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BANKSY (born 1975)Girl with Balloon, 2004 signed, dated, numbered 82/150 and further inscribed AP/DN in pencilscreenprint in colours60 x 50cm (23 5/8 x 19 11/16in).with the publisher's blindstamp, Pictures on Walls, LondonFootnotes:This lot has been inspected by Pest Control and the Certificate of Authenticity is in the process of being issued.Possibly one of the most iconic artworks of the 21st century, Banksy Girl with Balloon has acquired a notoriety to which few contemporary works can lay claim. A favourite with the public and collectors alike, it was elected 'Britain's favourite work of art' in a Samsung poll in 2017. Its fame is based not only on the minimal design, universal message and straightforward approach, but also on the various events punctuating the life of the artwork.Originally created as a stencil mural on Waterloo Bridge on the Southbank, London, in 2002, with the inscription There is Always Hope written nearby, the stencil was eventually painted over by the council. This was to be the fate of other murals of this image in various locations across London and none remain today. One of these, stencilled on a wall in Shoreditch, London, was removed in 2014, exhibited at the controversial exhibition Stealing Banksy? and eventually sold at auction. In the meantime, Banksy had created a limited edition print of the image in 2004, of which 150 were signed, such as the present impression. With the idea of making his stencil work accessible to all, the print was offered through the print house collective Pictures on Walls, who describe their first encounter with Banksy about producing a screenprint of Girl with Balloon as follows,Some idiot from Bristol came into the office after a night spraying the streets and showed us what he'd been up to. 'Maybe that would work as a print' - we thought, its only two colours, how could we screw that up?By 2007 the print was already making its first appearance at auction and, ironically, as Banksy's original stencils were removed from their walls one after the other, his prints proliferated, and his visibility and status increased.By 2014, there were not many people who did not know about Banksy, and who did not instantly recognize Girl with Balloon. In March that year, Banksy re-worked the original image at the occasion of the third anniversary of the Syrian conflict, with the little girl wearing a headscarf. The motif was also projected onto the Eiffel Tower and the Nelson's Column to raise awareness about the devastating conflict and remind us all that the image was, first and foremost, a symbol of hope, rallying support for the victims of the war. Celebrities joined the campaign which quickly went viral. In the context of this sale dedicated to Pop and Street Art, Banksy can be seen as following the example of Keith Haring, whose murals and print projects contained charged political messages (lot 10 –Untitled 2, from Free South Africa). On another level, he also follows in the steps of another iconic Pop artist, Andy Warhol, in the way he carefully and playfully handles his image and his success, never scared to remind everyone – and the art world in particular – of the irony with which he responds to his celebrity status. One of the most famous instances of this – an event that acted as the pinnacle to the renown of Girl with Balloon – occurred in 2018 when one version on canvas, moments after selling over £1M at auction, started to automatically self-destruct through a hidden shredding mechanism that had been placed in the frame by the artist years before. Making headlines the world over, appropriately renamed Love is in the Bin by Banksy afterwards, and happily kept by the new owner, the image went from a universal symbol of hope, to achieving a cult status as one of the best art stunts ever orchestrated. Today Girl with Balloon is the artist's most sought-after print.The symbolism of the work should not be overlooked. For his most recent project, a boat Banksy financed to rescue refugees in the Mediterranean Sea, it is a painting of the little girl again that adorns the boat, this time wearing a life vest and holding a heart-shaped buoy, with the same gesture as the Girl with Balloon. A reminder that hope remains the main message of this iconic work, which is also what gives it the timelessness that is essential to all great and iconic artworks. We are delighted to be offering both the present signed impression and an unsigned impression (lot 95) of this celebrated print in the sale.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

ART JOURNAL: 'The Art Journal...New Series' London, J S Virtue, 1889-90: 2 vols, contemporary blue half-calf, rubbed, folio: MILNER (Thomas, Rev) 'The Gallery of Nature, a pictorial & descriptive tour through creation' London, Wm Orr & Co, 1855: large 8vo, period calf gilt, rubbed: together with 9 other calf bound volumes, including 'The Methodist Magazine for the Year 1820' and others similar, plus a part set of Victor Hugo's Works in cloth, 19 vols. (31) 

NO RESERVE Map reference books.- Wright (Thomas) Clavis Cœlestis being the Explication of a Diagram entitled, a Synopsis of the Universe, edited by M. A. Hoskin, 4 double-page large folding facsimile diagrams, contemporary morocco-backed boards, slight bumping to corners and spine extremities, 1967 § Kenny (Louis A.) Catalogue of the Rare Astronomical Books in the San Diego State University Library, frontispiece, illustrations, some full-page, original cloth, a little rubbed, faded spine, slipcase, a little rubbed and faded, San Diego, 1988 § Levenson (Jay A., editor) Circa 1492: Art in the Age of Exploration, illustrations, original stiff paper wrappers, a little rubbed, 1992; and a small quantity of others, mostly celestial cartography, including periodicals, v.s. (small qty)

John Piper (British, 1903-1992)Clamecy, Burgundy (Levinson 375) Screenprint in colours, 1985, on Arches, signed and numbered 14/100 in pencil, printed by Kelpra Studio, London, published by Christie's Contemporary Art, London, with margins, 775 x 590mm (30 1/2 x 23 1/4in)(I)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

* Sandby (Paul). Bridge-North S. W., 1774, aquatint after Rev. Dr. Luttrell Wynne with contemporary hand colouring, some staining, laid on later stiff paper, 370 x 540 mmQty: (1)NOTESTHE DAVID SMITH PRINT COLLECTION PART I CIVIL ENGINEERING, TRANSPORT & TOPOGRAPHICAL PANORAMAS A fine aquatint of the market town of Bridgenorth in Shropshire. Sandby first visited Bridgnorth in 1770 and it appears in the background of two later bodycolour landscapes dominated by a large beech tree, one at the V&A, dated 1794 (Hermann 25), the other at Yale Center for British Art (Hermann 130): he exhibited a view entitled 'East View of Bridgnorth' at the Royal Academy, London in 1801. (BM).

Fearne (Charles). The Trial of the Honourable Admiral John Bing, at a Court Martial, as taken by Mr. Charles Fearne, Judge-Advocate of his Majesty's Fleet, London: R. Manby, J. Whiston & B. White, et al., 1757, with appendix at rear, bound with: Ferrers (Lawrence, Earl) , The Trial of Lawrence Earl Ferrers, for the Murder of John Johnson, before the ... House of Peers, London: Samuel Billingsley, 1760, bound with, Donnellan (John) , The Trial of John Donellan, Esq. for the Wilful Murder of Sir Theodosius Edward Allesley Boughton, Bart. at the Assize at Warwick, On Friday, March 30th, 1781, before the Honorable Francis Buller, taken in short-hand by Joseph Gurney, 3rd edition, London: sold by George Kearsley & Martha Gurney, 1781, few marks to title, bound with, Donnellan (John) , A Defence and substance of the Trial of John Donnellan, Esq; who was convicted for Murder of Sir Theodosius Boughton..., London: John Bell, 1781, few closed tears to gutter margin of title, errata slip present, bound with: [Somerset, Frances, Viscountess Scudamore] , Panthea. An elegy on the death of the Right Honourable the Lady Viscountess Scudamore. Humbly inscrib'd to Her Grace the Dutchess of Beaufort, London: William Lewis, 1729, 6pp. , folds & short closed tear to title, dust-soiled, (Foxon P44), bound with: [Prior, Matthew] , The Dove. A Poem, London: J. Roberts, 1717, [4], 7, [1]pp., half-title, few closed tears & wear holes where previously folded, dust-soiled, bound with, Pope (Alexander) , An Epistle to the Right Honourable Richard Lord Visct. Cobham, London: Lawton Gilliver, 1733, half-title, bound with, Pope (Alexander) , Of Verbal Criticism: An Epistle to Mr. Pope. Occasioned by Theobald's Shakespear, and Bentley's Milton, London: Lawton Gilliver, 1733, half-title with small hole to centre, closed tear to final leaf, bound with, Somerville (William) , Field-Sports. A Poem. Humbly Address'd to His Royal Highness the Prince, London: J. Stagg, 1742, bound with, Corbett (Charles, publisher) , An epistle to a fellow commoner at Cambridge: Occasioned by the present disputes there., London: Charles Corbett, [1750], 8pp., closed trimmed at foot with slight loss to catchwords, old horizontal fold with slight wear, bound with, [Dodsley, Robert] , The Art of Preaching, in imitation of Horace's Art of Poetry, London: R. Dodsley, [1746?], 19pp., ink markings to title and final leaf, bound with: [Smart, Christopher] , Gratulatio Academiæ Cantabrigiensis de reditu serenissimi regis Georgii II. post pacem & libertatem Europæ feliciter restitutam anno M.DCC.XLVIII., Cambridge: J. Bentham, 1748, engraved title-page vignette, bound with, [Darwin, Erasmus] , Academiæ Cantabrigiensis luctus in obitum Frederici celsissimi Walliæ principis, Cambridge: Joseph Bentham, 1751, final 19 leaves with rodent damage to inner blank margins, bound with: Sacheverell (Henry) , The Speech of Henry Sacheverell, D.D. upon His Impeachment at the Bar of the House of Lords, in Westminster Hall, March 7, 1709/10, London: printed in the year 1710, some dampstaining at gutter, bound with, Eusden (Lawrence) , A Letter to Mr Addison, on the King's Accession to the Throne 1714, London: J. Tonson, 1714, some toning and occasional spotting throughout volume, later endpapers, contemporary sheep-backed marbled boards, rebacked with maroon morocco title label to spine, folioQty: (1)

