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David Baumforth (b.1924) ''Rough seas, Thornwick Bay'' Initialled and dated 2003, mixed media, 51cm by 80cm Exhibited: Walker Galleries Contemporary Art, Harrogate See illustration Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Caroline Bailey RSW (b.1953) ''Andalusian Village'' Signed, inscribed verso, gouache, 86cm by 86cm Exhibited: Walker Galleries Contemporary Art, Harrogate See illustration Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Kate Whiteford (b.1958) ''Marker'' (1992) Oil on gesso panel, 25cm by 29cm Provenance: Contemporary Art Society Market Reverend Dr Richard Davey Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Sylvia Allen (b.1953) Scottish ''Open Street'' Signed, inscribed and dated 1999 verso, acrylic on canvas, 115cm by 109cm Exhibited: Ainscough Contemporary Art, London See illustration Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

The Burlington Art Miniatures, twenty-volume set, London: The Fine Arts Publishing Company, Ltd, [n.d., c. 1900], each book illustrated with mezzogravure plates with accompanying descriptive letterpresses, contemporary oak table-top bookstand as issued, loop carrying handle, arched sides, skirted base, 18cm high, 25.5cm wide, c. 1900

Nazi Germany/Third Reich - 1936 Berlin Olympics, an archive-collection of 50 souvenir pieces and ephemera, including a Junghans pocket watch, the brass circular dial centred by the Reichsadler, the verso in relief with the Brandenburg Gate above the five Olympic rings, (1); Reichskulturkammer metal watch or medal case, dated 20 April 1936, (1); another, similar, Reichsadler, Olympic rings and Berlin 1936 only, (1); Tickets: Football Semi-Final, &, Handball Final, each torn for use, (2); official programmes for rowing, ice skating, athletics, sailing, gymnastics, handball and diving, (7); Deutsches Opernhaus Berlin seasonal programme, unsurprisingly Wagner's operas with a cast sheet for Lohengrin loosely inserted, (2); the official Olympic Games badge, in tones of blue, black, red, yellow and green enamel, (1); Newspapers, 3 copies of the Olympia Zeitung: No. 17, 6th August, No. 21, 10th August, & No. 28, 17th August, (3); Winter Olympics, Die Olympischen Spiele 1936, In Berlin und Garmisch-Partenkirchen, volume I only, b/w illustrations, contemporary pictorial blue cloth, 4to, (1); a leather purse, Olympiade Berlin 1936, (1); Coin, 1936, 5 Reichsmark, (1); Banknote, 20 Reichsmark, (1); Travel/Tram tickets, various, (4); two Art Deco design circular beadwork samplers, Berlin, variously coloured Bakelite-type beads, (2); Willkommen in Berlin..., pocket guide, (1); official Summer Olympics visitors' programme, (1); Deutsche Reichspost guide, multiple languages, (1); Reich Committee tourist sheet, (1); Olympia-Gale, Dresden: [1936], (1); songs/hymnal sheet, (1); official city map, issued for the Olympics; further official programmes and other ephemera, [50]

Art, Old Masters - Auction and Dealers' Catalogues - P&D Colnaghi: Art in XVII Century Italy, April-May 1972 & Etchings by Giovanni Battista Piranesi, Decmber 1973 - January 1974, (2); further Piranesi catalogue; auction catalogues, principally Christie's and Sotheby's, from 1941 to July 2017, including Sotheby & Co:~ [...] Important Paintings by Sir Joshua Reynolds [...], 17th December 1941 (1), [...] The Portrait of George Washington, as Commander-in-Chief and B. Wilson's Portrait of Benjamin Franklin [...], 13th February 1946 (1), The Collection of the Late Bernard Houthakker, 17th-18th November 1975 (1), The Cremer Collection, 17th November 1980 (1), The Tobias Christ Collection of Old Master Drawings, 9th April 1981 (1), Mauerbach: Items Seixed by the National Socialists to be Sold for the Benefit of the Victims of the Holocaust, 29th-30th 1996 (1), Drawings by J.H.W. Tischbein, 22nd January 2003 (1), others, (30); Dilke (Lady), French Painters of the XVIIIth Century, numbered limited edition 111/200, London: George Bell and Sons, 1899, illustrated, contemporary cream cloth gilt, top-edge gilt, folio, (1); François Boucher, (1); Italian Drawings Exhibited at the Royal Academy, Burlington House, London, 1930, The Oxford University Press, 1931, illustrated, contemporary boards, d/j, 4to, (1); Messum's, British Impressions: The Progress of Impressionism 1880-1940, illustrated, 4to, (1); Wunder (P.), Architectural, Ornament, Landscape and Figure Drawings, 1975, 4to, (1); Treasures from Chatsworth, (1); Dictionary of Artists [...] Exhibited [...] Principal London Exhibitions from 1760 to 1893, h/b, d/j, 1973, 4to, (1); further reference works, etc., [approx. 50]

Husbandry and Farming - Bayldon (J.S.), The Art of Valuing Rents and Tillages, and the Tenant's Right on Entering and Quitting Farms, Explained by Several Specimens of Valuations, and Remarks on the Cultivation Pursued on Soils in Different Situations, Adapted to the Use of Landlords, Land-Agents, Appraisers, Farmers, and Tenants, second edition, London: Printed for Longman [...], 1824, engraved farm plan frontispiece, contemporary publisher's boards (disbound), slightly later dated ink MS ownership inscription: J.H. Sellers 1835, 8vo, (1); another copy, fourth edition, London: 1832, the whole prefixed by a Longmans catalogue [16], contemporary publisher's boards, Plain Armorial bookplate: James Dearden, Rochdale, [Lancashire], 8vo, (1); Young (Arthur), The Farmer's Calendar: Containing the Business Necessary to be Performed on Various Kinds of Farms during Every Month of the Year, sixth edition, London: Printed for Richard Phillips, 1805, contemporary publisher's boards, 8vo, (1), [3] N.B. James Dearden, the owner of the second book in this lot, purchased the Manor of Rochdale, Lancashire, from Lord Byron the poet in 1823.

Ireland - Ornithology, Ussher (Ricahrd J.) and Warren (Robert), The Birds of Ireland [...], With a Coloured Plate, Maps, and other Illustrations, London: Gurney and Jackson, 1900, contemporary pictorial cloth, Presented by G.L. Drury 1969 to the Natural History Society of Northumberland, Durham & Newcastle-on-Tyne, labels and stamps, 8vo, (1); Baron Barrymore's Copy, Payne-Gallwey (Sir Ralph, Bart), The Fowler in Ireland, or Notes on the Haunts and Habits of Wildfowl and Seafowl, including Instructions in the Art of Shooting and Capturing Them, with Numerous Illustrations, London: John Van Voorst, 1882, contemporary grey cloth, Golden Age Armorial bookplate to pastedown: Baron Barrymore [Arthur Smith-Barry, (1843-1925)], 8vo, (1); Fitzpatrick (Sir Percy), Jock of the Bushveld, Illustrated by E. Caldwell, fourth impression, London: Longmans [...], 1907, full-page colour plates, monochrome vignettes and borders throughout, pictorial green cloth gilt, 8vo, (1); Stonehenge, [pseud. Walsh (John Henry)], The Dog in Health and Disease [...], third edition, London: Longmans, Green, and Co., 1879, b/w illustrations, red cloth over green buckram boards, marbled endpapers, pencil ownership inscriptions for the Ridgways of County Waterford, 8vo, (1); Gray (D.J. Thomson ("Whinstone")), The Dogs of Scotland: their Varieties, History, Breeding, Exhibition, and Management, Illustrated, Part I only, Dundee: James P. Matthew & Co., 1887, contemporary pictorial wrappers, ownership stamps and inscriptions of R.G. Ridgway, Waterford, 8vo, (1); Gresham (F), Everybody's Book of the Dog: The Dog-Keeper's Vade Mecum, London: W.R. Russell & Co., Ltd., [n.d. c. 1900], various advertising, contemporary red pictorial cloth with further adverts, 18mo, (1); Johns (The Rev. C.A.), Flowers of th Field [...], with 96 Colour Illustrations [...] and 245 Cuts [...], seventh impression, London: 1918, pictorial green cloth gilt, 8vo, (1); further natural history and countryside; etc., [12]

