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Fiona Grady Rainbow (AP2). 2020 Watercolour ink on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Fiona Grady creates site-responsive drawings on walls, windows and floors using sequences of dispersing geometric shapes. Her practice recognizes the relationship between architecture, installation art and decoration; often using traditional mediums, such as fresco painting and stained glass, in a contemporary context. She plays with light, surface and scale; each piece changes with the light of day emphasizing the passing of time and the ephemeral nature of the work. The artworks are imaginings of how light moves throughout a space, stretching and rotating with the throughout the day. However she does not seek to literally map light but instead create rhythms; the blocks of colour act as a vessel that pinpoints the viewers' presence within their setting and allows them to contemplate their surroundings. The artworks for Art on a Postcard auction were created during the coronavirus outbreak in her self-isolation kitchen studio. They are inspired by the rainbows created by children for the windows of their homes. The rainbows are a symbol of hope, a thank to our carers and frontline staff.

Fiona Grady Rainbow (AP3), 2020 Watercolour ink on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Fiona Grady creates site-responsive drawings on walls, windows and floors using sequences of dispersing geometric shapes. Her practice recognizes the relationship between architecture, installation art and decoration; often using traditional mediums, such as fresco painting and stained glass, in a contemporary context. She plays with light, surface and scale; each piece changes with the light of day emphasizing the passing of time and the ephemeral nature of the work. The artworks are imaginings of how light moves throughout a space, stretching and rotating with the throughout the day. However she does not seek to literally map light but instead create rhythms; the blocks of colour act as a vessel that pinpoints the viewers' presence within their setting and allows them to contemplate their surroundings. The artworks for Art on a Postcard auction were created during the coronavirus outbreak in her self-isolation kitchen studio. They are inspired by the rainbows created by children for the windows of their homes. The rainbows are a symbol of hope, a thank to our carers and frontline staff.

Fiona Grady Rainbow (AP4), 2020 Watercolour ink on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Fiona Grady creates site-responsive drawings on walls, windows and floors using sequences of dispersing geometric shapes. Her practice recognizes the relationship between architecture, installation art and decoration; often using traditional mediums, such as fresco painting and stained glass, in a contemporary context. She plays with light, surface and scale; each piece changes with the light of day emphasizing the passing of time and the ephemeral nature of the work. The artworks are imaginings of how light moves throughout a space, stretching and rotating with the throughout the day. However she does not seek to literally map light but instead create rhythms; the blocks of colour act as a vessel that pinpoints the viewers' presence within their setting and allows them to contemplate their surroundings. The artworks for Art on a Postcard auction were created during the coronavirus outbreak in her self-isolation kitchen studio. They are inspired by the rainbows created by children for the windows of their homes. The rainbows are a symbol of hope, a thank to our carers and frontline staff.

Schoony Gold Soldier 1-4, 2020 Acrylic on paper Signed verso 18' x 8' inches (approx. 45cm x 20cm) Schoony is a commercial and artistic British sculptor. He has had an extensive career in the cinematic special-effects field, which he entered at age 15 and has consisted of working on more than 100 movies over the course of 25 years. As a prosthetics and makeup artist, his film credits include Harry Potter, Gladiator, and Where the Wild Things Are. Schoony rose to art world fame in 2008, thanks to an extensive street art installation composed of his hyper-realistic plastic casts. His fine art sculpture is most often figural, as evidenced by his best-known leitmotif of a shirtless boy soldier wearing an oversized military helmet. Schoony constructs his pieces through extensive life-casting techniques composed in a variety of different materials, including plastic, bronze, and gold. His imagery incorporates themes of commercialism, violence, and kitsch into its content, exploring contemporary Western society's detached relationship to warfare. Born 1974 in Hertfordshire, England, he continues to live and work in the United Kingdom.

Abe Odedina Ascension Part 1, 2020 Pencil on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Abe Odedina's paintings speak through a highly legible allegorical vernacular. His work is bold and mythical whilst always accessible - their readability is paramount. Odedina describes himself as a folk artist and his practice is inspired by the rich figurative and oral traditions of African art, infused with a trace of magic realism. His practice seeks to revive and deconstruct quintessential classical themes spanning from ancient Greek to Yoruba mythologies to create a charged dialogue between epochs, cultures, and peoples. The stories breaking through the surfaces of his paintings surpass physical borders. They activate a uniquely contemporary conversation that oscillates between life and art, and in the folk tradition, life triumphs over art. 'The struggle is to reconcile bold imagery with ideas about ambiguity or indeterminacy. My intention is to arouse the imagination and heart of the viewer and to detonate ideas in another realm.'

Abe Odedina Ascension Part 2, 2020 Pencil on paper Signed verso 15 x 10cm (5¾ x 3 Abe Odedina's paintings speak through a highly legible allegorical vernacular. His work is bold and mythical whilst always accessible - their readability is paramount. Odedina describes himself as a folk artist and his practice is inspired by the rich figurative and oral traditions of African art, infused with a trace of magic realism. His practice seeks to revive and deconstruct quintessential classical themes spanning from ancient Greek to Yoruba mythologies to create a charged dialogue between epochs, cultures, and peoples. The stories breaking through the surfaces of his paintings surpass physical borders. They activate a uniquely contemporary conversation that oscillates between life and art, and in the folk tradition, life triumphs over art. 'The struggle is to reconcile bold imagery with ideas about ambiguity or indeterminacy. My intention is to arouse the imagination and heart of the viewer and to detonate ideas in another realm.'  

