11,500 (adjusted for inflation at the time of writing), accompanies this lot. Axel Vervoordt (born 1947) is a Belgian antiques and art dealer, collector, and interior designer. He founded his company in Antwerp in 1969, and in 1998, he and his family acquired an industrial site which they turned into a small green town that offers spaces for art and exhibits works by renowned artists such as Anish Kapoor, James Turrell, Marina Abramovic, Otto Boll, and Tatsuo Miyajima. Vervoordt further designed several spaces for, among others, Robert de Niro, Kim Kardashian, and Kanye West. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Good condition commensurate with age showing expected old wear and traces of use, obvious losses, some chips, few encrustations, and natural fissures.Dimensions: Height 110 cmThe Oxus Civilization or Bactria-Margiana Archaeological Complex (BMAC), recently dated to c. 2250-1700 BC, is the modern archaeological designation for a Bronze Age civilization of Central Asia, previously dated to c. 2400-1900 BC, by Sandro Salvatori, in its urban phase or integration era. Though it may be called the “Oxus civilization”, apparently centered on the upper Amu Darya (Oxus River) in Bactria, most of the BMAC's urban sites are actually located in Margiana (modern Turkmenistan) on the Murghab river delta and the Kopet Dagh mountain range. There are a few later sites in northern Bactria (c. 1950-1450 BC), the territory of southern Uzbekistan, but they are mostly graveyards belonging to the BMAC-related Sapalli culture. A single BMAC site, known as Dashli, lies in southern Bactria, the territory of northern Afghanistan. Sites found further east, in southwestern Tajikistan, though contemporary with the main BMAC sites in Margiana, are only graveyards, with no urban developments associated with them. BMAC sites were discovered and named by the Soviet archaeologist Viktor Sarianidi when he was excavating in northern Afghanistan between 1969 and 1979. Sarianidi's excavations revealed numerous monumental structures in many sites, fortified by impressive walls and gates. Reports on the BMAC were mostly confined to Soviet journals. A journalist from The New York Times wrote in 2001 that during the years of the Soviet Union, the findings were largely unknown to the West until Sarianidi's work began to be translated in the 1990s.The precise use of these objects found in graves at Gonur in Margiana, in the cenotaphs of Sibri near Mehrgarh (Pakistan) and at Tepe Hissar and Shahdad in eastern Iran, is still unknown: they must have been used for some specific task, because their functional end, as a rule is worn, and finally deposed in the graves after the funeral.Literature comparison:Compare a related ritual object with cylindrical shaft tapering then flaring towards the flat ends illustrated in M.-H. Pottier, Materiel Funeraire de la Bactriane Meridionale de l'Age du Bronze, Paris, 1984, pp. 16, pl. V, fig. 7, no. 31.Auction result comparison: Type: RelatedAuction: Christie's London, 2 July 2018, lot 40Price: GBP 15,000 or approx. EUR 23,000 converted and adjusted for inflation at the time of writingDescription: A Bactrian stone idol, circa 3rd-2nd millennium B.C.Expert remark: Compare the related form and note the larger size (138 cm).