[Bowles (Carrington)], Bowles's Compleat (sic) Drawing-Book, Containing An extensive Collection of Examples in all Variety of Subjects, for the Improvement of Youth, in the pleasant and useful Art of Drawing, Elegantly engraved on One Hundred Copper-Plates [...], To which are annexed, Introductory Rules for the Use of Learners within an Account of the Instruments and Materials used in Drawing, London: Printed for the Proprietor/Carington Bowles, [n.d., ?1773], pp: [2], 4, 100 copperplate engravings, contemporary marbled wrappers, indistinct ink MS ownership inscription dated August 13th 1849 to front endpaper, 4to, [1]

Local Interest - Midland Counties Exhibition, Drill Hall, Derby: Catalogue of Works of Art and Industrial Products, May, 1870, Published by the Executive Committee, first and only edition, Derby and London: Printed by Bemrose & Sons, 1870, pp: [2] (blank), 97, [1], 20 wood engraved adverts and advertising of local and national companies, illustrated with a ground plan of the exhibition, loosely inserted contemporary newspaper account of 'The Fine Arts Exhibition', some neat marginal 19th and 20th century occasional annotations in ink, pencil and biro, 20th century gilt-lettered half-brown morocco over green buckram, marbled endpapers preserving earlier Bemrose & Son's Bindery ticket, 8vo, [1] Provenance: Drury [? of Lock Park, near Derby?], Plain Armorial bookplate to recto pastedown; later 20th century biro ownership inscription.

Local Interest - Robinson (Joseph Barlow), Derbyshire Gatherings [....], London: J.R. Smith, 1866, lacking most plates, contemporary red cloth gilt as issued, 4to; Davies (The Rev. D.P.), A New Historical and Descriptive View of Derbyshire, from the Remotest Period to the Present Time, volume I only, Belper: Printed and Published by and for S. Mason [...], 1811, 20th century institutional red half-morocco over buckram, ex-library copy, 8vo; Leyland (John), The Peak of Derbyshire: Its Scenery & Antiquities, with Illustrations by Alfred Dawson and Herbert Railton, London: Seeley and Co. Limited, 1891, etched frontispiece, b/w illustrations, pictorial gilt green cloth, 8vo; Bemrose's Guide to Derbyshire, Illustrated, [London: Bemrose & Sons, n.d. c. 1875], lacking title-page, illustrated, contemporary cloth, 8vo; other county and topographical guides; Bacon's New Survey Map of the Counties of Derby, Nottingham and Leicester, Showings Railways, Roads, Elevations & Distances, also Local Government Divisions and Parishes, 25-folds engraved, printed, hand-coloured and laid on canvas, 115cm x 89cm overall, gilt-lettered cloth covers, marbled endpapers, 24.5cm x 19cm; 19th century and later county maps of Derbyshire, some cylcing, various; Williamson (F.), History and Classification of Derby Porcelain, second edition, Published by the Derby Museum and Art Gallery Committee, 1924, original wrappers, 8vo; other local works; Milton's L'Allegro and Il Penseroso, Illustrated with Etchings on Steel, by Birket Foster, London: David Bogue, 1855, contemporary Etruscan Revival cloth gilt, all edges gilt, 4to; (qty)

Miscellaneous - Natural History: Young (The Late John, M.D.): Essays on Evolution & Design, Edited with an Analysis and an Introduction by William Boyd, first and only edition, Glasgow: 1905, contemporary green cloth, 8vo, Very Scarce, &, Essays and Addresses, With a Memoir, Glasgow: 1904, contemporary green cloth, 8vo, (2); Medicine, Lewes (Mrs C. L.), Dr Southwood Smith: A Retrospect, signed and dedicated copy from the author to John Young, first and only edition, Edinburgh: 1898, contemporary blue cloth gilt, 8vo, (1); The Tavern of the Three Virtues, Translated from the Original of Saint-Juirs, Illustrated with Sixty Drawings by Daniel Vierge, Together with a Critical Essay on the Art of Vierge by Edmund Gosse, limited edition of 650, London: T. Fisher Unwin, [n.d., 1890], title-page printed in red and black, contemporary cloth gilt, top-edge gilt, 4to, (1); Wood (Wendy), The Secret of Spey, with Illustrations by the author, first edition, Edinburgh: 1930, contemporary green cloth, 8vo, (1); White (The Rev. Gilbert), The Natural History and Antiquities of Selborne [...], third edition, London: 18880, contemporary calf, 8vo, (1); Gilbert (W.S.), Savoy Operas, with Illustrations in Colour by W. Russell Flint, London: 1909, contemporary red cloth gilt, (1); Manuscript, a late Victorian lady's musical manuscript 'Scrap Book', composed by Elsie Young, 11th January 1888, 41ff of MS music and some libretto, no apprent original composition, original wrappers (disbound), oblong 8vo, (1); Art History, Millais (John Guille), The Life and Letters of Sir John Everett Millais [...], with 319 Illustrations, including nine Photogravures, second edition, two-volume set, London: 1900, blue cloth gilt, 4to, (2); Children's Book, Lear (Edward), Nonsense Songs, Illustrated by L. Leslie Brooke, London: Frederick Warne and Co., [n.d., early 20th century], pictorial cloth (faults), square 4to, (1); Folio Society, h/b, (3); C.S. Lewis; etc, [21]

Wheatley (Dennis): The Haunting of Toby Jugg, first edition, London: Hutchinson & Co., [n.d. 1948], contemporary black cloth, gilt-lettered, pictorial dustjacket, 8vo, (1); V for Vengeance, fifth impression, London: Hutchinson, 1951, h/b, d/j, 12mo, (1); Star of Ill-Omen, first edition, London: Hutchinson, 1952, h/b, pictorial d/j, 12mo, (1); Strange Conflict, third impression, London: Hutchinson, 1952, h/b, d/j, 12mo, (1); The Golden Spaniard, third impression, London: Hutchinson, 1952, h/b, dj, 12mo, (1); The Scarlet Imposter, fifth impression, London: Hutchinson & Co, 1953, h/b, d/j, 12mo, (1); Come Into My Parlour, first edition, London: Hutchinson & Co., [1954], h/b, pictorial d/j, 12mo, (1); The Island Where Time Stands Still, first edition, London: Hutchinson, 1954, h/b, d/j, 8vo, (1); Faked Passports, second edition, London: Hutchinson & Co., [1954], h/b, pictorial d/j, 12mo; The Man Who Missed the War, fourth impression, London: Hutchinson, 1954, h/b, d/j, 12mo, (1); The Secret War, eighth impression, London: Hutchinson, 1954, h/b, pictorial, d/j, 12mo, (1); The Ka of Gifford Hillary, first edition, London: Hutchinson, 1956, h/b, d/j, 8vo, (1); Traitors' Gate, first edition, London: Hutchinson, 1958, h/b, d/j, 12mo, (1); Contraband, London: Hutchinson, 1958, h/b, pictorial d/j, 12mo, (1); The Satanists, first edition, London: Hutchinson, 1960, h/b, d/j, 8vo, (1); They Used Dark Forces, first edition, London: Hutchinson, 1964, h/n, d/j, 12mo, (1); The White Witch of the South Seas, first edition, London: Hutchinson, 1968, h/b/, d/j, 12mo, (1); further black magic, crime and science fiction, novels, including some first editions and pictorial dustjacket art; memoirs; etc., [32]