Liam Ashley Clark Socialists, 2020 Ink on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Born In Ipswich, Suffolk, 1990 and currently living and working in Norwich, Norfolk. Liam Ashley Clark was selected as a 2019 Bloomberg New Contemporary and included in the Saatchi Art Rising Stars report of the same year. He works largely in painting, drawing and photography, as well as in collage, 3D and more. He also produces large scale murals, works as an illustrator and is a prolific zine maker. Liam Ashley Clark's work has its roots in skateboarding, street art and folk art, but is also influenced by other contemporary and historical practices, it commonly contains a combination of image and text, a large use of colour and pattern, and often has an injection of humour.    

Liam Ashley Clark Untitled (Small Blocks), 2020 Acrylic on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Born In Ipswich, Suffolk, 1990 and currently living and working in Norwich, Norfolk. Liam Ashley Clark was selected as a 2019 Bloomberg New Contemporary and included in the Saatchi Art Rising Stars report of the same year. He works largely in painting, drawing and photography, as well as in collage, 3D and more. He also produces large scale murals, works as an illustrator and is a prolific zine maker. Liam Ashley Clark's work has its roots in skateboarding, street art and folk art, but is also influenced by other contemporary and historical practices, it commonly contains a combination of image and text, a large use of colour and pattern, and often has an injection of humour.

Liam Ashley Clark A Bungalow with Boobs for Roof Tiles (I), 2020 Ink on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Born In Ipswich, Suffolk, 1990 and currently living and working in Norwich, Norfolk. Liam Ashley Clark was selected as a 2019 Bloomberg New Contemporary and included in the Saatchi Art Rising Stars report of the same year. He works largely in painting, drawing and photography, as well as in collage, 3D and more. He also produces large scale murals, works as an illustrator and is a prolific zine maker. Liam Ashley Clark's work has its roots in skateboarding, street art and folk art, but is also influenced by other contemporary and historical practices, it commonly contains a combination of image and text, a large use of colour and pattern, and often has an injection of humour.

Liam Ashley Clark A Bungalow with Boobs for Roof Tiles (II), 2020 Acrylic on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Born In Ipswich, Suffolk, 1990 and currently living and working in Norwich, Norfolk. Liam Ashley Clark was selected as a 2019 Bloomberg New Contemporary and included in the Saatchi Art Rising Stars report of the same year. He works largely in painting, drawing and photography, as well as in collage, 3D and more. He also produces large scale murals, works as an illustrator and is a prolific zine maker. Liam Ashley Clark's work has its roots in skateboarding, street art and folk art, but is also influenced by other contemporary and historical practices, it commonly contains a combination of image and text, a large use of colour and pattern, and often has an injection of humour.    

Simone Webb A Quiet Fall AP 1/5, 2020 Giclee print on Hahnemuhle fine art pearl paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Simone Webb's work demonstrates a delicate melancholy organic time. Flora and fauna bloom and decay in painterly gestures, arrangements of petals float seamlessly in placid space. A desire for a fluid discourse between solid and gaseous forms manifest in flowers dissected with a blurring of focus. Insect and plant relations play out a perceived cycle of orchestrated pollination, horticultural worship by synchronised anthropods lay in a creeping mandala. Limited edition prints and originals juxtapose the beautiful with the morbid, offering euphoric moments emerging from stark backgrounds graced with fragile flowers to instances of despondency, often dark in appearance, yet remaining equitably as elegant. Tenses are enhanced by the unification of traditional and contemporary methods in which the final outcomes are formed. Whilst we often only get to view a fleeting moment of nature, she aims to create something of more permanence that can be observed at any given time. Fusing the past, present, and the ambiguous future of these together highlights the beauty alongside the mundanity that occurs throughout their natural life circle.

Liorah Tchiprout Blue Magda, 2020 Ink on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) My work is concerned with belonging, girlhood and the theatrical. Informed by Jewish folklore and the cannon of art history, I am interested in the contemporary relevance of drawing and play. I build puppet characters to construct my own pantheon from which I draw images.

Katsutoshi Yuasa WA 1, 2020# Urushi paper on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Katsutoshi Yuasa (Japanese, b.1978) is a Tokyo-born artist, best-known for his large, detailed woodcuts based on photographs. He received a BA in Fine Art, painting, and printmaking from Musashino Art University in Tokyo, and later went on to complete his MA at the Royal College of Art in London. Since graduating, Yuasa has had residencies in Israel, France, Netherlands, and the United States. He describes his work as a fusion between traditional Japanese printmaking and contemporary image capture, translating pixels into hand-carved lines on wooden blocks. Yuasa has held exhibitions at a number of international institutions, including, We are all a bit Different at the Chambers Gallery in London, England (2004); Woodcuts at the Cobra Museum of Modern Art in Amstelveen, Netherlands (2008); and Miraculous at the ISE Cultural Foundation in New York, NY (2013).