A BRONZE FIGURE OF BUDDHA, MON DVARAVATI PERIODThailand, 8th-9th century. Finely cast standing with his left hand raised in abhaya mudra and his right lowered in varada mudra, draped in a loose-fitting dhoti and sanghati. His serene face with heavy-lidded eyes, elegantly arched joined brows, full lips, and a broad nose, flanked by pendulous earlobes, his hair in tight curls over a high ushnisha.Provenance: From a noted private collector in Paris, France. Condition: Good condition, commensurate with age. Expected wear, casting flaws, some losses, signs of weathering and erosion, minor nicks and scratches. Weight: 2,025.3 g (excl. stand), 2,467 gDimensions: Height 31.5 cm (excl. stand), 32 cm (incl. stand)With a modern stand. (2)The Mon polity of Dvaravati was one of the earliest and most important societies in mainland Southeast Asia. Based around the Chao Phraya and Mae Klang river basins of central Thailand, Dvaravati was known from early Chinese textual sources, as well as being mentioned in a single local inscription that dates to roughly 550-650 AD. Due to the large numbers of Buddhist sculptures associated with the culture, it is most likely that the rulers were patrons of the Buddhist faith. The images of Buddha were influenced by contemporary Indian sculptural works, including the Gupta style based around the site of Sarnath. The facial features of the Mon Dvaravati Buddhist images, however, display arched, joined eyebrows which are unlike those found in India, and are therefore characteristic of Mon Dvaravati. Compared to earlier and later Thai kingdoms, Dvaravati was geographically and economically isolated, which contributed to the distinct qualities of its sculpture. Their style was bold, self-assured, recognizable, and highly influential on subsequent Thai sculpture and artistic production throughout Southeast Asia.Within the context of the dominant Theravada school of Buddhism, which emphasized the singularity of the Buddha Shakyamuni, bronze sculptures from this area also demonstrate a remarkably cohesive design. As unifying features, the Buddha is clad in the humble dress of a religious renunciant, with the thin garment clinging closely to the body to reveal his delicate proportions and graceful contours that lie beneath. His face is characterized by high cheekbones, full lips, prominent eyes, and - as stated - the curved brows that form the characteristic V-shape at the bridge of the nose.As expressed by Jean Boisselier, "The school of Dvaravati may stand alongside the great Buddhist artistic traditions of India, so enduring were its innovations and so persuasive its influence on most of the art of Southeast Asia" (J. Boisselier, The Heritage of Thai Sculpture, 1975, page 73). Bronze sculptures of this type and large size are exceedingly rare.Further emphasizing the presence of Buddha in the world of the devotee, the figure is depicted as if in motion, with the hems of the robe gently swaying to the sides. This stance, which also draws upon the classic tribhanga posture of Indian sculpture, presages the famous “Walking Buddhas” of Thailand that would grow prominent many centuries later. The bronze caster has masterfully captured the youthful appearance of Buddha that gives the spiritual themes imported from India their highly unique and refined local expressivity.Auction result comparison:Type: RelatedAuction: Christie's New York, 17 March 2015, lot 29Price: USD 269,000 or approx. EUR 318,000 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha, Thailand, 8th centuryExpert remark: Compare the closely related modeling and manner of casting with similar pose, facial features, expression, and robe. Note the size (36.1 cm).

A BRONZE FIGURE OF AVALOKITESHVARA SADAKSARI, JAVA9th-10th century. The four-armed deity seated in dhyanasana atop a lotus throne on a pierced and tiered square base, his primary hands forming the dharmachakra mudra, the upper left holding a fly-whisk and the upper right hand a conch, adorned with beaded jewelry, the face with downcast eyes and surmounted by a high tiara. The throne with a backrest flanked by two foliate protrusions. Provenance: Galleria La Balaustra, Archeologia Classica Orientale e Precolombiana, Bologna, Italy. Paolo Bertuzzi, acquired from the above (invoice lost). Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Condition commensurate with age. Extensive wear, losses, signs of weathering and erosion, corrosion. Minor casting flaws. Naturally grown malachite-green patina with brown encrustations overall.Weight: 644.3 g Dimensions: Height 12.4 cmAuction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 17 December 2021, lot 3019Price: HKD 30,240 or approx. EUR 3,800 converted and adjusted for inflation at the time of writingDescription: A bronze figure of Buddha, Java, circa 10th centuryExpert remark: Note the smaller size (11.2 cm)Auction result comparison:Type: RelatedAuction: Christie's New York, 25 March 2004, lot 152Price: USD 28,680 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: An important bronze figure of Avalokiteshvara, Indonesia, Central Java, 9th centuryExpert remark: Note the larger size (20.2 cm)