Wallis (John, 1616-1703). ‘A Collection of Letters and other Papers, intercepted in Cipher, during the late warres in England. Deciphered by John Wallis D. D. Professor of Geometry in the University of Oxford. Being a Transcript of a like Collection presented by him to the Bodleyan Library, in the University of Oxford', 1 July 1653, holograph manuscript in brown and red ink on laid paper (with stylised ‘Pot II’ watermark containing initials ‘EDC’), pp. [24] 1-221 [i.e. 223] + initial blank and 32 rear blanks, with box-rules, pagination and catch-words throughout, old staining to title-page, a little light browning to margins, contemporary mottled calf, twin rules gilt to spine-compartments and covers, extremities rubbed, headcap worn away, front joint cracked but firm, a few abrasions to rear cover, tips showing through, 4to (18.7 x 14 cm)Qty: (1)NOTESProvenance: 1) William Wallis, great-great-grandson of John Wallis, inscribed by him ‘I Wm Wallis had this book with some others from Mr Hayes executor to the late Taverner Wallis deceased, April 14 1784’ on the first rear blank. William wrote a lengthy biography of John, printed in the 1791 edition of John Wallis’s Sermons . For the will of Taverner (or Tavernor) Wallis, of Hampstead, Middlesex, see National Archives, Prob 11/1059/24. 2) 'No. 3 MSS of Dr Wallis’ (18th-century inscription to front pastedown). 3) John Lawson (1932-2019), bookseller. 4) Thence by descent. A substantial and highly important document in the history of cryptography, an unpublished holograph manuscript by one of the leading mathematicians of the 17th century, revealing his sui generis contribution to the science of code-breaking and to the parliamentarian cause in the English civil war. Wallis, a clergyman’s son who claimed to be self-taught in mathematics, was appointed Savilian professor of geometry at Oxford in 1649, and keeper of the university archives in 1658, remaining in both posts until his death half a century later. He was one of the founding members of the Royal Society, and his published works, including Arithmetica infinitorum (1655), Mechanica (1670-71), and A Treatise of Algebra (1685) have established his reputation as the most important English mathematician before Newton, on whom his Arithmetica was a major influence. Wallis’s feats in cryptography provoked both hostility and admiration from his contemporaries, on the one side Thomas Hobbes, who accused him of having deciphered the King’s cabinet (captured after the battle of Naseby in 1645), and on the other, Leibniz, who made repeated attempts to persuade Wallis to reveal his methods to the wider world. In the third edition of his Clavis mathematicae (1652) William Oughtred made passing mention of Wallis’s skill in 'explicating secret writing hidden behind the most intricate ciphers', but Wallis himself appears never to have referred to such matters in print until his final years, when he included two examples of deciphered letters in the third volume of his Opera mathematica (1699, pp. 660-72), two years before he became the first to hold the position of official decipherer to the secretary of state. Leibniz saw an affinity between code-breaking and algebra, and modern scholars have identified a close relationship between Wallis’s cryptographic and mathematical techniques, in particular in the ‘ingenious series of interpolations’ in the Arithmetica by which he found an infinite series expressing the value of 4/? (Domenico Bertoloni Meli in ODNB ). Nevertheless it is an aspect of his career entirely ignored by his modern biographer, who remarks that ‘although Wallis’s deciphering activity would be a fascinating story, in the interests of space, it has been left out of this book’ (Rampelt, Distinctions of Reason and Reasonable Distinctions: The Academic Life of John Wallis (1616-1703) (2009) p. 10). The manuscript begins with a remarkable introduction in which Wallis argues for the importance of ciphers, in particular during civil wars, ‘where the intermingling of opposite parties makes it difficult if not impossible to distinguish friends & foes’ (p. [i]). He outlines the history of his involvement in code-breaking, which began over supper at the residence of his spiritual charge Lady Mary Vere. The following transcriptions of fifty-three coded letters exchanged by royalists between 1640 and 1658 are all accompanied by the deciphered text and a detailed key, except for the last four, which are left unsolved as exercises for aspirant cryptographers. Wallis revealed in an autobiography written towards the end of his life that ‘of such deciphered Letters, there be copies of divers remaining in the Archives of the Bodleyan Library in Oxford ; and many more in my own Custody, and with the Secretaries of State’ (Scriba, ‘The Autobiography of John Wallis, F.R.S’, Notes and Records of the Royal Society of London , Volume 25 Number 1, June 1970, p. 38) . His master copy of intercepted civil war letters is now Bodleian MS e Musaeo 203, and is titled ‘A Collection of Letters and Other Papers, which were at severall times intercepted, written in Cipher. Deciphered by John Wallis, Professor of Geometry in the University of Oxford. Given to the Library there, Anno Domini, 1653’. In addition to our copy Wallis made another transcript which is now Bodleian Library MS Eng. misc. e. 475, and which contains a note by Wallis recording its donation to the ‘Savilian mathematical study at Oxford’. Both the Bodleian manuscripts contain fifty-two letters; ours appears to be one he kept back for his own personal use, in light of its provenance to a descendant and the presence of a fifty-third letter evidently added later (‘A Letter from Flanders intercepted in May 1658’, by one Pe[ter] Townesend). The Bodleian holds a further volume by Wallis containing deciphered letters dating from 1669 to 1703 (MS Eng. misc. e. 382) and the annotation 'No. 4. Dr. Wallis's MSS' similar to that in our copy. There is also manuscript in the British Library titled ‘Letter Book of Dr. John Wallis, 1651-1701’ (Add. MS 32499), selections from which have been printed in Smith, ‘John Wallis as a Cryptographer’ ( Bull. Amer. Math. Soc., Volume 24, Number 2, 1917, pp. 82-96), some being letters from Wallis containing summaries of deciphered communications, but the coded originals (if any are present in the manuscript) are not included. In the ODNB it is implied that the present work was published by John Davys in An Essay on the Art of Decyphering (1737); in fact Davys included only Wallis’s introduction and the letter from Duke of Buckingham (the fifty-second in our manuscript) originally left unsolved. Further reading: Beeley, ‘Breaking the Code: John Wallis and the Politics of Concealment’, in Li and Noreik, eds, G. W. Leibniz und der Gelehrtenhabitus (2016), pp. 49-81. Please note this is an abridged description: for a full description please see the Dominic Winter website.

Murray (H.) . The British Schools of Art: A selection of examples engraved in line by eminent artists, 2 volumes, James S. Virtue, circa 1869, numerous black & white engraved plates, some light toning & spotting throughout, all edges gilt, contemporary gilt decorated red half morocco, boards & spines slightly rubbed, folio, together with; Drummond (William) , A Cypress Grove, The Hawthornden Press, Edinburgh, 1919, tipped in black & white portrait frontispiece, uncut pages, some very minor marginal toning, publishers original cloth spine to boards, lightly rubbed to head & foot, 8vo, and other late 19th early 20th century miscellaneous literature & art reference, some leather bindings, mostly original cloth, overall condition is generally fair/good, 8vo/folioQty: (6 Shelves)

Hastings (Warren, 1732-1818). Two tickets for the trial of Warren Hastings, c.1795, two engraved tickets on laid paper (14.5 x 21 cm), one printed in back, one in blue and with additional text 'Hundred and Forty-Ninth Day', both with red wax seal to lower right corner, black ticket with contemporary inscription 'Jersey' in margin (probably George Bussy Villers, 4th Earl of Jersey, 1735-1805), blue ticket with contemporary inscriptions 'G. Mooke' and 'This was the last day of the trial when the Lords pronounces his acquittal April 23d 95' to margins, both torn at one corner, blue ticket with repair closed tear, both mounted on sheet and bound into: Lawson (Sir Charles). Where Warren Hastings Rests, 1st edition thus, London: W. Griggs, 1892, pp. 9-28, 11 collotype plates (some double-sided), double-page chromolithographic plate, original wrappers bound in, bookplate (Frank J. Novak), ownership inscription 'J. A. Temple, 41 St Johns Wood Road, London, March 1915', contemporary green half morocco, rubbed, folio (37.6 x 27 cm), together with: Temple (Sir Richard Carnac, 2nd Baronet, editor). Panjab Notes and Queries, a Monthly Periodical, devoted to the Systematic Collection of Authentic Notes and Scraps of Information regarding the Country and the People, 2 volumes in 1, Allahabad: Pioneer Press, & London, Trübner & Co., 1883-5, pp. [2] xiii, 84 [2] 85-144; [2] xi 216, advertisement leaf between volume 1 numbers 7 and 8 (pp. 84 and 85), text-block browned, longitudinal crease throughout, general title-page to volume 1 and final two leaves in volume 2 heavily chipped affecting text in the latter, corners of volume 1 pp. i-xiii (index) also chipped, closed tears in volume 1 pp. 25/6 and 83/4 and volume 2 pp. 63/4 and 65/6, blind-stamp of University of Minnesota to volume 1 title-page, ink-stamped call numbers to index leaves, recent quarter cloth, 4to (26.1 x 18.2 cm), Borgaonkar (D. M.). May-Day 1945, or The Death of Adolf Hitler. With a foreword by Capt. H. B. Richardson, Minister of Education, Holkar State, [Indore?]: published in aid of the Holkar State Branch of the Indian Red Cross Society, 1946, 75 pp., ink-stamps of St Joseph's College, Vepery, Madras, original wrappers, creased and marked, 8vo, [Tea]. The Tea Industry, Illustrated, 2nd edition, Calcutta: Johnston & Hoffman, c.1900, letterpress title-page and colophon leaf, 54 halftone photographic plates, original red cloth, rebacked, oblong 4to, Webb (William Wilfrid). The Currencies of the Hindu States of Rajputana, 1st edition, Westminster: Archibald Constable and Co., 1893, 12 plates, folding map, original cloth, spine defective, ex libris the Commonwealth Relations Office with ink-stamp to title-page and shelfmark verso, and blind-stamps to front board (both sides), 8vo, one of 400 copies onlyQty: (5)NOTESLawson's work was published as the fifth volume in 'The Journal of Indian Art and Industry'. Panjab Notes and Queries continued until 1887, running to four volumes in total. The third item, otherwise untraced, is a play set in Hitler's bunker on 1 May 1945; the author, D. M. Borgaonkar, is described on the title as a professor of English at Holkar College, Indore.