Katsutoshi Yuasa WA 2, 2020# Urushi paper on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Katsutoshi Yuasa (Japanese, b.1978) is a Tokyo-born artist, best-known for his large, detailed woodcuts based on photographs. He received a BA in Fine Art, painting, and printmaking from Musashino Art University in Tokyo, and later went on to complete his MA at the Royal College of Art in London. Since graduating, Yuasa has had residencies in Israel, France, Netherlands, and the United States. He describes his work as a fusion between traditional Japanese printmaking and contemporary image capture, translating pixels into hand-carved lines on wooden blocks. Yuasa has held exhibitions at a number of international institutions, including, We are all a bit Different at the Chambers Gallery in London, England (2004); Woodcuts at the Cobra Museum of Modern Art in Amstelveen, Netherlands (2008); and Miraculous at the ISE Cultural Foundation in New York, NY (2013).

Philip Colbert Lobster Self Portrait with Paintbrush, 2020 Oil and acrylic on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Living and working in London. Colbert is known for his multidisciplinary approach, creating a "World of Art". Deeply entwined with pop theory, Colbert works across the mediums of painting, sculpture, clothing, furniture & design. Described as "the Godson of Andy Warhol" by Andre Leon Talley. Colbert's large scale oil paintings push the boundaries of contemporary narrative painting, they follow on from a dialogue established by artists such as Richard Hamilton, James Rosenquist and Roy Litchenstien.

David Studwell Red Scissors, 2020 Giclee print on Hahnemuhle pearl paper Signed recto 12.3 x 16.1cm (4¾ x 6¼ in.) David Studwell is a contemporary British artist and print maker who studied at Central Saint Martins School of Art. Having worked as an artist for over 20 years, Studwell harnesses the spirit of the sixties and seventies, the cult of celebrity and the legacy of Warhol to produce iconic screen prints. Studwell is drawn to classic bygone eras such as the golden age of Hollywood and the swinging sixties; he revisits yesteryears cult figures and stars whilst firmly transporting them to the present with washes of retro-colour, adding his own unique modern stamp to each piece.

David Studwell Blue Scissors, 2020 Giclee print on Hahnemuhle pearl paper Signed recto 12.3 x 16.1cm (4¾ x 6¼ in.) David Studwell is a contemporary British artist and print maker who studied at Central Saint Martins School of Art. Having worked as an artist for over 20 years, Studwell harnesses the spirit of the sixties and seventies, the cult of celebrity and the legacy of Warhol to produce iconic screen prints. Studwell is drawn to classic bygone eras such as the golden age of Hollywood and the swinging sixties; he revisits yesteryears cult figures and stars whilst firmly transporting them to the present with washes of retro-colour, adding his own unique modern stamp to each piece.

Tongyu Zhao Afternoon Garden, 2020 Pencil, pen and collage on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) b. Hubei, China. 93. Tongyu is an artist based in her guts, she thinks about material/ object encounters and habituated chores. With an often intuitive but coy language, Tongyu intends to stir up insignificant life moments and ponder about its weirdness. Incorporating craft techniques, drawing and domestic objects, Tongyu is currently working on a series of new works in her studio in Zhuhai, China. Tongyu has performed and exhibited at Mana Contemporary, Links Hall, Rational Park and Co-prosperity Sphere and alternative spaces like the Hebru Brantley Studios and the Meekling Press in Chicago, IL. She has performed at the Centre A gallery in Vancouver, Canada as part of the group show Here I only worry about my feet, your feet, everybody's feet curated by Christian Vistan. She's a recipient of the Ox-bow School of Art LeRoy Neiman Fellowship (2016). Tongyu recently finished a collaborative residency project at Guangdong Times Museum Banyan Commune, with artist Sam Chao as aoandaoband. Their community based project Bald spot of an eight-year-old balloon is open till May 5th 2019.

Tongyu Zhao For a Trembling Thought, 2020 Watercolour, pencil, charcoal and collage on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) b. Hubei, China. 93. Tongyu is an artist based in her guts, she thinks about material/ object encounters and habituated chores. With an often intuitive but coy language, Tongyu intends to stir up insignificant life moments andponder about its weirdness. Incorporating craft techniques, drawing and domestic objects, Tongyu is currently working on a series of new works in her studio in Zhuhai, China. Tongyu has performed and exhibited at Mana Contemporary, Links Hall, Rational Park and Co-prosperity Sphere and alternative spaces like the Hebru Brantley Studios and the Meekling Press in Chicago, IL. She has performed at the Centre A gallery in Vancouver, Canada as part of the group show Here I only worry about my feet, your feet, everybody's feet curated by Christian Vistan. She's a recipient of the Ox-bow School of Art LeRoy Neiman Fellowship (2016). Tongyu recently finished a collaborative residency project at Guangdong Times Museum Banyan Commune, with artist Sam Chao as aoandaoband. Their community based project Bald spot of an eight-year-old balloon is open till May 5th 2019.

Tongyu Zhao Corner of My Room, 2020 Penci, pen and collage on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) b. Hubei, China. 93. Tongyu is an artist based in her guts, she thinks about material/ object encounters and habituated chores. With an often intuitive but coy language, Tongyu intends to stir up insignificant life moments andponder about its weirdness. Incorporating craft techniques, drawing and domestic objects, Tongyu is currently working on a series of new works in her studio in Zhuhai, China. Tongyu has performed and exhibited at Mana Contemporary, Links Hall, Rational Park and Co-prosperity Sphere and alternative spaces like the Hebru Brantley Studios and the Meekling Press in Chicago, IL. She has performed at the Centre A gallery in Vancouver, Canada as part of the group show Here I only worry about my feet, your feet, everybody's feet curated by Christian Vistan. She's a recipient of the Ox-bow School of Art LeRoy Neiman Fellowship (2016). Tongyu recently finished a collaborative residency project at Guangdong Times Museum Banyan Commune, with artist Sam Chao as aoandaoband. Their community based project Bald spot of an eight-year-old balloon is open till May 5th 2019.  