Wheatley (Dennis, editor), A Century of Horror Stories, first edition thus, London: Hutchinson & Co., [n.d. 1935], 1024pp, contemporary pictorial red cloth, original Art Deco design pictorial dustjacket, advertisements to verso, 8vo, [1]

Miscellaneous - Photography, The Cabinet Portrait Gallery, Reproduced from Original Photographs by W. & D. Downey, Third Series, London: Cassell & Company, Limited, 1892, illustrated with 36 tipped-in portrait of royals, aristocrats,statesmen and politicians, accompanying letter presses, contemporary cloth, 4to, (1); Children's Books, Lamb: (Charles) & (Mary), Tales from Shakespeare, Illustrated by George Soper, London: George Allen & Unwin, Ltd., 1929, contemporary pictorial cloth, 8vo, (1); Binding, Bloomfield (Robert), Rurual Tales, Ballads, and Songs, seventh edition, London: Vernor [...], 1811, stipple engraved frontispiece, full-page woodcuts, contemporary crimson straight-grain morocco gilt, all-edges gilt, drab endpapers, morocco book label, 12mo, (1); Williams (H. Noel), Last Loves of Henri of Navarre [...], London: Hutchinson & Co., [c. 1920], Hatchards three-quarter crimson morocco over cloth binding, stamped, top-edge gilt, 8vo, (1); Art Deco part-leather binding; others, various; Sporting Pictures, folio of caricatures; Folio Society, (2); Book Auction Records, (2); The Oxford Library of English Poetry, three-volume set, blue faux leather over cloth, slipcased, (3); bibliography and typography, history, poetry and literature, astrology, various dates, bindings and sizes, [qty]

YOUNG LADIES on Postcards. 282 cards, mostly circa Edwardian in contemporary album with Art Nouveau motif to cover. Attractive collection showing interesting array of fashion, hats and hair styles. Mostly photographic.

Sonja Ingegerd Andersson - SIA Pottery - A Swedish contemporary lamp of ceramic construction. The pebble shaped black ground body with Art Deco tram lining being with label to base. Complete with the shade. Measures 34cm tall, approx. 

After a design by Oscar Zanetti b 1961 -for Fornace Mian, (Formia 1962-), retailed by F M Marcolin Art Crystal, Sweden, circa late 1980 - Equis - a contemporary glass horse sculpture of a rearing horse in red glass on a black glass plaque base, 12 3/8"h, with Formia Vetri Di Murano, Italy label to base and F M Marcolin Art Crystal, Sweden, also to base

A contemporary Art Deco style lamp table, W59cm

A collection of Art Deco cigarette holders, including a Dunhill Torpedo holder with 9ct gold mount, uncased, and a red Torpedo with a white metal mount, in original box; other contemporary examples of similar models by Parker; a Glolite Corp Midget holder; and other Bakelite and other plastic holders, some cased examples and other materials,

A Scandinavian contemporary studio pottery bowl, in the folk art tradition, with evergreen trees, reindeer and stars, artists initials A.A incised to base, 7cm x 5cm

Esther Mahlangu (South African 1935-)signed, dated 2007 in pencil on the plate and editioned 2/22 in pencil in the margin silkscreen on paper 34 Fine Art, Esther Mahlangu, Cape Town, 2007sheet size: 41 by 55cm PROVENANCE34 Fine Art Gallery, Cape TownFollowing in the traditions of Ndebele wall paintings passed down to her from her mother and grandmother, Esther Mahlangu creates artworks that include these geometric patterns, combined with her own personal style and colours, bringing the techniques of her culture into the gallery space.  By the time Esther was a teenager, she was considered an expert at mural painting in her local community and she began incorporating a widening range of brightly coloured wall paint as it became available to her. Between 1980 and 1991, Esther worked at the Botshabelo Historical Village, an open-air museum dedicated to the Ndebele culture. In 1986, researchers who were travelling the world to document traditional art came across Esther Mahlangu’s house and recognised her exceptional ability. They invited her to create murals for an exhibition that included a number of international contemporary art. The exhibition was Magiciens de la Terre (Magicians of the World) which turned out to be a groundbreaking exhibition at the time for its inclusivity. Curated by Jean-Hubert Martin whose intention was to hold the first truly international exhibition of contemporary art. He exhibited the work of more than 100 of the artists, from fifty countries, at the Centre Pompidou and the Grand Halle at Parc de le Villette in Paris. Half of the artists who were included in the exhibition were non-Western and during his travels to seek out new artists he purposefully denied the definitions of art and craft, or trained and self-taught, rather seeking talent above all else and pushing for equality rather than the narcissistic perspectives of ‘Western’ art. After her inclusion in this exhibition, Esther’s career took off. She travelled to France in 1989 where she painted a house in front of thousands of viewers as a performance of her skill. Over the course of the next few years she was invited to paint venues around the world. Soon Mahlangu transferred the traditional Ndebele technique onto canvas and also silkscreen. In 1991, she was the first woman to paint a BMW 525i as part of the BMW Art Car Project, previous artists included Pop Art stars, Andy Warhol and Roy Lichtenstein. Arguably, Esther can be linked to these as well as contemporary art stars who depict, repeat and employ the objectives of consumerism. Similarly to the Mr Brainwash (lot 471) and (lot 472) and Banksy (lot 473) works that we have included in our auction, Mahlangu also began painting on walls, although not illicitly, and then presented her work in the gallery space, on traditional art materials such as canvases and paper, which others could buy and place on their own walls. Mahlangu’s aim has always been to preserve her cultural heritage and she opened a small art school in the backyard of her home in Mapumalanga, where she mentors other pupils in the traditional Ndebele style. Source: SA History Contemporaryand