Jason (Les Spence, British Contemporary) Moonlight Cove, oil on canvas, signed bottom right, framed. Measurements 40 x 70 cm, frame 55 x 91 cm Accompanied by the exhibition catalogue for The Art Gallery, Ilfracombe. Painting purchased in this exhibition

[Bindings] Mrs. Jameson’s Works: Comprising Sacred & Legendary Art 1870 in two volumes, Legends of The Monastic Orders 1872, Legends of The Madonna 1872, The History of Our Lord As Exemplified in Works of Art 1872 in two volumes, together six volumes with engraved plates and woodcuts, uniformly bound in contemporary full morocco, gilt decorated spines with raised bands & gilt lettering (6)  

Ca.800 - 600 BC. An early necklace formed of bronze pendants in a variety of shapes including bells and spheres (restrung). Bells had magical implications in ancient societies as their unpredictable noises could help to keep away evil spirits. Such pendants may originally have belonged to precursors of the Druids. A Druid (Celtic: “Knowing [or Finding] the Oak Tree”) was a member of the learned class among the ancient Celts. They seem to have frequented oak forests and acted as priests, teachers, and judges. The earliest written testimony of the Druids comes from the 3rd century BC but they probably originated much earlier as this late dating reflects the point at which the literate Greek-speaking societies of the Mediterranean came into contact with the Celts of Northern Europe. Good condition, professionally restrung, suitable for contemporary wear. Size: L:190mm / W:285mm ; 195g; Provenance: Private London collection, formed in the 1980s on the UK and European art market.

CONTEMPORARY ART DECO DESIGN SILK CARPET, 300cm x 240cm, geometric silver field.

CONTEMPORARY ART DECO DESIGN SILK CARPET, 275cm x 180cm, geometric gold field.

A contemporary Julia Linstead art glass dragonfly green glass bowl, 16 cm

A contemporary Julia Linstead art glass dragonfly pattern amethyst glass bowl, 16 cm

Signed and numbered 118/150 in pencil in the margin, with Christie's Contemporary Art blindstamp and certificate attached on verso, lithograph.sheet size 79.5cm x 58cm (31.25in x 23in)Condition report: The print is in good, original condition with strong colours. The print appears to be laid down and there are some minor spots of foxing and browning in the margins. The print is framed and glazed.

Titled on gallery label - 'Wendy J. Levy Contemporary Art Ltd, Manchester' verso, oil on board.29cm x 34cm (11.5in x 13.5in)Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed. The frame has some minor scuffs and scratches commensurate with age.

19th century and early 20th century Magic, a Collection comprising: Chatto, W . Facts and Speculations on the Origin and History of Playing Cards, 1848, half calf gilt; Hutton, C . Recreations in Mathematics and Natural Philosophy, 1840, original cloth, rubbed; Timbs, J . Things not generally known. 1856, rebacked; Wells, D.A . Science Popularly Explained. [c.1856], original cloth, rebacked with green morocco; The Boys Journal. Vol. 1, 1864, half calf, worn; and vol. 5, 1865, cloth, rubbed; Mayhew, H . The Wonders of Science. 1862, rebacked; Maskelyne, J . Modern Spiritualism. F. Ward [1876], original boards, rubbed; Cockton, H . The Life and Adventures of Valentine Vox the Ventriloquist. [c.1878], half calf; Hone, W . The Table Book. 1878, contemporary red half morocco, slightly rubbed; Houdin, R . The Secrets of Conjuring and Magic. 1878; Queenie Queers. Buffalo (c.1880), original boards, rebacked; Hoffmann, Professor . Modern Magic, G. Routledge [c.1880], original cloth, rubbed, Margaret Yates Magic Library bookplate; Sachs, E . Sleight of Hand. [c.1880], rubbed; Jennings, J . Theatrical and Circus Life. Topeka, Kansas, [1882], half morocco, rebacked; Ashton, J . Chapbooks of the Eighteenth Century. 1882, worn; Sacks, E . Sleight of Hand … Legerdemain, 1885; “ Berkeley ”. Card Tricks and Puzzles, [1890]; Tissandier, G . Popular Scientific Recreations, worn; Strutt, J . The Sports and Pastimes of the People of England, 1898; Collins, S . Deceptive Conceptions in Magic. [c.1900], signed, original boards, rebacked; Hercat . Chapeaugraphy, Shadowgraphy and Paper-Folding, 1909, signed “Le Vega” on title-page, wrappers bound in; Erdnase, S.W . Artifice, Ruse and Subterfuge at the Card Table. Chicago, [c.1902), blue quarter morocco, wrappers bound in; red half morocco, undated; another edition. 1934, half morocco, wrappers bound in, 1953; another copy. Facsimile edition 1975, most with wrappers bound in; England, J . The Expert at the Card Table (Bibliographical Work), 2012; Sawyer, T.A . S.W. Erdnase: Another view, 1991, wrappers bound in; Hercat . Card Tricks and Conjuring up to Date. 1903, wrappers bound in; Burrows, J.F . Some New Magic. [c.1904], wrappers bound in; Neil, C . After Dinner Sleights and Pocket Tricks. 1906, modern cloth retaining original covers; “ Oudini ”. Secrets of the Great Mysteries now Revealed, [c.1909], wrappers bound in; Otto, A . The Beginner’s Guide to Conjuring, 1910, wrappers bound in; New York Public Library. Catalogue of the Saram R. Ellison Collection of Magic and other books, photocopy in leather-backed folding box; Hermann, Professor . Hermann’s Art of Magic. [c.1915], later cloth; Sperber , editor. A Real Miracle, 1990-2000, 19 issues or special issues in a folding cloth boxFootnote: Provenance: From the collection of the Late Trevor Dawson Note: By profession, Trevor Dawson was a Commercial Chartered Surveyor; he was the founder and partner of a multi-office practice in East Lancashire. However, his hobby since being a teenager had been Magic, and for over forty years he was a member of the Magic Circle and The International Brotherhood of Magicians. In his early years he was a semi-professional magician and later performed close-up and cabaret magic. His interest extended to his own writings on the theme on magic: he published original tricks in most of the leading magazines and was a historian, lecturing in the UK and America. Later in life, In 2012, he authored Charles Dickens – Conjurer, Mesmerist and Showman , and in 2015 wrote another book: Signor Arvi – The Forgotten Illusionist . Trevor Dawson was a keen and diversified collector, particularly of books, as represented in this Sale. Magical objects, equipment and ephemera can also be found in amongst his collection. The works from his library range from a 1655 edition of Henry Conrnelius Agrippa’s Fourth Book of Occult Philosophy (see lot 183) to modern, limited edition works on magic tricks. Indeed, a range of magical equipment can also be found here. Trevor Dawson was married for 56 years with three children and three grandchildren. He died on July 14th 2017, aged 82.

3 works including Feinagle, Gregor von The New Art of Memory London: Sherwood, Neely & Jones, 1812. First edition, 12mo, 5 folding plates, half-title, contemporary half calf, rubbed, lower board detached; Hooper, W. Rational Recreations. London, 1782. Second edition, vols. 3-4 bound in one, 20 + 14 plates (as called for), fine modern half calf gilt, morocco lettering pieces; Ferguson, James. Lectures on Select Subjects. 1799. 9th edition, 8vo, plates 1-6 and 9-23, and Supplementary plates 3-13 only, contemporary half calf, rubbed, rebacked (3)Footnote: Provenance: From the collection of the Late Trevor Dawson

6 works, comprising Accum, Fredrick Chemical Amusement. London: T. Boys, 1818, Second edition, 12mo, 2 engraved plates, 60pp. + 24pp. publisher's adverts at rear, modern calf, uncut; Desgauliers, J.T. Physico-Mechanical Lectures. 1717. 8vo, modern quarter morocco, lacks the 10 plates, title supplied in good facsimile; Grey, Richard. Memoria Technica, or a New Method of Artifical Memory. London: W. Lowndes, 1799. 12mo, contemporary tree calf, rubbed, hinges splitting; Thornton, T.C. The New Cabinet of Arts. A Series of Entertaining Experiments. London: J.S. Pratt, 1846, 12mo, modern quarter calf, frontispiece, slightly browned; Middleton, C. A Free Inquiry into the Miraculous Powers. Dublin, 1749. 8vo, contemporary calf, some dampstaining, worn; Taylor, J. The Wonders of Nature and Art. Comprising Upwards of Three Hundred of the Most Remarkable Curiosities and Phenomena. London, 1833. Fourth edition, 38 plates, contemporary half calf, some spotting, rubbed, new labels (6)Footnote: Provenance: From the collection of the Late Trevor Dawson