Tongyu Zhao Take Your Time, 2020 Pencil, pen, thread and collage on paper Signed verso 10 x 15cm (3¾ x 5¾ in.) b. Hubei, China. 93. Tongyu is an artist based in her guts, she thinks about material/ object encounters and habituated chores. With an often intuitive but coy language, Tongyu intends to stir up insignificant life moments andponder about its weirdness. Incorporating craft techniques, drawing and domestic objects, Tongyu is currently working on a series of new works in her studio in Zhuhai, China. Tongyu has performed and exhibited at Mana Contemporary, Links Hall, Rational Park and Co-prosperity Sphere and alternative spaces like the Hebru Brantley Studios and the Meekling Press in Chicago, IL. She has performed at the Centre A gallery in Vancouver, Canada as part of the group show Here I only worry about my feet, your feet, everybody's feet curated by Christian Vistan. She's a recipient of the Ox-bow School of Art LeRoy Neiman Fellowship (2016). Tongyu recently finished a collaborative residency project at Guangdong Times Museum Banyan Commune, with artist Sam Chao as aoandaoband. Their community based project Bald spot of an eight-year-old balloon is open till May 5th 2019.  

Mr Sly All You Need Is Love, 2020 Vinyl print on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mr Sly is a British Artist known for his mixed media collages and his contemporary interpretation of 20th Century pop culture, combined with bold and graphic images are his unique trademark. Having experience in photo restoring and graphic design, he blends these talents in his artwork, by manipulating and restoring each image carefully. Now Producing limited edition prints and originals his work can be found in galleries across the U.K and U.S.A. His artwork can also be seen on the streets, paste ups of his images are now part of the street art scene in many cities. Born in Liverpool, England, he has travelled widely, which has informed his appreciation of urban and street art across the world. His first foray into the art world was inspired by 1980's band Frankie Goes to Hollywood and their iconic t-shirts from their hit song RELAX. It was this that spurred him to create artwork which is now gaining collectors across the globe. Mr Sly's work is featured in the Saatchi Art gallery and Artsy. Recent clients involve Chelsea Football Club, L'Oreal and RedKen.  

Mr Sly Rocket Man, 2020 Paste up and silver leaf on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mr Sly is a British Artist known for his mixed media collages and his contemporary interpretation of 20th Century pop culture, combined with bold and graphic images are his unique trademark. Having experience in photo restoring and graphic design, he blends these talents in his artwork, by manipulating and restoring each image carefully. Now Producing limited edition prints and originals his work can be found in galleries across the U.K and U.S.A. His artwork can also be seen on the streets, paste ups of his images are now part of the street art scene in many cities. Born in Liverpool, England, he has travelled widely, which has informed his appreciation of urban and street art across the world. His first foray into the art world was inspired by 1980's band Frankie Goes to Hollywood and their iconic t-shirts from their hit song RELAX. It was this that spurred him to create artwork which is now gaining collectors across the globe. Mr Sly's work is featured in the Saatchi Art gallery and Artsy. Recent clients involve Chelsea Football Club, L'Oreal and RedKen.  

Mr Sly Crazy Little Thing Called Love, 2020 Paste up and silver leaf on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mr Sly is a British Artist known for his mixed media collages and his contemporary interpretation of 20th Century pop culture, combined with bold and graphic images are his unique trademark. Having experience in photo restoring and graphic design, he blends these talents in his artwork, by manipulating and restoring each image carefully. Now Producing limited edition prints and originals his work can be found in galleries across the U.K and U.S.A. His artwork can also be seen on the streets, paste ups of his images are now part of the street art scene in many cities. Born in Liverpool, England, he has travelled widely, which has informed his appreciation of urban and street art across the world. His first foray into the art world was inspired by 1980's band Frankie Goes to Hollywood and their iconic t-shirts from their hit song RELAX. It was this that spurred him to create artwork which is now gaining collectors across the globe. Mr Sly's work is featured in the Saatchi Art gallery and Artsy. Recent clients involve Chelsea Football Club, L'Oreal and RedKen.  

Mr Sly Choose Love, 2020 Vinyl print on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mr Sly is a British Artist known for his mixed media collages and his contemporary interpretation of 20th Century pop culture, combined with bold and graphic images are his unique trademark. Having experience in photo restoring and graphic design, he blends these talents in his artwork, by manipulating and restoring each image carefully. Now Producing limited edition prints and originals his work can be found in galleries across the U.K and U.S.A. His artwork can also be seen on the streets, paste ups of his images are now part of the street art scene in many cities. Born in Liverpool, England, he has travelled widely, which has informed his appreciation of urban and street art across the world. His first foray into the art world was inspired by 1980's band Frankie Goes to Hollywood and their iconic t-shirts from their hit song RELAX. It was this that spurred him to create artwork which is now gaining collectors across the globe. Mr Sly's work is featured in the Saatchi Art gallery and Artsy. Recent clients involve Chelsea Football Club, L'Oreal and RedKen.  