Mr. Brainwash(French 1966 - )RESCUE: MONA LISA (PINK)signed; dated 2019 with the artist's thumbprint on the reversescreenprint printed in colourssheet size: 76 by 57cm, unframed Leonardo da Vinci’s portrait of the Mona Lisa (painted in 1503) is easily the most recognisable painting in the world. It remains one of the most visited artworks at the Louvre, one of these reasons is her intriguing smile, which is mentioned as an example of the uncanny in Freud’s book Leonardo da Vinci and a Memory of His Childhood. Easily the most recognisable of all of Jeff Koon’s sculptures, the artist’s ‘balloon dogs’ are actually rendered from mirror finished stainless steel. Koons’ balloon sculptures reflect mass production (2300 editions of of each colour of the balloon dog sculptures are produced in each colour) and mass consumption in a disposable culture. Koon’s artworks are created in a factory-style production house where more than 100 assistants help produce his work. Koons has asserted many times that there is no deeper meaning in his work. Despite the contrasts between Da Vinci and Koons’ work, both are considered very valuable. In 2013 Jeff Koons’ Balloon Dog (Orange) sold on auction for $58.4 million, at the time a record breaking amount for a living artist. In 2019 Mr. Brainwash produced the series of prints, Rescue: Mona Lisa in three different colour options: red, blue and pink. Each is a five colour screenprint and an edition of 70. The prints depict a spray painted image of the Mona Lisa using black paint, a Jeff Koons balloon dog on her lap. The print that we have on offer (lot 471) is printed in the pink version. Through this combination of recognisable art images, Mr.Brainwash juxtaposes a Rennaissance master with his contemporary equivalent. The title Rescue: Mona Lisa (Pink), bears no mention of Koons’ balloon dog, perhaps it is the reproduction of her image, rendered with spray paint with a medium used by street artists in the late 20th century, recontextualising Mona Lisa as a relevant image, an icon who can still hold her own and bear relevance in 2019 when the prints were first created, while a vacuous balloon dog rests in her lap. Yet the artwork itself consists of neither the Mona Lisa, nor one of Jeff Koon’s sculptures, but the artist’s representation and reimagining of images of the two simultaneously, and from a twenty-first century perspective. To Mr.Brainwash, art history is not a linear succession of art movements, all marching one behind the other in the development of what and how art is to be considered, it is rather a network, and in this era, all available, all the time, at his disposal, to be replicated and appropriated into a new art form.  Source: Artdependence Encyclopedia.com Mr. Brainwash is the moniker of Thierry Guetta who became well known after the Academy Award nominated documentary about street art, Exit Through the Gift Shop, debuted at the Sundance Film Festival in 2010. There is a point in the documentary where Banksy, the focus of the documentary, turned Guetta’s camera on the graffiti artist who would then go on to find instant success on the Los Angeles art scene. Using the moniker Mr. Brainwash since his first solo show, the artist is known for his provocative art which often makes use of iconic images, which he doctors and subverts, frequently incorporating spray painting techniques, and then produces limited edition prints of the originals, thus bringing graffiti and street art into the gallery space. Mr. Brainwash has designed an album cover for Madonna, worked with the Red Hot Chilli Peppers and exhibited his art all over the world. His sudden rise to fame has led many to speculate whether Mr Brainwash is just the frontman of a long-term prank on the public orchestrated by Banksy. Source: BBC

Esther Mahlangu(South African 1935-)signed and dated 2012 in paint along the bottom edgeacrylic on canvas 34 Fine Art, Overlay solo exhibition, Cape Town, 201282 by 93cm PROVENANCE34 Fine Art, Cape TownFollowing in the traditions of Ndebele wall paintings passed down to her from her mother and grandmother, Esther Mahlangu creates artworks that include these geometric patterns, combined with her own personal style and colours, bringing the techniques of her culture into the gallery space.  By the time Esther was a teenager, she was considered an expert at mural painting in her local community and she began incorporating a widening range of brightly coloured wall paint as it became available to her. Between 1980 and 1991, Esther worked at the Botshabelo Historical Village, an open-air museum dedicated to the Ndebele culture. In 1986, researchers who were travelling the world to document traditional art came across Esther Mahlangu’s house and recognised her exceptional ability. They invited her to create murals for an exhibition that included a number of international contemporary art. The exhibition was Magiciens de la Terre (Magicians of the World) which turned out to be a groundbreaking exhibition at the time for its inclusivity. Curated by Jean-Hubert Martin whose intention was to hold the first truly international exhibition of contemporary art. He exhibited the work of more than 100 of the artists, from fifty countries, at the Centre Pompidou and the Grand Halle at Parc de le Villette in Paris. Half of the artists who were included in the exhibition were non-Western and during his travels to seek out new artists he purposefully denied the definitions of art and craft, or trained and self-taught, rather seeking talent above all else and pushing for equality rather than the narcissistic perspectives of ‘Western’ art. After her inclusion in this exhibition, Esther’s career took off. She travelled to France in 1989 where she painted a house in front of thousands of viewers as a performance of her skill. Over the course of the next few years she was invited to paint venues around the world. Soon Mahlangu transferred the traditional Ndebele technique onto canvas and also silkscreen. In 1991, she was the first woman to paint a BMW 525i as part of the BMW Art Car Project, previous artists included Pop Art stars, Andy Warhol and Roy Lichtenstein. Arguably, Esther can be linked to these as well as contemporary art stars who depict, repeat and employ the objectives of consumerism. Similarly to the Mr Brainwash (lot 471) and (lot 472) and Banksy (lot 473) works that we have included in our auction, Mahlangu also began painting on walls, although not illicitly, and then presented her work in the gallery space, on traditional art materials such as canvases and paper, which others could buy and place on their own walls. Mahlangu’s aim has always been to preserve her cultural heritage and she opened a small art school in the backyard of her home in Mapumalanga, where she mentors other pupils in the traditional Ndebele style. Source: SA History Contemporaryand

A pair of contemporary Folk art dioramas by Peter Neuner, Gardening collage and Organic Garden, tallest 44cm

Phil Greenwood (British, 20th Century), Furrows, signed, dated, titled and numbered in pencil 'Greenwood, 81, 187/250' (in lower margin), etching, 42 x 50cm, together with a certificate of authenticity from Christie's Contemporary Art.

A contemporary small Maltese glass bowl, in Art Nouveau style, 8cm diameter, Italian latticino glass vase, cranberry glass milk jug and sugar bowl, six hock glasses, water jug, Royal Doulton reflection dinner ware and other items (qty).

CONTEMPORARY ART DECO DESIGN SILK CARPET, 270cm x 180cm, geometric silver field.

CONTEMPORARY ART DECO DESIGN SILK CARPET, 400cm x 300cm, geometric silver field.

Clare Shepherd (British Contemporary): 'Sheep beside the River Exe near Wimbleball', oil on canvas signed and dated 2008, 50cm x 75cmNotes: Clare studied at Somerset College of Arts and Technology and The Slade School of Fine Art where she was The Slade Prizewinner for her graduating year. Condition Report Click here for further images, condition, auction times & delivery costs