A RARE GILT COPPER ALLOY FIGURE OF VISHNU, JAVA, 14TH-15TH CENTURY OR EARLIERFinely cast standing in samapada atop a circular lotus base with beaded edge, his main left hand resting on the handle of his mace, his main right holding a lotus stem, his secondary hands raised and holding the conch and disk. He is wearing a long diaphanous dhoti and the upavita (sacred thread) across his left shoulder, his body richly adorned with floral jewelry, his face bearing a serene expression, his hair pulled up into a high chignon secured by a band and topped by a jewel, behind the foliate tiara. Provenance: From the collection of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Very good condition with expected wear and manufacturing irregularities, minute nicks and small dents here and there, the gilding possibly later. The bronze with a fine, naturally grown patina with malachite encrustations. Weight: 105.6 gDimensions: Height 10 cmVishnu is the preserver and protector of the universe, called upon to save it from great calamity. In the current attitude, he is a martial deity, holding the mace and discus, and a conch to call troops to arms.Literature comparison: Compare a related earlier bronze of Vishnu, 13.8 cm high, dated late 9th to first half of the 10th century, in the Metropolitan Museum of Art, accession number 1987.142.15. Compare a gilt bronze figure of Shiva, 27.9 cm, dated 8th-9th century, in the Metropolitan Museum of Art, accession number 2004.556.Auction result comparison: Type: RelatedAuction: Christie's New York, 21 March 2018, lot 327Price: USD 5,000 or approx. EUR 5,700 converted and adjusted for inflation at the time of writingDescription: A gilt silver figure of Jambhala, Indonesia, Java, 14th/15th centuryExpert remark: Compare the related modeling, with similar floral jewelry and expression, and manner of casting and gilding, with a similar patina to the gilded figure. Note the smaller size (5.2 cm). Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 29 March 2018, lot 11 Price: HKD 375,000 or approx. EUR 49,000 converted and adjusted for inflation at the time of writing Description: A copper alloy figure of Vishnu, Java, 9th/10th century Expert remark: Note the larger size (29 cm).

A FRAGMENTARY BRONZE BUST OF BUDDHA, INDONESIA, 16TH-17TH CENTURYFinely cast dressed in a monastic robe covering both shoulders and falling gracefully in neatly carved U-shaped folds. His serene face with heavy-lidded eyes below elegantly arched brows centered by a raised circular urna, his full lips forming a calm smile, flanked by long pendulous earlobes. The hair arranged in tight curls over the high ushnisha.Provenance: Galleria Nuria Palacios, Madrid. Paolo Bertuzzi, acquired from the above. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out together with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Extensive wear, losses, signs of weathering and erosion, the bronze with malachite encrustation, generally presenting well.Scientific Analysis Report: An alloy analysis via atomic emission spectrometry conducted by Antiques Analytics finds a zinc content of 5% indicating an origin no sooner than 16th century, as well as a low tin content also in favor of a production period between the 16th and 17th century. A copy of the Expert Report from Antiques Analytics, test report number AA 23-04041, dated 19 May 2023, accompanies this lot.Weight: 1535.1 g (excl. stand) and 2,146 g (incl. stand)Dimensions: Height 31 cm (excl. stand) and 45.5 g (incl. stand)With an associated metal stand. (2)

NORMAN STUART CLARKE; a contemporary glass vase with iridescent trailed decoration, height 21cm, George Elliott glass vase and a further smaller art glass vase (3).

A Danish teak extending dining table, with two additional leaves set with contemporary ceramic tiles, possibly Ox Art, length when extended 175cm, ten teak dining chairs (8+2).

Artwork Titled No,9 Parquet Huw Griffith, An Artist Trained At Camberwell School Of Art, Presents His Artwork Titled "No,9 Parquet." Having Begun His Career As A Fine Art Framer And Working In The Picture Department Of Phillips Auctioneers, Griffith Gained Valuable Knowledge Spanning From Old Masters To Contemporary Art. His Artistic Inspiration Stems From Found Objects Like Old Letters, Ephemera, And Frames Collected During His Travels And Visits To Antiques Fairs. Unrestricted By Creative Constraints And Conventional Artistic Norms, Griffith Operates On The Fringes Of The Art World And The Traditional Marketplace. His Journey Started By Selling His Work On The Streets And Has Since Paved The Way For His Success. . 100 x 84cm

Luisa Peixoto Rose Contemporary Chest Of 5 Drawers High Gloss Walnut Finish and Glass Truly A Work Of Art. This Luxury Portuguese Design Features A Stunning Ebony Body With Mirrored Drawers, Creating A Bold And Striking Statement Piece. Crafted With The Utmost Care And Precision, The Quality Of This Piece Is Second To None. At 150 Cm Wide, 40 Cm Deep, And 70cm High, This Piece Is Sure To Make An Impact In Any Space. Good Condition Except For Two Of The Drawers' Mirrors Which Have Small Cracks That Will Need To Be Repaired. This Is An Excellent Opportunity To Obtain A Luxurious Piece Of Furniture For A Fraction Of The Price. With The Luisa Peixoto Rose Contemporary Chest Of 5 Drawers In Your Home, There's No Doubt You'll Make A Lasting Impression.