A quantity of nine wall mounted carved wooden contemporary art panels by John Beswick

An Art Deco Oak Cocktail Cabinet, fully fitted with contemporary glasses, two decanters, cocktail shaker, cherry sticks, stirrers etc, beneath a lift-up lid revealing a mirrored tray, lower drinks cupboard with key, inner presentation label dated 1937, 78.5cm wide.

Waterman Elegance White gold plated Ballpoint Pen in original box with full certification. Elegance is synonymous with grace and style, and the Waterman Elegance fountain pen is a name truly befitting its moniker. Introduced in 2009 and modelled after the earlier Safety line of Waterman pens from the early 1900s, the Elegance utilizes rounded lines and cylindrical shapes to achieve a sophisticated shape. With its cast brass base, ivory lacquer finish, and intricate 23k gold detail, this fountain pen is truly special. Introduced in 2009 and designed by art director Beatrice Fontana, the Waterman Elegance is the epitome of sophistication. The Elegance is a modern take on the Waterman Safety line from the early 1900s. With this contemporary interpretation, Waterman has maintained the cylindrical shape, shortened cap, and intricate metal details of the vintage classic while adding even more luxury for the 21st century. Good Condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.

Christ entering Jerusalem to cheering crowds, large historiated initial on a leaf from a noted Missal, in Latin, illuminated manuscript on parchment[Low Countries or adjacent France, second half of thirteenth century (probably c. 1260)]Single leaf, with a large initial (100 by 55mm.) in blue with white brushwork picking out geometric patterns and circles, with Christ on a donkey approaching from the left, as crowds waving palm fronds greet him on the right, all on burnished gold grounds, the initial on burgundy-brown grounds with white penwork, with coloured foliage on chunky coloured grounds extending into margins, large initials in red or blue encased within scrolling penwork in contrasting colours, small initials in red or blue, red rubrics (some with capitals with jagged edges), main text in single column of 26 lines of a large and professional early gothic bookhand, written below top line, music in smaller version of same with Messine (Metz) neumes arranged around stave lines, contemporary folio no. 'cxl', slight chipping to paint in places, some stains to edges, else good condition, 320 by 225mm.The figures here, with their red spotted cheeks and undulating beards, are notably close to those from a copy of Gratian, Decretum, produced in Hainault, c. 1280-90 (now Walters Art Gallery, W.133: reproduced in L.M.C. Randall, Medieval and Renaissance Manuscripts in the Walters Art Gallery, 1997, no. 218). 

Firmin Massot (Geneva 1766-1849)Portrait of Elizabeth Broadhead, later Lady Dashwood, full-length, in a white dress and seated beside a stream signed, inscribed and dated 'FMassot. Genève./ 1818.' (on rock, lower right)oil on canvas78.3 x 64.2cm (30 13/16 x 25 1/4in).Footnotes:ProvenanceBy descent from the sitter's brother to Sir Theodore Brinckman, Bt. Sale, Sotheby's, London, 24 November 1999, lot 68 (sold £27,600)With Park Gallery, London, where purchased byPrivate Collection, UK, 1999, by whom offeredSale, Christie's, London, 3 December 2008, lot 194, where purchased by the present ownerLiteratureV. Louzier-Gentaz, 'The works of Firmin Massot (1766-1849) in British Collections', in The British Art Journal, Autumn 2006, vol. VII, pp. 94-95, ill. fig. 7Firmin Massot was one of the key figures of the Geneva School and a leading society portrait painter of his time. He was heavily influenced by the 'contemporary anglophilia' (Louzier-Gentaz, op.cit., p.92) that had developed in Geneva in the early 18th century, mainly due to political upheavals and religious sympathies, as well as scientific and commercial exchanges. Geneva was a necessary stop for many British grand tourists on their way to Italy, when travel allowed it.In the 1790s Massot was linked to two of his fellow students, Wolfgang Adam Topffer (1767-1847) and Jacques-Laurent Agasse (1767-1849). Following Agasse's visit to London in 1792, the three young artists began collaborating on large scale portraits with landscapes and animals together, a practice that Massot and Topffer continued after Agasse moved to England in 1800. Louzier-Gentaz has suggested that it is very probable that Topffer painted the landscape in the present work.The sitter, Elizabeth was the daughter of Theodore Henry Broadhead of Glynde, Surrey. She married Sir George Henry Dashwood, 5th Bt. of West Wycombe, in 1823. She died without issue and lived as a life tenant at West Wycombe. The portrait passed to her brother, Theodore Henry Lavington Broadhead, created a Baronet in 1831, who subsequently resumed the surname Brinckmann.On the present work Louzier- Gentaz remarks 'quite apart from the composition of the work, the date and signature in the lower right-hand corner distinguish this portrait from the others and render it historically important: Massot did not usually sign, except in rare cases, and especially when the work was painted for a foreign patron' (op. cit, p.94).For further information on this lot please visit Bonhams.com