* Cantagallina (Remigio, circa 1582-1656). View of Pesaro, pen and brown ink on laid paper, with watermark of crossed arrows surmounted by a six-pointed star (similar to Briquet 6299, according to whom this paper was known to be in use in Rome between 1527 and 1566), double-rule outer border in matching brown ink, tipped onto later laid paper, with additional double framing lines in brown ink, sheet size 146 x 218 mm (5.75 x 8.6 ins), window-mountedQty: (1)NOTESProvenance: Probably from an album of 105 drawings of Tuscan views, mostly by Cantagallina, inscribed ‘Vedute di Toscana d’Jacopo Ligozzi’, and with provenance as follows: The Rev. Dr. Henry Wellesley, Oxford; his posthumous sale, London, Sotheby’s, 25 June 1866 onwards, lot 954 (‘A Portfolio with leaves, containing 105 drawings in Pen and Sepia, Views in Tuscany, by Jacopo Ligozzi’); Sir David Kelly, London; his sale, London, Hodgson’s, 26 November 1954, lot 596 (‘Original Sepia and Wash Drawings of Scenery, Antiquities, Buildings etc. of Tuscany by Jacopo Ligozzi, Remigio Cantagallina and others’); Hans M. Calmann (1899-1982), London; Private Collection, Herefordshire, UK. The present work is accompanied by a card sheet (used to protect the drawing) with a presentation inscription in pencil to the present owner 'With all good wishes for Christmas and a Happy New Year from Hans & Gerta Calmann. I hear you have a liking for Pesaro'. Hans Calmann, a stockbroker by profession was born in Hamburg, but forced to flee Nazi Germany for England in March 1937. In 1941 he opened a gallery in Davies Street, London, later moving to Bruton Place in 1963, where he remained until his retirement in 1973. Calmann presented drawings by Parmigianino, Mola and Cantagallina to the Ashmolean Museum, amongst other works. Ramigio Cantagallina was born in Borgo San Sepolcro, near Arezzo in 1575, and spent the majority of his career in Florence. Influenced by Northern artists such as Paul Bril, Cantagallina himself influenced landscape artists working in Florence in the first half of the 17th century, including Jacques Callot. According to Filippo Baldinucci, Cantagallina was 'celebre in disegnar paesi a penna' (famous for his landscape drawings in pen). Finished landscaped drawings such as the present work are typical of his output, and were most likely intended as autonomous works in their own right. The landscape drawings are characterised by "an intimate feeling for contemporary life and trees with lively, twisting trunks and tightly defined clusters of leaves" (Italian Drawings from the Bick Collection, Dartmouth College, New Hampshire, 1971, catalogue no. 24. Given the provenance of the dealer Hans Calmann, this drawing is likely to have come from an album of landscape drawings formerly in the collection of the scholar and antiquary Dr. Henry Wellesley (1791-1866), nephew of the Duke of Wellington, that appeared in auction in London in 1954. Although titled 'Vedute di Toscana d' Jacopo Ligozzi', the album was in fact largely made up of highly finished drawings by Cantagallina, several of which were signed. The album was acquired by Hans Calmann, and the drawings were dispersed over the next few years. Examples are today in the Fondation Custodia (Frits Lugt Collection), Paris, the Ashmolean Museum, Oxford, Pierpont Morgan Library, New York, Princeton University Art Museum, Detroit Institute of Arts, National Gallery of Art in Washington, D.C., and elsewhere. See stephenongpin.com, Remigio Cantagallina, A Tuscan Landscape with Figures by a River (accessed 22 April 2020), from which the information on provenance has been sourced.

* Italian School. Saint Sebastian, circa 1600-1650, sepia pen & ink drawing on laid paper, with crossed keys watermark, depicting a man tied to a tree, with shield, helmet, and spear beside, sheet size 22.9 x 17.7 cm (9 x 7 ins), together with: Male nude with putti, circa 1600, sepia pen & ink drawing, depicting a muscular bearded man with cavorting putti behind, circular collector's black ink stamp of Richard Cosway with monogram 'RC' to right-hand edge (Lugt 628), toned and soiled, with minor edge-fraying, laid down on a piece of contemporary Italian letterpress, 12 x 24 cm (4.75 x 9.5 ins), and an 18th century reproduction print on laid paper of an old master drawing of Mary anointing Jesus' feet, verso with collector's monogram stamp 'BW' in black ink (Lugt 4451: unknown mark, early 20th century, found on drawings in a number of museum collections, e.g. V&A, J. Paul Getty Museum)Qty: (3)NOTESProvenance: Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Provenance (second item): Collection of the portrait miniaturist Richard Cosway (1742-1821). Cosway was an important collector of old master paintings, drawings and prints, sculpture and objets d'art. A sale of Cosway's old master paintings, organised by Messrs. Hammersley and Co., Bankers, Pall Mall, was held in 1791, with a catalogue entitled: A catalogue of the entire collection of pictures of Richard Cosway, Esq. R.A. principal painter to His Royal Highness the Prince of Wales, in the great saloon, and eight other apartments, of his house in Pall Mall, containing the undoubted works of the great masters of the Florentine, Roman, Venetian, Lombard, Flemish, and Dutch Schools. There was another auction of Cosway's art collections by James Christie in March 1792, and further sales after the artist's death, in 1821, 1822 and 1828.

Attributed to William Young Ottley (1771-1836). Sketchbook from the artist's tour of Italy, circa 1791-99, 75 leaves of laid paper (cockerel watermark; countermarked 'D'), unfoliated, leaves [1-2] with pencil annotations in Italian and an architectural pencil sketch (somewhat faded), leaf [3] with annotated bookplate of Thomas Ashby and additional annotation 'Drawings by Wm Young Ottley' probably in Ashby's hand, 4 medial leaves left blank, the remaining 68 leaves containing 25 sketches in pen and brown ink over occasional traces of pencil and approximately 43 pencil sketches, nearly all rectos only (one sketch to a page; one pencil sketch double-page; one on verso), mainly studies after paintings but several apparently from life (including landscapes, clothed figures, and 3 sketches captioned 'Nature' and depicting a boy with a dog, a woman with a child on her back, and a crouching boy), 12 further sketches with legible manuscript captions (see note), tide-mark to upper outer corners gradually fading and receding but touching edges of image in about 10 cases, cords split between penultimate and final quires, first 3 leaves and final quire (6 leaves) with modern clear tape reinforcement in gutter, floral-patterned endpapers, contemporary Italian vellum binding with envelope flap, vellum soiled, tie perished, 4to (18.2 x 13.7 cm)Qty: (1)NOTESProvenance: 1. Thomas Ashby (1874-1931), British archaeologist in Italy and director of the British School at Rome (bookplate, with manuscript aquisition note 'Wey[?], Charing X Rd, 18/7/6, 2 vols, Vol 2'). 2. Professor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool. Ottley, the son of a plantation owner entered the Royal Academy in 1787, studying briefly under John Brown, and was in Italy from 1791 to 1799. After his return to London ' Ottley established himself as a writer, connoisseur, and marchand-amateur . He was elected a fellow of the Society of Antiquaries and, as a leading arbiter of taste, he advised others on the purchase of works of art' (ODNB). He was responsible for a number of ambitious art publications and in 1833 became keeper of prints and drawings at the British Museum. A number of the sketches have manuscript captions in Italian referring to the original work, the artist or its location, the inconsistencies in spelling suggesting a non-native author. These include 'Bologna, Domenchino [sic] in S. Agnese' (after Domenichino, Martyrdom of St Agnes; a section), 'Turino palazo [sic] Reale, Carlo Cignani' (after Cignani, Adonis and his Dog , cf. Palgrave, Hand-book for Travellers in Northern Italy, 1847, p. 20), and 'Tizziano [sic], palazzo Reale a Parigi' (after Titian, Venus Anadyomene ); briefer captions indicate originals by Guercino (the sketch depicting a woman holding a jug), 'Reggio' (presumably Raffaellino da Reggio), and Coreggio ('Coreggio a Parma'); the Palazzo Caprara and the Palazzo Bonfiglioli are cited as locations for originals which are otherwise unidentified.