Strachey (Julia). Cheerful Weather for the Wedding, uncorrected proof, London: Hogarth Press, 1932, ink annotations and corrections, R. & R. Clark Ltd, Edinburgh ink stamps and 'First Proof' stamps, contemporary morocco-backed boards, spine ends chipped, 8vo, together with An Integrated Man, uncorrected proof, London: John Lehman, 1951, a few ink corrections, original wrappers with publisher's label to upper wrapper, tear and loss at spine ends, a little toned, 8vo, plus Fry (Roger). A Sampler of Castile, London: Hogarth Press, 1923, 16 monochrome illustrations, endpapers toned, previous owner signature of Lawrence Gowing, original illustrated boards, some toning and light edge wear, 4to, limited edition 6/550, with others, Hogarth Press etc, including, Art and Commerce, by Roger Fry, Hogarth Press, 1926, Afterthoughts, by Logan Pearsall Smith, 1931 (limited edition of 100), The Man on the Pier, by Julia Strachey, 2nd impression, 1951, plus an album of photographs belonging to Julia Strachey, circa 1916 and later, with numerous family photographs loose and mounted, with a copy typescript poem of 'The Sluggard's Quadrille and Other Remains of Stephen Tomlin' loosely inserted QTY: (17)NOTE:Small archive of books and photographs belonging to the writer Julia Strachey (1901-1979), the niece of Lytton Strachey, and was associated with the Bloomsbury Group through him. She married the sculptor Stephen Tomlin in 1927, and after they separated in 1934 she married artist and critic Lawrence Gowing, in 1939.Her most famous novel was Cheerful Weather for the Wedding, in 1932, of which Virginia Woolf remarked 'I think it astonishingly good - complete and sharp and individual'.

Audsley (George Ashdown & Audsley, Maurice Ashdown). The Practical Decorator and Ornamentist, Glasgow: Published for Subscribers only, by Blackie & Son, Ltd., [1892], half-title, two diagram plates and 100 fine chromolithograph plates printed by Firmin-Didot of Paris, some heightened with gold, occasional light spotting, all edges gilt, contemporary black half morocco, worn, folio, together with:Solon (Marc Louis). The Ancient Art Stoneware of the Low Countries and Germany; or Gre?s de Flandres & Steinzeug: its principal varieties and the places where it was manufactured during the XVIth and XVIIth centuries, 2 volumes in one, London: Printed for the Author at the Chiswick Press, 1892, 25 sepia etched plates on india paper, monochrome illustrations to text, some marginal browning, edges untrimmed, modern half calf, folio (limited signed edition 16/270 printed on Dutch handmade paper),Anderson (William). The Pictorial Arts of Japan..., London: London: Sampson Low, Marston, Searle, & Rivington, 1886, title in red and black (with repaired closed tear), 80 chromolithograph and monochrome plates, monochrome illustrations, some toning and spotting, front blank inscribed 'Margaret Anderson from her husband', all edges gilt, near contemporary black half morocco retaining original pictorial cloth sides, rebacked, extremities rubbed, folioQTY: (3)