Théodore Géricault (Rouen 1791-1824 Paris)Portrait of a man, probably the engraver Francois Godefroy (d. 1819), on his deathbed oil on canvas19.1 x 24.5cm (7 1/2 x 9 5/8in).Footnotes:Provenance(Possibly) Charles-Emile Callande de Champmartin (1797-1883)(Possibly) His sale, Hotel Drouot, Paris, 28-29 January 1884, lot 273 (as Géricault, Portrait de Godefroy, graveur, this sale was cancelled)(Possibly) His sale, Hotel Drouot, Paris, 28 January 1888, lot 112 (as 'Attributed to Géricault, Godefroy, graveur, sur son lit de mort)Private Collection, ParisLiteratureB. Chenique, Géricault, au coeur de la creation romantique; etudes pour la Radeau de la Meduse, exh. cat., Clermont-Ferrand, 2012, p.230, no. 37, ill.ExhibitedClermont-Ferrand, Musee d'Art Roger-Quillot, Géricault, au coeur de la creation romantique. Etudes pour le Radeau de la Meduse, 2 June - 3 September 2012, cat. no. 37This intimate oil sketch, painted the same year as Géricault's masterpiece The Raft of the Medusa, represents an extremely important addition to this major artist's oeuvre. It is almost certainly the picture from the collection of Émile Champmartin, who was Géricault's friend and fellow apprentice in the studio of Pierre Guérin. Long known to scholars only through sale catalogues, its recent rediscovery adds considerably to our understanding of an artist working at the forefront of the emerging Romantic movement, during the turbulent early years of the Bourbon Restoration. Until this painting surfaced recently in a private collection in Paris, references to a portrait of 'Godefroy, graveur, sur son lit de mort' in the Champmartin sale catalogues were believed to describe a work acquired by the Art Institute of Chicago in 1937. That work, likewise a small oil sketch of a man's head, bore an old label that seemingly confirmed its provenance: 'Géricault (Th)/69 – Tête d'homme sur son lit de mort, provident de la coll. Champmartin'. Evidently a cutting from an old sale catalogue, the label had yet to be traced in 1991. The art historian Lorenz Eitner defended the attribution to Géricault in his two major studies of the artist (1971 and 1983), albeit without attempting to identify the model. It was Philippe Grunchec (1978) who first doubted the attribution of the Chicago picture to Géricault on the grounds that the drapery, in particular, bore no resemblance to other works by the artist. When the Chicago picture was finally cleaned of old restorations in 1985, Grunchec's suspicions were confirmed: the cleaning revealed a bold signature in red, 'E. Champmartin'. By the time of the Géricault exhibition, held at the Grand Palais in Paris in 1991, the Chicago picture was known to be by Champmartin. Curator Sylvain Laveissière revisited the question of the model's identity at this point, postulating 'si l'on croit les catalogues des ventes Champmartin, le modele serait Godefroy, graveur'. Parmi les artistes de ce nom contemporains, le meilleur candidats est François Godefroy, né en 1743...et mort l'année meme du Radeau de la Meduse.' Laveissière's identification of the model as 'probably François Godefroy' is based on the mention of the aforementioned painting entitled 'Godefroy, graveur, sur son lit de mort' in the Champmartin sale catalogues. M. Laveissière further restates Grunchec's hypothesis that the painting in the Champmartin sale catalogues (1884 and 1888) was in fact the Chicago picture, now known to be a signed work by Champmartin. Born in Rouen in 1743, Godefroy was a successful and prolific engraver with a thriving studio in Paris. He can be linked to Géricault through the Coiny family of engravers, father and son; the younger Coiny, Joseph, was awarded the Prix de Rome in 1816, the same year in which Géricault competed unsuccessfully. Even more tellingly, Godefroy died in Paris on 28 April 1819, aged 76 – just four months before the Salon at which Géricault unveiled the Raft of the Medusa, in preparation for which he made a number of studies in oil of cadavers. Unusual though it might seem to us today, for 19th century artists the practice of painting corpses followed a longstanding academic tradition. In-depth studies of human anatomy, based on dissections and drawing from nude models and ancient sculpture, were fundamental for Renaissance masters, such as Leonardo and Michelangelo. It was in this classical Academic tradition that Géricault received his earliest training, in the studio of Pierre-Narcisse Guérin. However, the talented but disobedient Géricault did not last long in this environment of strict instruction. Abandoning his apprenticeship, Géricault began his own programme of independent study, setting up his easel in the Louvre, recently renamed the Musée Napoleon and filled with the artistic spoils of conquest from Italy and Flanders. He bypassed the classicists such as Raphael and turned instead to works by Rubens, Titian, Velázquez and Rembrandt. These were the masters of colorito painting, in which the tones and physicality of the paint medium reign supreme over elegant contours. Travel to Italy in 1816-17 reinforced Géricault's reliance on colorito, which lends itself readily to the turbulence and emotion that characterise the Romantic style. As one of the early proponents of Romanticism, Géricault laid the groundwork for the subsequent generation of French masters, including Delacroix and Courbet. It was in Italy that Géricault began his practice of painting contemporary events in the elevated manner of history painting. Upon his return to France, Géricault chose as his subject for the 1819 Salon The Raft of the Medusa, a monumental representation of man's struggle against nature (fig. 1). In order more accurately to depict the shipwrecked passengers, Géricault made a number of studies at local hospitals and of victims of the guillotine. A friend of the artist, Théodore Lebrun, recalls posing for Géricault when he fell sick with jaundice; Géricault, upon spotting Lebrun's sickly pallor, exclaimed 'Ah! Mon ami, comme vous êtes beau!' It is to this important moment in Géricault's career that the oil sketch of Godefroy can be dated. Demonstrating all the hallmarks of Géricault's mature style, the forms are defined by heavy impasto brushwork, with alternating areas of illumination and deep shadow suggesting a candlelit interior. The small scale of the work lends it an air of intimacy: although it can be linked, artistically, to such grim studies as the Severed head of a man (private collection, Paris) and Le Guillotiné (Musée Royale d'Art Moderne, Brussels), it is a dignified rather than a gruesome representation of death and in this regard recalls Renaissance postmortem portraiture, and even religious iconography. There is an ambiguity to the old man's half-closed eyes and sunken cheeks that suggests the space between living and dead, sleeping and dying. It is altogether a subtler, more sensitive painting than that by Champmartin in Chicago and is a testament to Géricault's enduring appeal among today's contemporary artists, including Lucien Freud. This work has historically been excluded from Géricault scholarship simply because it has, until now, been unknown to experts. Charles Clément, the first chronicler of Géricault's work, was unable to interview the elderly M. Champmartin, which explains why works in his collection receive no mention in his monograph. This omission has been compounded in all subsequent scholarship. However M. Bruno Chenique, who has had the opportunity to study this work first-hand and has confirmed its attribution in a letter, dated 8 September 2013, will include it in his forthcoming catalogue raisonné, currently in preparation.... For further information on this lot please visit Bonhams.com