* Dutch School. Tobias and the Angel, first half 17th century, sepia pen & ink sketch on laid paper, some soiling and marks, further pen & ink sketches to verso (5 figure studies), 2 nicks in upper edge, sheet size 16.4 x 20.9 cm (6.5 x 8.25 ins), tipped onto early-mid 19th century laid paper watermarked 'JW', with contemporary pencil attribution 'Eckhout' to lower margin, together with: Hermit and dog, mid 17th century, sepia pen & ink drawing on laid paper (laid down on paper), of a man seated beside a tent with a dog, and a church in the background, toned and a little rubbed, sheet size 9 x 13.3 cm (3.5 x 5.25 ins), mounted, plus a late 16th/early 17th-century pen & ink sketch on laid paper, head & shoulders portrait half-profile to right of a bearded man in a hat, indistinctly inscribed in a contemporary hand to left-hand margin ' ? bouroy', sheet size 6.7 x 4.4 cm (2.5 x 1.75 ins), tipped onto laid paper and mounted on board, and a 17th-century pen & ink drawing on laid paper (laid down on paper) of a church procession, dust-soiled, 16.3 x 25.2 cm (6.5 x 10 ins), mountedQty: (4)NOTESProvenance: Collection of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.

* Attributed to Nicholas Chevalier (1828-1902). Portrait of Queen Victoria, after Franz Xaver Winterhalter (1805-1873), circa 1857-1861, oil on canvas, three-quarter length portrait half-profile to left, depicting a young Queen Victoria against a landscape, wearing a white silk satin and lace gown and the Order of the Garter, her hands crossed one over the other, and a pink and a white rose hanging down on stems from her left hand, with a gold locket around her neck, sapphire and diamond brooch, a jewelled armband, and a sapphire and diamond tiara worn at the back of her plaited and looped hair, superficial scratch to lower right, and a few small unobtrusive marks upper left, sometime trimmed and re-lined, with some splitting to edges of re-lining at corners, stretcher with old printed label '44800', 139.7 x 105.3 cm (55 x 41.5 ins), contemporary substantial gilt moulded wood frame, with borders of stylised acanthus leaves and voluted drawer handles, and scrolling ribbon motif to outer edge, some discolouration and minor superficial chipping to gilt in a few places, with old framer's label on verso 'Richard Foster Norton, 83 Collins St. East, Melbourne', together with two typed letters relating to the painting: one from J.F Kerslake, Assistant Keeper at the National Portrait Gallery, London, dated 30th September 1964, stating "Your portrait is a version of the well-known portrait of Queen Victoria by Winterhalter painted in 1842"; the other from Ursula Hoff, Acting Director of the National Gallery of Victoria, dated 10th October 1968, saying " ... the portrait of Queen Victoria, after Winterhalter, is hanging at Government House in Melbourne ... "Qty: (1)NOTESProvenance: Collection of Jack Webb (1923-2019), London. In 1842 Franz Winterhalter was asked to paint Queen Victoria's portrait, as well as a companion piece depicting Prince Albert. They were the first of many works to be commissioned from the artist, and the finished paintings were hung on the walls of the White Drawing Room at Windsor Castle, where they hang still. The portrait of Victoria proved to be one of the most popular and reproduced images of her, and many replicas were produced for relatives, other sovereigns, organisations, and institutional buildings, some executed by Winterhalter and his studio, others by various artists. Indeed, almost immediately Winterhalter was asked to paint copies for presentation to King Louis-Philippe of France, who installed them in the Musée du Roi at Versailles where they remain today. This second version of the Queen is markedly different from the first, depicting a more elegant and formal sovereign, wearing the Order of the Garter, amongst other additional details. In the mid 1850s copies of Winterhalter's pair of paintings arrived at Government House in Melbourne, that of the Queen being based on Winterhalter's second version of the sovereign. The fact that the present work also echoes version two, and the presence of the Melbourne-produced period frame would indicate that it is a high quality copy of the Melbourne portrait. Certainly it is known that one copy was made - for Government House in Sydney - and the current work was likely commissioned for another official building or important personage. Richard Foster Norton - gilder, carver, frame maker and print seller - was active between 1855 and 1865, and was known to be working at 83 Collins Street East between 1857 and 1861, suggesting that the painting was made fairly soon after the arrival in Melbourne of the first pair. Russian-born artist Nicholas Chevalier is one of the very few artists working in Melbourne at the time who was capable of producing a work of this quality, and who already had close connections with the British royal family. He studied painting and architecture in Switzerland and Munich, and in 1851 he travelled to London to see the Great Exhibition, where he trained as a lithographer and exhibited at the Royal Academy. His first association with royalty appears to have been at this time, when he designed the setting for the Koh-i-Noor diamond and was commissioned to design a fountain for the grounds of Osborne House. After studying for a time in Rome he sailed to Australia, arriving in Melbourne in February 1855. His work there as an artist was numerous and varied: amongst other things he worked as a commercial illustrator, was instrumental in founding the Victorian Society of Fine Arts, had his oil painting 'The Buffalo Ranges, Victoria' chosen as the first Australian work of art to be purchased for the National Gallery of Victoria in 1865, and later, after settling in London in 1870, worked for the London Selection Committee of the Art Gallery of NSW, assigned to purchase watercolours by living British artists. When Queen Victoria’s second son, the Duke of Edinburgh, arrived in Melbourne in 1867 as part of his world tour, Chevalier accompanied the royal party as correspondent for The Illustrated Australian News . He was subsequently invited to join the Duke’s entourage for the voyage back to England, documenting the journey with sketches and watercolours which were exhibited at the Crystal Palace and at the South Kensington Museum in 1872. On his return to England his association with the royal family strengthened, and he received numerous commissions, including that from Queen Victoria in January 1874 to go to Petersburg and document in paint the marriage of the Duke of Edinburgh. Chevalier's work demonstrates a versatility of technique and subject matter, from the execution of small-scale cartoons and landscape watercolours, to the production of large portraits in oils. A comparison with the portrait of 'Dr Maund' in the National Gallery of Victoria, painted in 1863, shows a similarity in the delicacy of the brushwork to delineate, for instance, the eyebrows and other fine details, as well as a similar use of bodycolour to produce subtle highlights to eyes, nails, jewellery, and other details. Chevalier seems to have favoured setting his subjects in sharp relief against a dark background, which he did when painting his own self-portrait, and thus would perhaps have been a natural choice to reproduce a picture in which a dark backdrop was dictated and the subject must shine. ( Franz Xaver Winterhalter , Richard Ormond and Carol Blackett-Ord, National Portrait Gallery, 1987, p.190).

* Seligman (Lincoln, 1950-). Lilo, oil on canvas, signed lower right, 40.5 x 40.5 cm (16 x 16 ins), framed with label of Quantum Contemporary Art, London to versoQty: (1)NOTESProvenance: Private Collection, Bristol, England.

Gardens.- Laurence (John) The clergy-man's recreation: Shewing the pleasure and profit of the art of gardening, sixth edition, Printed for Bernard Lintot, 1726 bound with (as often) Laurence (John) The Gentleman's Recreation: or the second part of the art of gardening improved, third edition, Printed for Bernard Lintot, 1723, together two parts, engraved portrait frontispiece to part 1, a frontispiece to part 2, and 4 folding plates, a few woodcut illustrations bound with (as often) Laurence (John) The Fruit-Garden Kalendar: Or, A summary of the art of managing the fruit-garden, half-title, engraved folding frontispiece and an illustration in text, 3pp. advertisements at end, the dedication to Prince Henry (A3-5) is misbound at the start of The Clergy-man's Recreation, Printed for Bernard Lintot, 1718, some light water-staining, occasional spotting, mostly lightly browned, contemporary panelled calf, rebacked in 20th century calf in compartments, [Henrey 938, 944 & 939], 8vo⁂ Henrey notes that when these three works are bound together it is common for the dedication to be transposed into the earlier work (as here).