Defoe, Daniel A System of Magick or a History of The Black Art. London: J. Roberts, 1727. First edition, 8vo, engraved frontispiece, contemporary calf, upper hinge detached, rubbed, new lettering pieces, [Toole Stott 813]Footnote: Note: From the collection of the Late Trevor Dawson

Magic & related, a large collection, including Frost, Thomas The Old Showman and the London Fairs. 1881; Bodie, W. The Bodie Book. Hypnotism, Electricity, Mental Suggestion, Magnetic Touch, Clairvoyance, Telepathy, 1905, rubbed; Brewster, D. Letters on Natural Magic. 1842, 4th edition; Smith, H. Gaieties and Gravities. 1826, 2nd edition, 3 volumes, contemporary half calf, lightly rubbed; Hoffmann, Professor. The Secrets of Stage Conjuring 1881, pictorial cloth, ex libris Order of the Magi copy; Hoffmann, Professor. Modern Magic. n.d., 16th edition, pictorial cloth; Hoffmann, Professor. Card-Sharping Exposed. 1882, pictorial cloth; Strutt, J. The Sports and Pastimes of the People of England. 1834, calf, rebacked; another edition, 1850; Taylor, J. The Wonders of Nature and Art, 1836, later cloth; Borlase, J. The King of the Conjurors. [1877]; Bogue, D., publisher. Round Games for all Parties. 1854, pictorial cloth; Temple, R. The Temple Anecdotes. 1865, vol. 2, half calf; Taylor, E. The History of Playing Cards. 1865, half calf; The Sociable, or 1001 Home Amusements. New York, [c.1868], rebacked; Timbs, J . Wonderful Inventions. 1868, calf gilt; The Romance of London, n.d.; The Boy's Own Conjuring Book. New York, c. 1859, folding frontispiece; Pepper, J. The Playbook of Metals, 1861; Pepper, J. The Boy's Book of Sciences. [c.1880], calf gilt; Pepper, J. Cyclopaedic Science Simplified, 1869; Pepper, J. Scientific Amusements for Young People, [c.1864]; Pepper, J. Pneumatics. [1870], J.B. Findlay's copy, worn, rebacked; Routledge's Every Boy's Annual. 1875, half calf; Routledge, R. Science in Sport, 1895, pictorial cloth; Routledge, R. Discoveries and Inventions of the Nineteenth Century. 1877 & 1896; Shafer, D. Secrets of Life Unveiled or Book of Fate. St. Louis, 1877, rebacked; Thackeray, W.M. The Irish Sketch Book. New York, n.d., quarter calf; Good, A. Magical Experiments. Philadelphia, [c.1894], pictorial cloth, lacks endpaper; Atkinson, E. Natural Philosophy, 1881, rubbed; Daniel, G. Merrie England, [1873], half morocco; Thompson, C. The Mystery and Romance of Alchemy and Pharmacy. 1897; Sachs, E. Sleight of Hand. 1900; Smedley, A. Some Reminiscences. 1900, rebacked; Houdin, Robert. Life of Robert Houdin. Philadelphia, [c.1859], 2 copies, one with title loose; Houdini, R. Memoirs, 1942; The Book of 500 Curious Puzzles. New York, [c.1859], pictorial boards, rubbed, rebacked; Blair, D. The Universal Preceptor. 69th edition, [c.1855], quarter calf; Roterberg, A. Card Tricks. Chicago, [1902], wrappers bound in; Cassell. Stage Illusions and Entertainment. 1923, later cloth; Goldston, W. Simple Conjuring Tricks. 1922, later cloth; Davenport & Co. Magic Catalogue... the very latest in Practical Magic., n.d., wrappers; Paul Clive & Co., Conjuring Catalogue. n.d., wrappers; and a few 20th century pamphlets (quantity)Footnote: Provenance: From the collection of the Late Trevor Dawson

Magic and related, chiefly 19th Century, a collection including: Robinson, William E . Spirit Slate Writing and Kindred Phenomena. New York, 1899, pictorial cloth; Partington, C . A Manual of Natural and Experimental Philosophy. O. Hodgson, c.1825, half calf; Brewster, D . A Treatise on Optics. 1831, engraved title, rebacked; Grey, R . Dr R. Grey’s Memoria Technica. Oxford, 1851, modern calf; Millingen, J.G . Curiosities of Medical Experiments. Philadelphia, 1838, half calf; Endless Amusements. Halifax, 1835, 12mo, modern quarter morocco, lacks part of folding frontispiece; Routledge, Warne . Every Little Boy’s Book. 1864, contemporary calf, spotted; Ewbank, T . A Description and Historical Account of Hydraulic and other Machines for Raising Water. N.Y., 1851, half calf, rebacked; Bogue, D. , publisher. The Boy’s Own Book. [c.1850], contemporary calf, rubed; Roback, C.W . The Mystery of Astrology and the Wonder of Magic, 1854, Marquis of Bute Book label, calf, rebacked; The Parlor Magician, [c.1863], later cloth, lacks title; Dircks, H . The Life, Times and Scientific Labours of the Second Marquis of Worcester. 1865, plates, ex-library, modern blue quarter morocco; Landells, E . The Boy’s Own Toy-Maker. 1866, pictorial cloth; Peterson, R.E . Peterson’s Familiar Science. Philadelphia, [c.1850], later cloth; Pepper, J . The Playbook of Metals, [c.1869], hinges slightly weak; Modern Pastimes or In-Door Amusements, [c.1871], rebacked; Planche, F . Guess Me, [1872], 2 nd edition, slightly shaken; Lorento, Professor . Amateur Amusements. N.Y., [c.1878], browned; Fireside Games. N.Y. [c.1859], pictorial boards repaired; Landon, M . Wit and Humor of the Age. Chicago, [c.1893]; Cassell . Drawing Room Magic. 1868, later cloth; Lupton, FM , publisher. The People’s Handbook – Parlor Magic. N.Y., [c.1894], wrappers bound in, browned; Kunard, R . The Book of Modern Conjuring, [c.1890], modern cloth retaining upper board; Fireside Amusements, [c.1875], pictorial cloth; Heather, H.E . Cards and Card Tricks, c.1880, pictorial cloth; Marion, F . The Wonders of Optics. N.Y., 1872, rubbed; Heller Heller’s Book of Magic, [1898], Stanley Collins bookplate, cloth, wrappers bound in; Hermann, Prof . Hermmann’s Book of Magic Black Art Fully Exposed. Chicago, [c.1903], modern cloth; Hoffmann, Professor . The Illustrated Book of Patience Games. 1904; Hopkins, N . Twentieth Century Magic. 1904, rubbed; Frith, H . Games and Amusements, [c.1890], lacks title, rubbed; Brought, J . The Fairy Tales of Science. 1866, cloth, slight loss to title; Gay, J . Fables. 1727, contemporary half calf, cover detached; Ingoldsby, T . The Ingoldsby Legends. 1840, vol. 1 & 3 (of 3), half morocco; Parlor Magic and Other Sports. Boston: Munroe & Francis, 1844, pictorial boards, rebacked; Desmond, F . Everybody’s Guide to Conjuring. [c.1900], modern red quarter morocco; Maskelyne, T . The Fraud of Modern “Theosophy” Exposed. [c.1913], wrappers bound in; Child, Mrs . The Girl’s Own Book. 1886; Boys, T. Curiosities for the Ingenious, 1821, contemporary calf, rubbed; Brunel, George . Fun with Magic. N.Y., 1901; Seligman, K. The History of Magic. 1948 (quantity)Footnote: Provenance: From the collection of the Late Trevor Dawson