Richardson (George). Iconology; or, A Collection of Emblematical Figures; containing four hundred and twenty-four remarkable subjects, moral and instructive; in which our displayed the beauty of virtue and defomity of vice. The figures are engraved by the most capital artists from original designs; with explanations from classical authorities. By Geroge Richardson, architect, 2 volumes, 1st edition, London: printed for the author, by G. Scott, 1779, printed title to each volume, engraved dedication leaf to first volume, and single-page list of subscribers (195 listed 109 engraved plates, text and plates printed on good-quality thick laid paper, very light offsetting from plates to adjacent text leaf, some light spotting to first few leaves of first volume, armorial bookplate of Robert Hunter Esqr. of Thurston to front endpaper of each volume, contemporary uniform full tree calf, gilt-decorated spine with contrasting red and black morocco labels, rubbed and a little wear to extremities, joints partly cracked (upper joint to first volume somewhat fragile), large 4to (sheet size 38 x 30 cm)QTY: (1)NOTE:ESTC N17051.A handsome edition of George Richardson's collection of emblems and motifs drawn from ancient and classical authors as well as the Italian writer Cesare Ripa. Scottish architect George Richardson (1737/1738-1813) wrote a number of works on architecture and deisgn. The present work was designed for the use of painters and interior designers, and had a significant influence on neo-classical art in England. Subscribers to the work include Robert and James Adam, Francesco Bartelot, Sir William Chambers, Sipriani, George Dance, James Gandon, Sir William Hamilton, Joseph Nollekens, Thomas Nash (cabinet maker), James Paine, Edward Penny and Sir Joshua Reynolds of the Royal Academy, Romney, Paul Sandby, James Tassie, Benjamen West, Richard Westmancott, William Woollett, and Antonio Zucchi.

Charles I. Reliquiae Sacrae Carolinae. Or the Works of that Great Monarch and Glorious Martyr King Charls the I. Collected together, and Digested in Order, According to their Severall Subjects, Civil and Sacred, 2 parts in one, The Hague: Printed by Samuell Browne, 1651, engraved portrait frontispiece, double-page engraved portrait of Charles I at prayer (lined to verso and closed tear to fold), light dust-soiling, toning and spotting, armorial bookplate of Edward Francis Witts to upper pastedown,19th-century blind panelled and decorated calf, spine torn and some wear, 8vo, together with:New Testament [French]. Le Nouveau Testament de Nostre Seigneur Jesus Christ, Traduit en François Selon l'edition Vulgate, avec les différences du Grec. 2 parts in one, new edition, A Mons: Gaspard Migeot [Amsterdam: Daniel Elsevier], 1672, general title in red and black and with woodcut device, 2nd part with separate title 'Les Epistres de S. Paul. Les Epistres Canoniques. L'Apocalypse', light damp-staining and dust-soiling, modern calf, 8vo (Willems 1480, The On account of the hostility of the Jesuits in Paris, this Jansenist Bible could not be printed in France and the various editions with the Mons imprint are usually attributed to the press of Daniel Elzevier at Amsterdam),Hall (Joseph). The Old Religion: A Treatise Wherein is laid down The true state of the difference betwixt the Reformed and Roman Church..., for a Preservation against Popish Insinuations, London: Printed by M. F. and are to be sold by William Freeman, 1686, some damp-staining, front endpaper with early manuscript ownership of Kitty and Agnes Travell, Frances Travell, and F. E. Witts, contemporary mottled calf, joints rubbed, 12mo, plus other 17th-early 19th-century antiquarian including Peacham (Henry). The Compleat Gentleman. Fashioning him absolut [sic], in the most necessary and commendable Qualities concerning Minde or Body, that may be required in a Noble Gentleman. Whereunto is annexed a description of the order of a Maine Battaile or Pitched Field, eight severall wayes: with the Art of Limming and other Additions newly Enlarged, London: Francis Constable, 1634, additional engraved title, lacking three leaves of text (N3, N4 & O1), leaves N1 & N2 detached, damp-staining throughout, contemporary calf, 4toQTY: (8)