Krafft (Jean Charles) Plans, Coupes, elevations des plus belles maisons et des hotels construits a Paris et dans les environs, title in French, German and English, 89 engraved plates only (of 120), 2 double-page and folding, Paris, [1801-02], bound with Grands Prix d'Architecture et Autres Productions de cet Art, 24 engraved plates (?only), Paris, 1806, together 2 works in 1 vol., 6 additional architectural plates on blue paper bound at end, occasional light spotting, a few architectural sketches in pencil on blank leaves at end, index supplied in a contemporary hand, bookplate to pastedown, ownership blindstamp to endpaper, contemporary calf-backed boards, rubbed, extremities a little worn, folio.

BEST (Thomas): 'A Concise Treatise on the Art of Angling, Confirmed by Actual Experience, and Minute Observations..', London, printed for B Crosby, 1798: Fourth Edition: 12mo, later calf gilt, recently rebacked: 'The Angler's Museum; or, The Whole Art of Float and Fly Fishing..', London, printed for John Fielding, n.d: 135pp, frontis and final leaf pasted down to front and rear board, near contemporary marbled paper covered boards, rubbed and scuffed: with one other volume, 'The By-Laws and Regulations of the Marine Society', London 1809. (3)

Three contemporary ceramic vases to include an example with original label Banyu Embulan Art Shop, height 22cm (af). Additional InformationThe bulbous vase with chip to the neck, general wear, minor scratches throughout.

* Globe. Klinger (J. G.), Die Erde den naust Entdeck, Nuremberg, circa 1850, a 45 mm (1.75 inch) miniature 'golf ball' globe, comprising 12 engraved gores with contemporary outline colouring, two iron pivot pins at the poles, slight wear and toning to surface, lacking original box but housed in a purpose made unvarnished solid birch box skillfully made to display and facilitate the 'spinning' of the globe, the box with brass hinges and clasp, supplied with an additional perspex stand which also displays and allows manipulationQty: (1)NOTESJ. G.Klinger (1764-1806) was an engraver and art dealer in Nuremberg who published numerous globes in varying sizes. The date attributed to this globe is posthumous because in the Southern Ocean there is the area of 'Wilkes' Land' which was not discovered and mapped until 1842 and the Island of Tasmania is still called Van Diemans land. The adoption of the name Tasmania did not occur until 1856.

Emerson (William). The Principles of Mechanics. Explaining and Demonstrating the general Laws of Motion, the laws of gravity, motion of descending bodies, projectiles, mechanic powers, pendulums, centers of gravity, &c. strength and stress of timber, hydrostatics, and construction of machines. A work very necessary to be known, by all gentlemen, and others, that desire to have an insight into the works of nature and art. And extremely useful to all sorts of artificers; particularly to architects, engineers, shipwrights, millwrights, watchmakers, &c. Or any that work in a mechanical way, 2nd edition, corrected and very much enlarged, London: J. Richardson, 1758, 43 folding engraved plates, few leaves browned and dampstained (particularly leaves N1-L2), some staining also to margins with consequent fraying, bookplate of William Downes to upper pastedown, contemporary calf, neatly rebacked, red morocco title label preserved, 4to (ESTC T77168), together with: Pemberton (Henry) , Saggio della filosofia del signor cav. Isaaco Newton, esposto con chiarezza dal signor Enrico Pemberton con una dissertazione dello stesso su la misura della forza de'corpi in moto cavata dagli Atti fiolsofici d'Inghilterra Opera tr. dall'inglese. Aggiuntovi l'estratto di altra dissertazione contraria su lo stesso argomento, 2nd edition, Venice: Francesco Storti, 1745, woodcut device to title with lower blank margin excised, 11 folding engraved plates, contemporary vellum, small 4to, Ferguson (James) , An Introduction to Elecricity, 3rd edition, London: W. Strahan & T. Cadell, 1778, 3 folding engraved plates, contemporary calf, morocco title label, joints cracked, some dampstaining and wear, 8voQty: (3)

[Honourable Artillery Company]. Commemorative photograph album of the Honourable Artillery Company at Fargo Camp, Salisbury Plain, 1912, 145 albumen prints mounted rectos and versos to 34 linen-hinged gilt-edged stiff card leaves, depicting mounted parades and drills, artillery pieces, camp life, and similar, 30 full-page (20 x 29 cm), the rest 10.5 x 15 cm (or reverse), captions ('HAC Fargo 12') and catalogue numbers (101-250: without numbers 134, 200, 206, 247 and 248) in the negatives, dust-soiling and other marks to mounts, occasionally affecting photographs, some slight fading, ink-stamps of photographer Arthur Weston front pastedown, contemporary red half morocco album, Weston's printed paper label to front board, rubbed and worn, oblong folio (26 x 37 cm)Qty: (1)NOTESArthur Weston (1852-1913) was a London-based studio photographer whose biography remains obscure; on the label on the front cover he describes himself as an 'art photographer and portrait painter', with an address over 16 & 17, The Poultry, London. The National Portrait Gallery holds a bromide print portrait of Keir Hardie taken by Weston around 1892.

Machiavelli (Nicholas). The Works of Nicholas Machiavel, Secretary of State to the Republic of Florence. Newly translated from the Originals; illustrated with Notes, Anecdotes, Dissertations, and the Life of Machiavel, Never before published; and Several New plans on the art of war, by Ellis Farneworth, 2 volumes, London: Thomas Davies, Thomas Waller, R. & J. Dodsley, et al., 1762, occasional spotting and marginal browning, contemporary speckled calf, gilt decorated spines with contrasting morocco labels, joints split, some wear to extremities, 4toQty: (2)

Martin (Benjamin). The Young Gentleman and Lady's Philosophy, in a continued Survey of the Works of Nature and Art; by Way of Dialogue, volumes, 2nd edition, corrected, London: Printed and Sold by W. Owen, and by the Author, 1772, half-title to volume 1, 53 engraved plates (many folding, two plates torn with loss and one other torn and repaired), some offsetting, bookplate of Rev. H.S. Cotton to upper pastedowns, contemporary calf, gilt decorated spines with contrasting morocco labels, 8vo, together with: Wyld (Samuel) , The Practical Surveyor, or the Art of Land-Measuring made Easy, 4th edition, corrected & enlarged, London: W. Johnston, 1760, 7 folding engraved plates (including frontispiece), some toning and scattered spotting, contemporary sheep, upper board detached, lower joint split, some wear to extremities, 8vo, Hales (Stephen) , Statical Essays: containing Vegetable Statics; or, an Account of some Statical Experiments on the Sap in Vegetables [& Haemastatics; or, An Account of some Hydraulic and Hydrostatical Experiments made on the Blood and Blood-Vessels of Animals], 2 volumes, 4th & 3rd editions resp ectively, London: Wilson & Nicol, 1769, crossed-through signature at head of titles, 18 engraved plates (of 20), some toning and scattered spotting, contemporary sheep, contrasting spine labels, rebacked and corners repaired, board edges worn, 8voQty: (5)