Magic, 19th & 20th century, a large collection including: Frost, Thomas . The Old Showman, 1874; Frost, Thomas . The Lives of the Conjurors. 1876; Bodie, W . Stage Stories. N.d., modern half calf; Houdin, R . Memoirs. Philadelphia, 1859, spotted, rebacked; The Magician’s Own Book or Whole Art of Conjuring. New York: Dick & Fitzgerald , [1857], some spotting, hinges weak; Hone, W . The Every Day Book, 1831, contemporary half calf; Hone, W . Ancient Mysteries Described, 1823, ex-library, later cloth; Mayo, H . Popular Superstitions. Philadelphia, 1852, rebacked; The Secrets of Ancient and Modern Magic. N.Y. Wehman Bros. [c.1880], wrappers bound in; The Youth’s Handbook of Entertaining Knowledge. 1844, 2 volumes; Ganthony, R . Practical Ventriloquism. 1893; [Wiljalba Frikell]. Parlor Tricks with Cards, N.Y., 1863, pictorial boards; Martin, W . The Book of Sport, 1851 and 1853, one rebacked; Gilbert, C . Endless Mirth and Amusement. Ex-library Stanley Collins, with bookplate; Summers, T . Magic, Pretended Miracles. Nashville, 1857; Mitchell, T . Key to Ghostism. N.Y., 1880, pictorial cloth; Hood, T . Excursions into Puzzledom, 1879, J.B. Findlay copy with bookplate, pictorial cloth; Grimes J . Compendium of the Phreno-Philosophy of Human Nature. Boston, 1853, pictorial cloth, slightly dampstained; The Sociable 1001 Home Amusements, N.Y. [c.1858], rebacked; Bullivant, C . The Drawing Room Entertainer. 1904, pictorial cloth; Lane, E.W . Manners & Customs of the Modern Egyptians. 1890, hinges weak; Hingston, E . The Genial Showman. 1871, 3 rd edition; Roterberg, A . Card Tricks, Chicago [c.1902], worn, wrappers bound in; New Era Card Tricks. 2004; The Magic Lantern… how to Raise a Ghost. 1886, pictorial boards, rebacked; Preston, P . The Fireside Magician. N.Y.: [1870], pictorial boards, rubbed, rebacked; The Play Room, N.Y. [1866], pictorial boards, worn, rebacked; R.T. Society . Remarkable Delusions, [c.1860], modern green quarter morocco; Raymond, Prof . Parlor Pastimes. N.Y. [1875], Margaret Yates Magic Library bookplate, quarter morocco, wrappers bound in; Timbs, J . Things not Generally Known. 1851; Timbs, J . Stories of Inventors and Discoveries. 1860; Planche, F . Evening Amusements. Philadelphia, [1872], lacks half title and endpapers; Garenne, H . The Art of Modern Conjuring, [c.1855], ex Order of the Magi, modern quarter morocco; Hoffmann, Prof . Modern Magic. [n.d.], 15 th edition, pictorial cloth; Scot, R . The Discoverie of Witchcraft. 1995; Mephisto . Huis Catalogus – 9, wrappers; Foucaud, Edouard . The Book of Illustrious Mechanics. N.Y., 1846, rebacked; Philosophy in Sport, 1857, rebacked; Gay, J . The Fables, 1889; Good, A . Magic Experiments. Philadelphia, [1894], pictorial cloth; Goldston, W . The Young Conjuror. Part 2, pictorial boards; Shaw, W . Magic Up to Date, [1896], wrappers bound in; and a few pamphlets and catalogues including Nelson Enterprises and The Magical Apparatus Co., n.d.; Marshall, A . Beating a Dead Horse. 2020, number 30/69 copies signed, leather bound Gold Collector’s edition; Karr, Todd . The Silence of Chung Ling Soo. Miracle Factory, 2001, no. 42/75 copies signed, dw., collector’s box; Steele, M . Adelaide Hermann. Queen of Magic. 2012, number 55/125 copies signed, slipcase; Waller, C . Magical Nights at the Theatre, number 334/1000 copies, signed, dw; Bertram, Charles . Isn’t it Wonderful ? A History of Magic & Mystery, 1899. Illustrations, later cloth; “ Selbit ”. The Magician’s Handbook. c.1904, worn; Ganthony, R . Practical Ventriloquism. 1893, frontispiece, illustrations; Cockton, Henry . The Life and Adventures of Valentine Vox the Ventriloquist, [n.d., but c. 1900]; Burlinghame, H . Hermann the Great. Chicago, 1897, J.B. Findlay bookplate; Jarrett, J . The Complete Jarrett. The Classic 1936 text…, 2011; Devant, D . Secrets of My Magic. 1936; Ganson, L . Dai Vernon’s Tribute to Nate Leipzig, [n.d.]; Goldston, Will . Tricks and Illusions, 1955; Harbin, R . The Genius of Robert Harbin. 1997, dw; Prevost, J . Clever and Pleasant Inventions, Part 1. 1998, facsimile edition; Rioboo, R . Thinking the Impossible. 2012, dw; Cramer, W . Hanky Panky. [n.d., but c. 1880]; another copy, 1902; The Wizard , an Illustrated Monthly Journal for Conjurors. Vols. 1-2 and 4, 1905-10, cloth; Steinmeyer, J . The Glorious Deception. Chung Ling Soo, 2005, dw; Scot, R . The Discoveries of Witchcraft. 1972, wrappers; Goldin, H . It’s fun to be fooled. [n.d.], ex-library copy, poor; The Magical World. Vol. 1 only, 1910-11, cloth; Lorrayne, H . Close Up Card Magic. 1962; Devant, D . My Magical Life. 1931Footnote: Provenance: From the collection of the Late Trevor Dawson

Magic, 19th Century, a large collection including: Houdin, R . The Sharper Detected and Exposed. 1863, new cloth; Hutton, Dr . Select Amusements in Philosophy & Maths for agreeably exercising the Minds of Youth. 1801, modern half calf; Joyce, J . A Familiar Introduction to the Arts and Sciences. 1810. 1 st edition, Eric Quayle’s copy with bookplate, contemporary half calf, rubbed; Hibbert, S . Sketches of the Philosophy of Apparitions. Edinburgh, 1824, half calf, rebacked; [ Paris, Dr. John .] Philosophy in Sport made Science in Earnest. Philadelphia, 1828, vol. 1 only, red half morocco; Strutt, J . The Sports and Pastimes of the People of England. 1830, hand-coloured illus., half calf gilt, slight staining in margin towards end; Doings in London. 3 rd edition, plates. Orlando Hodgson, [c.1830], rebacked retaining spine; Lardner, D . A Treatise on Hydrostatics and Pneumatics. 1831, half calf; Brewster, David . Letters on Natural Magic. 1842, ill., original maroon morocco, rubbed; Lane, E.W . An Account of the Manners and Customs of the Modern Egyptians, 1846, 2 vol., original cloth, neatly rebacked retaining original spines; Joyce, J . Scientific Dialogues. Scott, Webster & Geary, [c.1850], morocco gilt; Woodcroft, B . The Pneumatics of Hero of Alexandria. 1851, illustrations, modern quarter morocco; A Weeks Delight or Games and Stories for the Parlor and Fireside. New York, 1854, title soiled, half calf, rubbed; The Boy’s Own Conjuring Book. New York: Dick & Fitzgerald, [1859], folding frontis., ill., original cloth, rebacked; Parlour Pastimes. Parlour Magic. J. Blackwood, [c.1860], original pictorial cloth; Home, D.D . Incidents in my Life. 1863, original cloth, worn; Valentine, Mrs . Games for Family Parties and Children. [c.1875], original pictorial cloth gilt; Hoffmann, Professor . Modern Magic. 1877, Second edition, ? later cloth; Wylde, J . The Magic of Science. [1875], 3 rd edition, new cloth; Houdin, R . The Secrets of Conjuring and Magic. G. Routledge, [c.1878], original pictorial cloth; Wood, J.G . The Modern Playmate, 1879, original pictorial cloth gilt; Tissander. G . Popular Scientific Recreations. [c.1880], calf gilt; Wells, D.A . Well’s Natural Philosophy. New York, 1880, frontispiece, ill., original quarter morocco; [ Field & Tuer ] 1740 Christmas Entertainment. Field & Tuer, [c.1883], woodcuts, modern quarter calf; Scott, Sir W . Letters on Demonology and Witchcraft. 1884, boards, rebacked with green morocco; Valentine, Mrs . The Girl’s Home Companion, [c.1890], hinges weak; Kellar, H. A Magician’s Tour up and down. Chicago, 1890, quarter morocco, original wrappers bound in, slightly browned, slight loss to a few blank lower corners at beginning; Wright, C . The Threshold of Science. 1892, new cloth, title loose; The Boy’s Book of Conjuring. Ward Lock, [c.1900], original pictorial cloth; Wood, J . The Boy’s Modern Playmate. 1893, pictorial cloth, worn; Skinner, W.E . Wehman’s Wizardry Manual. [c.1895], modern half brown morocco, original wrappers bound in, slight loss to a few blank lower corners; Wecker, J . Eighteen Books of the Secrets of Art & Nature. Facsimile of the 1660 edition, cloth, original bindings except where notedFootnote: Provenance: From the collection of the Late Trevor Dawson

Natural History 7 works, comprising Mrs Blackburn Birds Drawn from Nature. Edinburgh: Edmonston & Douglas, 1862. Folio, 22 plates and pictorial title-page; Millais, John Guille The Wildfowler in Scotland. London: Longmans, Green, and Co., 1901. 4to, original half Japanese vellum gilt; Edwards, Lionel My Scottish Sketch Book. London: Country Life Ltd., 1929. 4to, original quarter vellum gilt; McConnochie, Alexander Inkson The Deer & Deer Forests of Scotland. London: H.F. & G. Witherby, 1923. 8vo, original green cloth gilt; Scrope, William The Art of Deer-Stalking. London: John Murray, 1838. 8vo, later green calf gilt with gilt stag head motifs to spine; Sim, George The Vertebrate Fauna of "Dee". Aberdeen: D. Wyllie & Son, 1903. 8vo, original green cloth gilt, stamp of the Northern Naturalists Club Aberdeen to title-page and half-title; [Maxwell, William Hamilton] Wild Sports of the West. London: Richard Bentley, 1832. 2 volumes, 8vo, contemporary half calf gilt (8)

India: a photograph album Photographs of Rajasthan by Mohan Lal of Udaipur, late 19th century a collection of 42 silver gelatin prints, each 21 x 29cm and laid onto both sides of leaves in contemporary red morocco gilt album, showing Rajasthani architecture and pictures of local people in landscapes, some fading with around 6 images more severely fadedFootnote: Note: With the small purple stamp of Mohan Lal to the margin of the initial leaf. Mohan Lal [Mohanlal] was the son of the Indian painter, Tara, and the brother of Shiva Lal [Shivalal], known for his landscape paintings of the area surrounding Udaipur. The brothers' interest in art developed into an interest in photography and both Shiva Lal and Mohan Lal were known photographers in the area in the late 19th century.