Nicolson (Benedict). The International Caravaggesque Movement, 1st edition, Phaidon Press, 1979, monochrome plates and illustrations, original blue cloth gilt in dustwrapper, 4to, together with:Wildenstein (Georges). Chardin (L'Art Francais), Paris: Les Beaux-Arts, 1933, photogravure plates, contemporary green cloth, large 4to, plus others on 17th and 18th-century European art and artists, including Roger Hinks, Michelangelo Merisi da Caravaggio, Faber & Faber, 1953, Edward J. Sutherland, Baroque Painting in Madrid, The Contribution of Claudio Coello with a catalogue raisonné of his works, University of Missouri Press, 1986, Richard Krautheimer, The Rome of Alexander VII, 1655-1667, Princeton University Press, 1985, Thomas DaCosta Kaufmann, The School of Prague, painting at the Court of Rudolf II, University of Chicago Press, 1988, Anita Brookner, Jacques Louis David, 1980 & Greuze, 1972, etc., mostly original cloth, some in dustwrappers, some paperbound editions, 4to/8voQTY: (6 shelves)

[Trusler, John]. The Honours of the Table, or, Rules for Behaviour During Meals; with the Whole Art of Carving... for the use of young people, 2nd edition, London: for the Author at the Literary-Press, 1791, woodcut arms on verso of title, woodcut illustrations (by Bewick) in the text, showing joints, poultry and fish, five later engraved illustrations showing animal cuts pasted onto 5 inserted blank leaves (illustrations slightly offset to facing text pages), a few old ink marginalia, partial pencil index to front flyleaf (detached), a little spotting, stitching partly broken, contemporary sheep, edge wear, covers detached and spine defective, tall 12moQTY: (1)NOTE:Bitting, p. 466; Maclean, p. 142; Osborne II, p. 743; Simon, BG 1475].

Eden (William). Principles of Penal Law, 2nd edition, London: B. White and T. Cadell, 1771, half-title, brown morocco, green morocco title label to spine, extremities worn, joints cracked, corners worn and showing, 8vo, together with More (Hannah). Strictures on the Modern System of Female Education…, 4th edition, 2 volumes, London: T. Cadell Jun and W. Davies, 1799, half-title, contemporary owner's signature to front free endpapers, contemporary calf, gilt decorated spine, maroon morocco labels (partially lacking volume number label to volume 1 & lacking title label to volume 2), joints splitting, corners worn, 8vo, and Harris (James). Three Treaties, The First Concerning Art, The Second Concerning Music, The Third Concerning Happiness, 2nd edition, London: John Nourse and Paul Vaillant, 1765, verso of title and also front free endpaper with contemporary gift inscription from the author to Wadham College, Oxford, contemporary marbled calf, gilt decorated spines lacking labels, joints split, worn, 8vo, and Harris (James). Hermes or a Philosophical Inquiry Concerning Universal Grammer…, 2nd edition, London: John Nourse and Paul Vaillant, 1765, engraved frontispiece, verso of title and verso of front free endpaper with contemporary gift inscription from the author to Wadham College, Oxford, contemporary marbled calf, gilt decorated spine lacking labels, joints split, worn, 8vo, plus Maury, (Abbe & Lake, John Neal, translator). The Principles of Eloquence Adapted to the Pulpit and the Bar, London: T. Cadell 1793, modern half calf gilt, 8vo QTY: (6)

De Nobleville (Arnault). Aedologie ou traite du rossignol franc, ou chanteur, 1st edition, Paris: Chez Debure l'ainé, Quai des Augustins, à l'Image S. Paul, 1751, 2 folding engraved plates including frontispiece, contemporary mottled, gilt decorated spine with maroon morocco title label, spine torn at head with slight loss, small 8vo, together with:Abercrombie (John). The British Fruit-Gardener; And the Art of Pruning: Comprising the Most Approved Methods of Planting and Raising every Useful Fruit-Tree and Fruit-Bearing-Shrub, whether for Walls, Espaliers, Standards, Half-Standards, or Dwarfs..., 1st edition, London: Lockyer Davis, 1779, title also written in manuscript to lower margin, contemporary calf, joints split and leather at head of spine torn, corners worn and showing, 8vo,Mawe (Thomas). Every Man his own Gardener. Being a new and much more complete Gardener's Kalendar, and General Director, than any one hitherto published, 13th edition, London: J. F. and C. Rivington, T. Longman, B. Law [et al.], 1791, engraved frontispiece, contemporary half calf, extremities rubbed, 12mo,Marshall (William). Planting and Rural Ornament, 2 volumes, 2nd edition, London: G. Nicol, G. G. and J. Robinson and J. Debrett, 1796, contemporary calf, spines lacking labels, upper board of volume 1 detached, worn, 8vo,Macculloch (John). Remarks on the Art of Making Wine, 4th edition, enlarged and improved, London: Longman, Rees, Orme, Brown, & Green, 1829, half-title, light damp-staining at foot of initial leaves, original green cloth, 12mo, and The Modern Cookery, written upon the most approved and Economical Principles, and in which every Receipt has stood the Test of Experience, by a Lady, 9th edition, greatly improved and enlarged, Derby: Henry Mozley and Sons, 1846, wood engraved frontispiece, two plates and several illustrations of bills of fare, light toning, original cloth, 12mo, plus four other natural history and botany relatedQTY: (11)