Smith (Godfrey). The Laboratory; or, School of Arts: in which are faithfully exhibited, and fully explain'd, I. A variety of curious and valuable experiments in refining ... gold ... II. Choice secrets for jewellers ... III. Several uncommon experiments for casting in silver ... likewise in wax ... IV. The art of making glass ... painting upon ... glass ... delf-ware. V.A collection of very valuable secrets, for the use of cutlers ... joiners ... bookbinders, distillers ... limners, &c. ... marbling books or paper. VI. A dissertation on the nature and growth of salt-petre ... other ... chymical experiments.--VII. The art of preparing rockets, crackers, fire-globes ... VIII. The art and management of dying silks, worsteds, cotton ..., 3rd edition, London: James Hodges & T. Astley, 1750, engraved frontispiece, some light dust-soiling, upper pastedown with skinned paper surface where bookplate removed, contemporary calf, worn at head of spine, extremities rubbed, 8vo, together with: Duméry (C.J.) , Combustion sans Fumée de tous les Cobustibles, Paris: Librairie Scientifique, Industrielle et Agricole de Lacroix-Comon, 1856, 32pp., folding table at rear, contemporary half calf, slim 8vo, Deleuze (J.P.F.) , Instruction Pratique sur le Magnetisme Animal, Paris: J.G. Dentu, 1825, library label and stamp to title, scattered spotting, contemporary calf-backed marbled boards, paper label at foot of spine, 8vo, Pigeaire (J.) , Puissance de l'Electricite Animale, ou du Magnetisme vital et de ses rapports aec la physique, la physiologie et la medicine, Paris: Dentu, Germer Bailliere & l'Auteur, 1839, ink stamp to half-title, original printed wrappers, worn & loose, ink stamp to upper cover, 8vo, Cernuschi (Henri) , M. Michel Chevalier et le Bimetallisme, Paris: Librairie de Guillaumin et Cie., 1876, scattered spotting, original printed wrappers, loose and spine worn, 8voQty: (5)

Pératé (André) . Les Fresques de Fra Angelico à Saint-Marc de Florence, Émile-Paul Frères, Paris, 1914, 38 of 43 coloured plates plus 43 monochrome plates, some light spotting & toning, publishers original vellum boards with shield insignias, boards & spine slightly rubbed & marked, lacks board ties, folio, limited edition 56/200, together with: Rokewood (John Gage) , An Account of the Painted Chamber in the Royal Palace at Westminster, 1842, 13 colour & black & white plates, bookplates to front endpapers, ex-library copy with blind-stamps, some spotting & toning, all edges gilt, contemporary gilt decorated red half morocco, boards & spines slightly toned & rubbed to head & foot, folio, and De Belley (Évèque) , A La Mémoire De Ma Mère, A Monseigneur Chalandon, circa 1842, 30 colour & monochrome plates, ex-library copy with blind-stamps, some spotting & toning, lacking part of the text, contemporary red quatrer morocco, boards & spines rubbed with loss, spine partially detached, elephant folio, plus other 19th & early 20th century art reference & plate books, some leather bindings, some foreign language, G, folio, sold as seen not subject to returnQty: (2 cartons)NOTES15 volumes

Louis Icart (French, 1888-1950)Mardi Gras (a la Fête)Etching with drypoint and hand-colouring, 1936, on wove paper, signed in pencil, with the blindstamp of the artist, with margins47 x 46.5cm (18 1/2 x 18 5/16in).unframedFootnotes:Provenance: Christie's (East) New York, Contemporary Glass & Ceramics, Art Nouveau, 18 March 1991, Lot 364This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

WILLIAM MCKEOWN (1962-2011) Seven Drawings (1998) Watercolour on paper, 67 x 57cm each Provenance: With David Winton Bell Gallery and Kerlin Gallery, labels verso. Exhibited: 'A Measured Quietude: Contemporary Irish Drawings', June 23-July 30 1999, The Drawing Center, New York; January 16-April 25, 1999, University of California, Berkley Art Museum label verso.

Russell Thomas (contemporary) watercolour - Bonfire, signed, ex: Colchester Art Society, glazed frame

A pair of contemporary Folk art dioramas by Peter Neuner, Gardening collage and Organic Garden, tallest 44cm

Vibrant oil on canvas, titled "Cirque". Born in Aisne, France, Guiramand studied at the Paris National Art Academy in 1945. He began holding exhibitions in 1962 at Geneva, Chicago, Paris, Japan and several other locations in the world. Guiramand's style is reserved yet bold filled with lively lines resembling thoughts intertwining on canvas with intricate organizations. He excels in vibrant colors on simple backgrounds presenting a powerful emotion. With precise balance on the structure of painting along with a surreal space allowing the audience to create unlimited imaginations; he has been praised as one of the representatives of contemporary figurative color figures and his art pieces are collected by several famous museums. This painting has been lightly restored. Overall size: 46 x 38 1/2 in. Sight size: 36 x 28 1/4 in. Please note that all sales are final and no refunds will be given under any circumstances. Sarasota Estate Auction provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, matter. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Online images can sometimes be poor quality due to the uploading process, original high-resolution images can be requested via email at sarasotaestateauction@gmail.com.

A CONTEMPORARY STAINED GLASS SCREEN WITH WOODEN FRAMEthe screen featuring a bouquet topped by a wreath of sunflowers, in Art Nouveau taste, the frame with pair of two-pronged legs; overall dimensions including legs: 187 (h) x 117 (w) x 60 (d) cm (73 5/8 x 46 x 23 5/8 in.) CONDITIONN.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

A CONTEMPORARY STAINED GLASS SCREEN WITH WOODEN FRAMEthe screen featuring a bouquet of desert roses, palm leaves and reeds, in Art Nouveau taste, the frame with pair of two-pronged legs; overall dimensions including legs: 190 (h) x 121 (w) x 65 (d) cm (74 3/4 x 47 5/8 x 25 5/8 in.) CONDITIONN.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Peter Howell, The Last Furlong, four colour limited edition silkscreen print, 63/200, printed by Christie's Contemporary Art (60cm x 79cm)

A Contemporary Art Deco Style Chrome and Pillar Glass Uplighter Floor Lamp, with frosted glass shade, on a clear pillar class column, on a stepped chrome base, 175cm high

Vinyl - Nine contemporary release LPs to include Jlin Autobiography, Mudhoney Digital Garbage, Marissa Nadler For My Crimes, Anthem Witches, Beak, Hyper Super Mega The Holydrug Couple, Villagers The Art of Prentending to Swim, Roger Waters Is This The Life We Really Want? and Furr Blitzen Trapper, all near mint

A contemporary art glass pale green pebble by Brian and Jenny Blanthorn, of naturalistic form with a rough exterior, the faceted ends revealing the laminated interior with frosted bands running through, signed to the exterior and dated 18/12/86, length 5cm, with a triangular opalescent pebble with three faceted sides with laminated interior pattern, signed. (2)

A contemporary art glass grey pebble by Brian and Jenny Blanthorn, of naturalistic form with a rough exterior, the faceted ends revealing the laminated interior with black bands running through the clear glass, length 10.5cm.