China A collection of works Hug, E. Souvenirs of a Journey through Tartary, Tibet and China, during the years 1844, 1845 and 1846. Peking: Lazarist Press, 1931. New edition, 2 volumes, 8vo; The People of China... London: The Religious Tract Society, [n.d.] 12mo, folding map (torn), contemporary red morocco gilt, upper cover detached, lower cover lacking; Maillart, Ella K. Forbidden Journey from Peking to Kashmir. London: William Heinemann Ltd., [1937]. 8vo, original teracotta cloth gilt; Snow, Edgar Living China. London: George G. Harrap & Co. Ltd., [1937]. Second edition, 8vo, original orange cloth; [Idem] Scorched Earth. London: Victor Gollancz Ltd., 1941. 8vo, original blue cloth, a little dampstaining; Williams, C.A.S. Outlines of Chinese Symbolism and Art Motives. Shanghai: Kelly and Walsh, Limited, 1932. Second edition, 8vo, original green cloth gilt; Weale, B.L. Putnam Manchu and Muscovite. London: Macmillan and Co. Ltd., 1907. 8vo, original red cloth gilt; MacNair, Harley Farnsworth Modern Chinese History, selected readings. Shanghai: The Commercial Press, Limited, 1933. 8vo, original blue cloth gilt; and a quantity of others, sold not subject to return (34)

Russia: Art & History 12 Books, comprising Tolstoi, I. - N. Kondakov Russkiya Drevnosti. Vypusk Vtoroi (-chetvertyi) [Russian antiquities. Part two (-four)]. St Petersburg, 1889-1891. 3 volumes, 4to, illustrations, contemporary vellum gilt, without parts 1 and 5-6; Carburi, M. Monument Élevé a la Gloire de Pierre-le-Grand. Paris: Nyon & Stouppe, 1777. Folio, 12 folding engraved plates, later vellum; Gagarine, G. Sujets Tirés des Saints Évangiles. Paris: Lemercier, [n.d.] Folio, 40 chromolithographed plates (including title), in portfolio, occasional light marginal foxing, a few plate edges creased; Czartoryski, A. Mémoires... et Correspondence avec Alexandre Ier. Paris: Plon, 1887. 2 volumes, 8vo, half green cloth; Tikhorimov, L. La Russie Politique et Sociale. Paris: Giraud, 1886. 8vo, half purple calf; Moltke, H. von. Briefe aus Russland. Berlin: Paetel, 1877. 8vo, half calf; Stourdza, A. de Oeuvres Posthumes Religieuses, Historiques, Philosophiques et Littéraires. Paris: Dentu, 1858-1859. 2 volumes, 8vo, half calf; Viollet le Duc, E. L'art Russe. Paris: Morel, 1877. 8vo, coloured plates, half red morocco (12)

A rare Staffordshire saltglaze model of a hare, circa 1750-60In brown and cream 'solid agate', modelled crouching with its ears behind its head, its fur modelled by hand, its eyes picked out in brown slip, raised on a rocky mound base applied with two large stylised florets, 7.4cm longFootnotes:A very similarly modelled white saltglaze model of a hare from the Rous Lench Collection was sold by Sotheby's on 1 July 1986, lot 126. A comparable solid agate model of a rabbit was sold at lot 128 in the same sale. Compare also to the white version sold by Sotheby's on 5 June 1962, lot 40 and the example in the Metropolitan Museum of Art (accession no. 34.165.23). It is interesting to note that a hare seemingly from the same mould appears in contemporary Liverpool porcelain as the finial on the cover of a Richard Chaffers tureen in the Victoria and Albert Museum (accession no. C.327&A-1940), illustrated by Maurice Hillis, Liverpool Porcelain (2011), p.210, fig.5.169.For further information on this lot please visit Bonhams.com

Two contemporary moulded Art Nouveau style table lamps.

* EMMA S DAVIS RSW PAI (SCOTTISH b 1975), WARM AUTUMN GLOW mixed media on board, signed, further signed and titled verso 60cm x 61cm Framed and under glass. Note: Emma Davis studied contemporary art and painting at the Glasgow School of Art and graduated in 1998 with a sell-out Degree Show. From the time of graduating she has been working full time as an artist. She has received many awards over the years including the House for an Art Lover Award, the Sir William Gillies Award, the Miller’s Creativity Award, the Glasgow Art Club Award and others. She was the youngest ever winner of The Alexander Graham Munro Travel Award, which took her on an extensive tour of Italy in 2000. At the age of 23 she was also one of the youngest artists to receive the RSW Diploma which she received from HM The Queen. A few years later she also became one of the youngest ever artists to receive the Paisley Art Institute Diploma.

* HANNAH FRANK (SCOTTISH 1908 - 2008), GARDEN (1932) lithograph, signed in pencil 31.5cm x 27cm Mounted, framed and under glass. Note: "Garden (1932)" is one of the rarest Hannah Frank signed prints. A previous example of this print was sold (by McTear's) for £420 (lot 152 The Scottish Contemporary Art Auction 2nd July 2017) and in our most recent sale (16th Aug 2020) another example of "Garden (1932)" achieved £550. In the same sale, "Sea Story" sold for a record price of £600. Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints has continued to rise with many current prices being more than double those achieved less than a decade ago. Note: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of prints of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy demand for her work after exhibitions in Edinburgh and Glasgow. Only a few of these prints were ever signed by Hannah who found the task of numbering and signing "tiresome". A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).

* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014), OBSERVATION DE LA NATURE (OBSERVATIONS OF NATURE) gouache on paper, signed and inscribed in pencil 57cm x 68cm 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.

* SYLVIA ALLEN (SCOTTISH b 1951), OPEN STREET acrylic on canvas, signed, further signed, titled and dated 1999 in pencil verso 116cm x 112cm (approximately 46 x 44 inches) Framed and under glass. Provenance: acquired Ainscough Contemporary Art, Drayton Gardens, London.and gallery labels verso. Note 1. Sylvia Allen's large scale works rarely appear at auction and the last large example we offered was lot 1731 4th March 2014: "Autumn Ambience" an 81 x 86cm acrylic, also dated 1999, which although significantly smaller than "Open Street" achieved £2000 (hammer). Note 2: Sylvia Allen graduated from Glasgow School of Art 1974. She exhibited regularly in group and solo shows whilst in various teaching and graphics employment. A Glasgow School of Art tutor in Life Drawing and Drawing and Painting in the years 1986-1994. Elected artist member of Glasgow Art Club in 1989.Has also exhibited in USA, France and Germany and as a result her work is in many collections at home and abroad including: Price Waterhouse Coopers, Arthur Andersen and Kempen Capital Management. Exhibited in RGI, RSA, SSWA and PAI. Scottish finalist in 1997 Laing exhibition, London. Painting selected for 1998 calendar. Now works solely for exhibitions. The work is characterised by strong involvement with colour and expressive movement. Themes include weather moods in landscape, atmospheric cityscapes and vibrant colours of flowers caught in sunshine. Solo Exhibitions/Group Exhibitions MacLaurin Gallery, Ayr; McLellan Galleries, Glasgow; Willamette Uni. Salem, Oregon; Main Fine Art, Glasgow; Harbour Arts Centre, Irvine; The Kunsthaus, Nurnberg; Scottish Amicable, Glasgow; The Metro Gallery, Glasgow; Zabo Gallery, Nurnberg; Turberville Smith Gallery, London; Galerie Reiter, Bad Tolz; Seen Gallery, London; Galerie in der Linden, Weidenberg; Cormund Gallery, Glasgow; Usiskin Gallery, London; Mall Galleries, London; Home Studio, Glasgow; Glasgow Art Gallery; Woodside Library, Glasgow; Green Gallery, Aberfoyle; Devonshire Hotel, Glasgow; Adam Gallery, Bath; Kelly Gallery, Glasgow; Hanover Fine Art, Edinburgh; Torrance Gallery, Edinburgh; Dept. Philosophy, Edinburgh Festival; Kingfisher Gallery, Edinburgh; Westgate Gallery, North Berwick; Ainscough Contemporary Art, London; MacMillan Fund, Strathclyde Arts Centre; Gatehouse Gallery, Glasgow; Kelly Gallery,Glasgow; Cornerstone Gallery, Stirling; Leith Gallery, Edinburgh; Chatton Gallery, Chatton; Riverside Gallery, Stonehaven; Thompson's Gallery, London; McEwan Gallery, Ballater and Roger Billcliffe Gallery, Glasgow.