Ɵ Leaf from a large Bohemian Bible, with Zechariah 1:1-4:3 with end of the prologue of St. Jerome, in Latin, illuminated manuscript on parchment[Bohemia (probably Prague), c. 1430] Single leaf, with double column of 45 lines in a good late gothic bookhand (textualis formata, in spiky forms peculiar to Bohemia), red rubrics, red running titles in angular script, 2-line initials in red or blue, one large initial 'I' (opening "In mense octavo ...", Zacharias 1) in dark blue with scalloping white penwork, enclosed within burnished gold panel, the gold pounced and highlighted with yellow paintstrokes and set within a pale green frame, coloured acanthus leaf sprouts (with notably angular leaves) emerging from initial into inner upright border, enclosing gold fruit and a large bezant at head and foot, the foliage enclosing but not obscuring a small textual correction in the upper border, a catchword at foot of verso showing this was once the last leaf of a quire, a tiny near-contemporary '22' in central gutter, slight cockling visible on reverse, outer edges of leaves perhaps once folded from last framing, small spots, else excellent condition, 370 by 270mm.; in cloth-covered card binding Provenance: 1. Sotheby's 12 December 1966, lot 153, bought as a single leaf by Folio Fine Art, then their cat. 44 (1967), no. 229.3. Sotheby's 8 July 1974, lot 7.4. Kenneth W. Rendell Gallery, cat. 146 (1979), no. 137.5. Sotheby's 18 June 1991, lot 29.6. Schøyen Collection, London and Oslo, their MS 1362, acquired in Sotheby's. Script:The arched and angular semi-cursive script along with the highly stylised prickly leaves and pounced gold are all hallmarks of Bohemian book production in the fifteenth century. Compare the contemporary Martinice Bible (Prague, Knihovna Akademie, 1 TB 3; reproduced by B. Drake Boehm and J. Fajt, Prague, the Crown of Bohemia, 2006, no. 135), a manuscript associated with newly emergent Hussitism, and of equally large dimensions. Like that one the parent manuscript of this leaf was probably produced for a wealthy scholarly patron. 

A small collection of four items of contemporary Art Glass, including a Mdina Lollipop Head Vase cased green, tan and blue inclusions, unsigned, 18.5cm tall, a Mdina trailed glass stoppered Decanter, tapering form with brim rim, mauve through to dark blue, 24cm tall and two Mtarfa bottle style Vases, 22cm and 15cm tall (4)

A contemporary art glass vase with encased irises, indistinctly signed to base with artist's name and date of 2009, height 23 cm, a/f

GRAHAM CLARKE (BRITISH 1941) 'TURNIP COURT' AND 'HADDOCKS END', two limited edition aquatint etchings from editions of 250, signed, titled and numbered to lower margin with certificates from Christies Contemporary Art verso, mounted, framed and glazed, approximate size 31cm x 36cm including margins (condition:- discolouration to both prints edges)