Bowdler Sharp (Richard, editor). Lloyd's Natural History, 15 volumes (of 16), London: Edward Lloyd, 1896-97, colour plates throughout, contemporary ownership inscription 'A Henderson' to head of half-title or title, a few leaves loose, contemporary red cloth gilt, lightly rubbed, 8vo, together with:Lardner (Dionysius). The Museum of Science and Art, 12 volumes in 6, London: Walton and Maberly, 1854-56, wood-engraved illustrations throughout (some full-page), contemporary ownership inscriptions to front blanks, a few light spots, contemporary half calf gilt, rubbed, 8voQTY: (21)

Φ Christopher Sanders RA (1905-1991) LiliesSigned Sanders (lower right)Oil on canvas 71 x 61cmProvenance:Woolley & Wallis, Salisbury, 20th Century & Contemporary Art, 9 December 2015, lot 111

Φ Andrew Macara (b.1944) Yellow and Green Windbreak, Cap d’Agde Signed and dated ANDREW MACARA 2001 (lower right) and further inscribed and dated Cap d’Adge/South of France/Aug 2001 (to reverse) Oil on canvas 35.5 x 45.9cmProvenance: The Contemporary Fine Art Gallery, Eton

Φ Mick Rooney RA (b.1944)Into the Hands of StrangersSigned and dated Rooney 89 (lower right)Oil on board128 x 101cmProvenance:Christie's, London, 20C British Art, 4 June 1999, lot 74Exhibited:London, Festival Hall, After Auschwitz; Responses to the Holocaust in Contemporary Art, February-April 1995, no.53, fig.73: this exhibition travelled to Manchester, City Art Gallery, May-July 1995; Nottingham, Angel Road Gallery, July-August 1995; Sunderland, Northern Centre for Contemporary Art, September-October 1995; Edinburgh, November-December 1995; and Germany, Potsdan, 1996.

Φ John Kingsley RSW, PAI (Scottish b.1956) Landscape, Montalcino Signed Kingsley (lower left) Oil on canvas 51 x 51cmProvenance: The Contemporary Art Gallery, Eton

Φ John Kingsley RSW, PAI (Scottish b.1956) Corner Shop, Montfrin Signed Kingsley (lower left) Oil on canvas 71.2 x 76cmProvenance: The Contemporary Art Gallery, Eton

Φ John Kingsley RSW, PAI (Scottish b.1956) Sunlit Trees, Cap d’Agde Signed Kingsley (lower left) Oil on canvas 35.8 x 35.8cmProvenance: The Contemporary Fine Art Gallery, Eton

Φ John Kingsley RSW, PAI (Scottish b.1956) Port Grimaud Signed Kingsley (lower right) Oil on canvas 40.7 x 40.7cmProvenance: The Contemporary Fine Art Gallery, Eton

Malcolm Drummond (1880-1945)The FireplacePencil22.2 x 26 cmProvenance:Mrs Malcolm Drummond;D. Cooke Esq;Woolley & Wallis, Salisbury, 20th Century & Contemporary Art, 16 July 2008, Lot 68Exhibited:London, Maltzahn Gallery, May 1974

Sylvan G Boxsius (1878-1941)Autumn; Winter A pair, both woodcut in colour35.5 x 28cm; 36 x 27cm (image) (2)Provenance:Woolley and Wallis, Salisbury, 20th Century and Contemporary Art, 16 July 2008, lot 132