ETHEL MAGAFAN (AMERICAN 1916 -1993), SILENT PEAKS woodcut, signed, titled, dated 1981 and numbered 20/100 in pencil 33cm x 45cm Mounted, framed and under glass. Note: Ethel Magafan and her twin sister Jenne Magafan were born in Chicago, Illinois in 1916.. At Broadmoor Art Academy (later renamed the Colorado Springs Fine Art Center) the pair met Frank Mechau, who hired both as assistants, allowing them to continue learning at the school from 1936-1938. Mechau, as well as fellow teachers Boardman Robinson and Pepino Mangravite, would have a great influence on both of the budding artists. From 1937 to 1943, Ethel was commissioned to paint her first of seven government sponsored murals, the first located in the US Post Office in Auburn, Nebraska. This commission made Ethel, age 26, the youngest artist in America to receive such an honour. Other New Deal Works Progress Administration (WPA) murals included the US Senate Chamber, the Recorder Deeds Building, and the Social Security Building in Washington D.C.. After government sponsorship for public murals began to dwindle in the 1940s, Ethel refocused her career on easel painting and successfully earned her first solo exhibition in 1940 at The Gallery of Contemporary Art in New York. Ethel collaborated with her sister to create seven joint exhibitions during the course of their careers. Choosing this noncompetitive route strengthened the pair’s bond, yet allowed them to maintain their own artistic styles. The sisters resided in California for nearly five years until, in 1945, the twins permanently relocated to Woodstock, New York after hearing great things from friends about the art colony. After settling, Ethel developed an increasing focus within her work, particularly for horses and abstract landscapes. She met fellow artist Bruce Currie at an artist’s party and the two were married in 1946. Both sisters won Fulbright Scholarships and Tiffany Foundation Awards which allowed Ethel to travel to Greece and Jenne to Italy. Less than a week after their return to the United States in 1952 Jenne died of cerebral hemorrhage at the age of 36. Ethel stated that the loss of her sister was “a tragedy from which I have never fully recovered”. Ethel was elected an Academician of the National Academy of Design in 1968. Following this achievement, she taught art throughout the 1970’s at both the University of Georgia and Syracuse University. Her stature within the art world was solidified in 1971 when the United States Department of Interior requested that Ethel tour and draw sketches throughout the Western U.S. These sketches were later exhibited at the National Gallery in Washington and then sent on a national tour by the Smithsonian Institution. She painted her last mural, “Grant in the Wilderness,” in 1979 at the Fredericksburg National Military Park in Virginia. From 1962 to her death in 1993, she had 19 solo gallery shows.

* PETER NARDINI (SCOTTISH CONTEMPORARY), FIGURES IN THE TUILLERIES, WINTER oil on board, signed 76cm x 50cm Framed and under glass. Label verso: The Gatehouse Gallery, Rouken Glen Road, Giffnock. Note: an exceptional and large example of Nardini's work. Peter Nardini is a graduate of Glasgow School of Art where he won the prestigious Cargil Award. He has been awarded The Amsterdam Residency by the Scottish Arts Council, The Paisley Art Institute Award, The Ann Redpath Award by the Scottish Society of Artists among many others. He is a regular exhibitor in the RGI, Glasgow; RSA, SAAC, Edinburgh; Paisley Art Institute and in galleries across Scotland as well as Thompson's Gallery, London, and Richmond Fine Art Gallery, Surrey. His work is held in public collections including Scottish Arts Council and Lanarkshire Education Collection as well as in corporate and private collections in the UK, Europe and USA.

* FRANK TO (SCOTTISH b 1982), GHOST IN THE SHELL oil on canvas, signed verso 74.5cm x 60cm Framed. Note: Frank To was born in Glasgow and studied at the University of Huddersfield and then Duncan of Jordanstone Art College in Dundee. He lives in Glasgow and has a studio in the city. He has earned an enviable reputation for himself as a contemporary figurative painter, having already established a loyal following, including a number of high profile buyers including Star Trek legend, Sir Patrick Stewart who now owns several of Frank's paintings. In recent years he has exhibited alongside some of the greats of the Scottish and International art scene including Peter Howson and Damien Hirst. His work has also featured in numerous national art fairs and art shows including at Bath, Harrogate, London, Aberdeen, Dundee, Edinburgh and Glasgow and is held in the collection of Dundee University. Frank To has regularly received critical acclaim even from early in his career and is one of his generation's most written about artists.

* CAMERON SCOTT (SCOTTISH CONTEMPORARY), BARRIO CHINO, BARCELONA colour screenprint, signed, titled, dated '04 and numbered 1/25 40cm x 30cm Mounted, framed and under glass. Note: born in Kintore, a small north east Scottish village, trained at Gray’s School of Art in Aberdeen and won the coveted Cinzano National Scholarship for Great Britain which allowed Cameron to work for some of the leading design and fashion houses in France and Italy. From the world of high fashion, he moved into art schools where he taught at Falmouth School of Art, Shrewsbury School of Art, Salford University and Burnley College, moving from part time lecturer to Head of School of Art. Cameron Scott now lives in Frome, Somerset and his work is exhibited around the UK.

* AVRIL PATON (SCOTTISH b 1941), THE ALLOTMENT watercolour on paper, signed 45cm x 90cm Mounted, framed and under glass. Provenance: acquired by the vendor from Gatehouse Gallery, Rouken Glen Road, Giffnock. Label verso: Gatehouse Gallery, Rouken Glen Road, Giffnock. Inscribed with title, artist's name and dated 1995. Note: a remarkably rare work by Avril Paton, the artist who painted "Windows in the West", one of Scotland's best known and most popular contemporary paintings which was acquired for the nation by the Scottish National Gallery of Modern Art and is currently on display at Kelvingrove Gallery, Glasgow. There has been much written about Paton's work from the 1990's explaining the meticulous detail and the many months it took to complete a single picture. Paton eventually moved on to a more spontaneous abstract style of work and consequently her watercolours from the 1990's are a distinct isolated body of work and the examples from this time are few and rarely, if ever, appear at auction. However, in The Scottish Contemporary Art Auction on 16th August 2020 lot 591 Topping Out Day by Avril Paton was sold for a new auction record price of £8000. The Allotment has been consigned from the same collection. Avril Paton's work from this period has been studied as part of the curriculum for many of the nation's youth and there are several talks and discussions on YouTube.

* PETER GRAHAM ROI (SCOTTISH b 1959), OLD TOWN, ALTEA gouache on paper, signed and dated '89 75cm x 62cm Mounted, framed and under glass. Note: A rare appearance at auction for one of Scotland's and the UK's most successful contemporary artists. Peter Graham was born in Glasgow in 1959. He attended the Glasgow School of Art, graduating in 1980. In 2000 Peter was elected to Full Membership of The Royal Institute of Oil Painters, R.O.I. Peter has earned a reputation as one of Britain’s most gifted and distinctive Modern Colourists. His work is often related to the Modern Scottish School but Peter has a flamboyant style which is unique, – detailed brush work combined with loose fluid strokes creating vibrant contrasts of pure colour, line and tone. In the winter months within his studio he delves deeply into the still life genre, creating some of his most stunning compositions, always with colour the dominant theme but reflecting the heightened sense of atmosphere and passion that comes directly from painting in the beauty of the Mediterranean. Recently, hugely successful exhibitions in London have allowed Peter to take on extra studio space and his work is being enthusiastically exhibited by many of the UK's most prestigious galleries.

* JAMES ORR (SCOTTISH 1931 - 2019), HIGH AND DRY oil on board, signed 50cm x 60cm Framed and under glass. Note: James Orr was a regular and successful contributor to The Scottish Contemporary Art Auctions. A modest man when it came to his own achievements, his work is held in the collection of HRH Duke of Edinburgh and in many private collections across the world. He won several awards for his work, including the RGI’s Royal College of Physicians & Surgeons of Glasgow Award. His paintings have given and continue to give great pleasure to many people. Renowned for his kindness and generosity, he also nurtured many budding artists and gave his time generously through artist demonstrations for many art clubs across Scotland. James is much missed by all at McTear's.

DSCREET (AUSTRALIAN CONTEMPORARY), THE END paint on full size door, bears artist's Owl symbol 180cm x 95cm Note: Urban artist Dscreet is known for his iconic owl characters, which feature repeatedly across his canvas of choice: the walls and shutters of urban East London. With a long spanning passion for street art, Dscreet is attuned to the importance of art around the city and its power to change the world in small ways. A cute quirk, Dscreet’s signature owls are filled with childish charm while, at the same time, suffused with an uneasy, haunting quality: once you’ve glimpsed one of Dscreet’s owls, you’re not likely to forget it anytime soon. This lot features lyrics from The Door's hit, The End. Approximate retail value £300 Generously donated by Dscreet. The Proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.

RYCA (RYAN CALLANAN) (BRITISH CONTEMPORARY), ANIMAL HEART wood, glass, resign and glass fibre, signed verso 42cm x 50cm approx Framed and under glass Note: RYCA (Ryan Callanan) is an artist working in contemporary printmaking and graphics. Already a prominent artist on the Street Art scene, the last few years have seen Ryan move away from this aesthetic towards a new practice that draws upon his in-depth knowledge of materials and craftsmanship acquired through his training in industrial model making and 3-D design. From the starting point of the emblematic visual sign, Ryan began a series of works using the smiley face synonymous with acid house rave culture in the 1980s. Working in base-relief, this iconic motif was re-contextualized by rendering it in material and style usually associated with traditional pub signs - gold inlay and black lacquered background. This highly technical skill obtained and finessed through Ryan’s parallel career in the sign making industry. Approximate retail value £1500. Generously donated by LAE Consultancy & Ryca. The Proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.

WHATSHISNAME (SEBASTIAN BURDON) (POLISH b 1982), THE BEAR AND THE PIG giclee print, signed, numbered 5/25 and dated 2019 in pencil 50cm x 50cm Unframed Note: Contemporary artist Whatshisname (aka Sebastian Burdon) creates art for two reasons: “1. To celebrate an alternative to the ordinary and 2. Because it is something that I cannot do.” Born in Poland in 1982, Burdon began creating digital art at the age of 7, using the Atari 130XE. After moving to London in 2006, Burdon worked as an assistant to British artists and started to craft his own aesthetic, fusing digital and traditional methods. Approximate retail value £300. Generously donated by Whatshisname. The Proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.

WHATSHISNAME (POLISH SEBASTIAN BURDON b 1982), GONE MINNIE giclee print, signed, dated 2018 and numbered 7/30 80cm x 80cm Unframed Note: Contemporary artist Whatshisname (aka Sebastian Burdon) creates art for two reasons: “1. To celebrate an alternative to the ordinary and 2. Because it is something that I cannot do.” Born in Poland in 1982, Burdon began creating digital art at the age of 7, using the Atari 130XE. After moving to London in 2006, Burdon worked as an assistant to British artists and started to craft his own aesthetic, fusing digital and traditional methods. Approximate retail value £600 Generously donated by Whatshisname. The Proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.

JAMES JOYCE (BRITISH CONTEMPORARY), HERE BUT NOT THERE silk screen print, signed and numbered 58/150 55cm x 55cm Unframed Note: James Joyce was born in Wolverhampton, England and studied at Walsall College of Art and Kingston University. He lives and works in London. He works in a variety of media including painting, drawing, sculpture and screen-printed editions, with the content often subverting recognisable symbolism. That approach was demonstrated by his recent involvement with Banksy’s contemporary art show Dismaland, where Joyce exhibited a large video installation of a rotating and collapsing smiley face titled ‘Perseverance in the Face of Absurdity’. The piece became the signature image for the exhibition. Approximate retail value £250 Generously donated by James Joyce. The Proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.

SARAH J HARPER (BRITISH CONTEMPORARY), HEALTH BEFORE WEALTH mixed media on $1 note 7cm x 15.5cm Framed and under glass Note: Sarah J Harper’s work has been exhibited internationally, including the Saatchi Gallery, Tate Modern, and Tate Britain in London, and The Wien Museum in Austria. She is one of the featured artists in the money art projects ‘Cash Is King’ and ‘For The Love Of Money Art’ books and exhibitions, using banknotes as a form of protest art. Member of the ‘Secret Society Of Super Villain Artists’, a worldwide network of artists set on making a difference in the world while having a little fun doing it. Approximate retail value £100. Generously donated by Sarah J Harper. The Proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.

SWEET TOOF (BRITISH b 1971) and ROWDY (BRITISH CONTEMPORARY), PUNK CROCK linocut, signed and numbered 2/7 in pencil 30cm x 20cm Framed and under glass Note: Sweet Toof’s work starts with and evolves out of his street art, whether as a solo graffiti artist or in collaboration with others. Like the streets of 1980s New York, Britain’s streets today are being reclaimed by an ever-increasing army of street artists of which Sweet Toof is one of the most prolific and artful. Typical tags, throw-ups, and more elaborate street pieces become a whole language that informs his studio works. Rowdy has been an integral part of the Bristol graffiti scene since 1987 and his famous crocs can be found peeking between buildings, chasing cyclists along towpaths and manning CCTV cameras throughout the city. Approximate retail value £200 Generously donated by Gary Dunk (UAA). The Proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.

EEL (BRITISH CONTEMPORARY), DECORATED FOR PEACE stencil art 108cm x 53cm Unframed Note: Decorated for peace wheat paste stencil and Decorated for Peace medal. The medal was selected for display at the Royal Academy Summer Exhibition 250th Anniversary. There were only ever 6 of these wheat paste stencils. The artist placed 3 of them on to the Seperation Wall in Bethlehem, he gave one to a local taxi driver in Bethlehem and he has donated his last silver one to this auction. Eel is a brighton based street artist and is an ex-serviceman having served 10 years in the RAF. The medal was inspired by his first visit to Bethlehem and the Peace Wall. He considered a number of texts for the medal but finally decided on PEACE in Arabic and Hebrew. The design on the front of the medal is a spray can top which represents all the artists who have painted on the wall and those who will paint in the future. Approximate retail value £200 Generously donated by Eel. The Proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.

FANAKPAN (BRITISH CONTEMPORARY), DANCE LIKE SOMEBODY IS WATCHING etching and screenprint, signed 60cm x 43cm Unframed Note: Certificate of authenticity verso. Note: Fanakapan is a prolific London-based street artist known for creating hyper realistic visuals of real life objects. His free hand, spray painting skills and the unmatched combination of shadow and reflective highlights he adds to his absolutely mind-boggling art works have earned him a stellar reputation within the urban contemporary art scene. Approximate retail value £300 Generously donated by Graffiti Prints. The Proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.

JOACHIM (BELGIAN CONTEMPORARY), BORN TO PAINT. PINK. screenprint, trial proof, signed and numbered 1/1, bears Graffiti Street chopmark 35cm x 35cm Unframed Note: Joachim is a talented, young Belgian street artist who managed to introduce himself into the Belgian street art scene and earn his place in the sun relatively quickly. He is famous for his childlike spontaneity and experimenting with different styles. Approximate retail value £175 Generously donated by Graffiti Street. The Proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.

ROGUE ONER (SCOTTISH CONTEMPORARY), UNTITLED spray paint on circular canvas, signed and dated 2014 verso 100cm diameter Unframed Note: Rogueoner is a graffiti / street artist from Glasgow. He has been mastering the art of spraypainting for over 15 years. His work ranges from stencils, pieces, characters, 3D, canvases and to large scale productions. also working in oils and acrylics and graphic design. His street work can be seen across Glasgow and the UK. Approximate retail value £400 Generously donated by rogueoner. The Proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.

D*FACE (DEAN STOCKTON) (BRITISH b 1978), RUN AWAY hand painted multiple, emulsion and enamel, signed and numbered 4/10 95cm x 60cm Unframed Note: D*Face is one of the most prolific contemporary urban artists of his generation. Working with a variety of mediums and techniques, he uses a family of dysfunctional characters to satirise and hold to ransom all that falls into their grasp – a welcome jolt of subversion in today’s media-saturated environment. His work regularly sells at Christies, Sothebys and Bonhams auction houses and yet he still continues to put his work illegally into the public domain, and as such has extensively traveled the world showing and disseminating his artwork. In 2005 D*Face set up the gallery ‘StolenSpace’, which continues to be Londons foremost contemporary urban art gallery. Approximate retail value £2500 Generously donated by D*Face. The proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.

THE REBEL BEAR (BRITISH CONTEMPORARY), TIGHT ROPE spray paint on canvas, signed with initials and numbered 9/12 40cm x 60cm Unframed Note: The street artist, known as ‘The Rebel Bear’ has been creating street art over the last 4 years throughout Scotland as well as London, Calais and New York (completing a commission for the United Nations). The themes of his work cover politics, love, human emotion and comment on the ‘absurdity’ of the world we have created. He has built up a large organic and engaged following on Instagram and has been referred to as “Scotland’s Banksy” on many occasions in the media. To date, his work has been featured in the BBC, The Guardian, The Herald, LA Times, NBC, The Sun and many more. Approximate retail value £500 Generously donated by The Rebel Bear. The proceeds of sale from this lot will benefit The Glasgow Childrens Hospital Appeal.

LOUIS MASAI (BRITISH CONTEMPORARY), THE STITCHERS acrylics and bitumen on gold leaf reclaimed wood 36cm x 36cm Note: London-based artist Louis Masai is a painter, sculptor, and muralist, who works in both studios and outdoor spaces. His art touches on themes of climate change, the possibility of the sixth great extinction, and the heartbreaking reality of endangered species. From public walls to canvas, Masai’s patchwork animals are created with a genuine passion and respect for animals in the wild. Current works deal with endangered species, created into patchwork plush toys, highlighting the need for humans to pay more attention to what is happening in nature and acknowledge that without protection only toys, paintings and souvenirs will remain. Approximate retail value £800 Generously donated by Louis Masai. The proceeds of sale from this lot will benefit The Glasgow Childrens Hospital Appeal.

SNIK (BRITISH CONTEMPORARY), COLD TENDERNESS screenprint, artists proof, signed and numbered 1/10 60cm x 80cm Unframed Note: SNIK are an art duo based in the United Kingdom and with over a decade’s experience painting walls inside and out. They have successfully established themselves as one of the most interesting and progressive stencil artists of the moment. Their bold aesthetic is characterized by frozen scenes of dynamic action often at impressive scale, however it is the delicate details of the everyday which make their works particularly unusual. Rather than an elaborate narrative, SNIK seek to elevate the subtle and often unremarkable details of a single moment; tangled strands of hair, folds and textures of fabrics. It is this focus which has come to define their unmistakable style. Approximate retail value £300 Generously donated by SNIK. The proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.

IRIS RYAN (SCOTTISH CONTEMPORARY), #TRENDSETTER giclee print, signed and dated verso 12.5 x 17.5 cm Mounted, framed and under glass Note: Iris Ryan is aged 11 and is the granddaughter of Steve McGill who pulled together this collection of works to be auctioned for Glasgow Children's Hospital. She loves art and wanted to do something that could be sold to help the hospital. Approximate retail value £30 Generously donated by Iris Ryan. The proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.

THE LONDON POLICE (BRITISH CONTEMPORARY), ALL HAIL GRANDAD STEVE ink and acrylic on linen, signed verso 40cm x 30cm Unframed Note: The London Police is an art collective started in 1998 when two English geezers headed to Amsterdam to rejuvenate the visually disappointing streets of Holland's capital. They were part of a small group of artists at the end of the last century that helped pioneer the street art movement. After a few years of mixing travelling and making art in the street TLP began to receive worldwide recognition for their contribution to the graffiti/street art movement. Some 22 years on TLP have amassed more than 100 shows and events in over 35 countries and their street work continues to pop up everywhere they go. The London Police are Chaz Barrisson who draws the iconic ‘LADS’ character and Bob Gibson whose tight portrait and architectural illustrations help marry the two styles to create an endearing, exciting fantasy world... The approximate retail value is £900 Generously donated by The London Police. The proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.