Jinsong Wang (China, Born 1963) Monumental Painting titled "Ink Figure No. 75". Signed and titled in Chinese, dated 2005.12, and with six seals of the artist. Ink on paper. Provenance: Sotheby's (New York) 17 March 2008 'Contemporary Art Asia' sale lot 258 (Price Realized: $11,250 USD). Jinsong graduated from Chinese Painting Dept. for Zhe Jiang Fine Art Academy. Now he teaches as a lectuer in Fine Art Dept. for Bei Jing Education Academy. He takes part in many exhibitions, such as: New Appearance Painting Art Exhibition, Bei Jing Contemporary Art Museum, 1990; New Generation Art Exhibition, Bei Jing History Museum of China, 1991; "Excellent Award", Guang Zhou Oil Painting Biennale, Guang Zhou, 1992; Avant-courier Art Exhibition of China, Berlin, 1993; Chinese Contemporary Oil Painting Exhibition, Hong Kong Chinese University Feng Pingshan Museum, 1994; Chinese Oil Painting Exhibition, Brussels, 1995; People Sample Art Exhibition, Bei Jing Art Museum, 1996; Hard to be Popular Art Exhibition, Tokyo, 1997; Chinese Photography and Record Art Exhibition, New York Max Protetch Gallery; 97's Chinese Record Art Exhibition, Bei Jing Central Fine Art Academy Gallery; About World Cup-80 Contemporary Artists Works Exhibition, Paris, 1998; Space and Vision Art Exhibition, Bei Jing Contemporary Fine Art Museum; City Scenery Art Exhibition, Denver, 1999; Home-Contemporary Art Topic Exhibition, Shang Hai, 2000; PART 1-Chinese Art Exhibition, London,2001; Making China, New York; Wang Jinsong Water-ink Painting Work Exhibition, New York; Prosper of One Thousand Years-Chinese New Art, New York and London, 2002. Sight Size: 57.5 x 35.75 inches (146 cm x 90.81 cm). Overall Size: 69.5 x 45 in. Framed behind plexiglass.

JOHN AND ELI MILAN (AMERICAN), URBAN OPUS V acrylic on canvas, signed 77cm x 102cm Framed. Note: John and Elli Milan are a unique partnership in the world of fine art. A married couple, both highly trained and with many years’ experience, they create their paintings together, collaborating fully on each work artistically, intellectually and physically. John and Elli’s vibrant and inspirational abstracts are highly sought after on an international platform. They have had many successful solo and group shows in the USA, Canada and Europe, the latter including a hugely prestigious exhibition commissioned by the Vatican. A total of 30 contemporary artists were chosen to represent all continents and the show was hosted by the Pons Foundation in Madrid in association with the Prado. John and Elli live in Arizona, they are internationally collected and have had their paintings exhibited in the US, UK, Europe, Canada and Dubai.

* ALLISON YOUNG (SCOTTISH CONTEMPORARY), NORTH UIST acrylic on board, signed 20cm x 15cm Framed Note: Certificate of Authenticity verso. A llison Young graduated from Edinburgh College of Art in 1988, with first class honours, then did a postgraduate diploma. In 1991 she studied in Lodz, Poland, for a year, under the British Council Scholarship Scheme. In 2001 she was artist in residence at Edinburgh Zoo. Allison's work is exhibited widely in Scotland and in London.

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

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

Salvador Dali (Spanish, 1904-1989): 'King of Aragon', etching with mezzotint printed in colours, 1971, signed and numbered 163/250 in pencil to lower margin, on Auvergne Richard de Bas wove vellum paper, printed by Ateliers Rigal, published by Christie's Contemporary Art, London, 1979, with Certificate of Authenticity, Michler & Lopsinger 528, plate mark 35.5 by 26.5cm, sheet 48 by 38cm, mounted, glazed and framed, 73.5 by 62cm.***May be subject to ARR***

NO RESERVE Law.- G[ardiner] (R[obert]) Ars clericalis: the art of conveyancing explain'd, 2 vol., second edition, some staining and spotting, lightly browned, 17th and 18th century ink ownership inscriptions to front endpapers, contemporary calf, vol.1 leather detaching from upper board and with a little loss of leather to lower cover, both vol. spine ends and corners worn, rubbed, 8vo, printed by R. and E. Atkyns Esquires, for W.B. and T.B., 1698.

Jonson (Ben) [The Workes], vol. 2 only (of 3), The Sad Shepherd misbound after Horace, of the Art of Poetrie, English Grammar comprising pp. 117-132 only, 2ff. of Mortimer his Fall only, occasional damp-staining, a few gatherings loose or becoming so, contemporary calf, spine worn, rubbed, folio, [1641]; sold not subject to return. ⁂ Sadly defective, includes complete copies of The Divell is an Asse, The Magnetick Lady (with A Tale of a Tub and the Sad Shepherd) and A Masque Presented in the House of the Right Honourable Lord Haye.

A contemporary silver and semi precious stone art nouveau style cuff bangle with a hinged clasp. Measures 8cm in diameter. Weight 65 grams.

Jack B. Yeats R.H.A. (Irish, 1871-1957)Romeo and Juliet (The Last Act) signed 'JACK B YEATS' (upper left) and titled twice 'ROMEO AND JULIET' (on the canvas overlap)oil on canvas45.8 x 61.1 cm. (18 x 24 in.)Painted in 1927Footnotes:ProvenanceMrs Roger FranklandSale; Sotheby's, London, 14 July 1965, where acquired byWaddington Galleries, LondonPrivate Collection, U.S.A.John Rous (4th Earl of Stradbroke), thence by family descent to the present ownerPrivate Collection, U.K.ExhibitedDublin, Engineers' Hall, 25 February-5 March 1927, cat.no.23Birmingham, Ruskin Gallery, Paintings of Ireland, 23 May-4 June 1927, cat.no.31London, Arthur Tooth & Sons, 14 March-5 April 1928, cat.no.34Montreal, Waddington Galleries, Jack B. Yeats Retrospective Exhibition, 12 March-5 April 1969, cat.no.7London, Waddington Galleries, 15 April-8 May 1971, cat.no.7 (col.ill)Dublin, National Gallery of Ireland, Jack B. Yeats, A Centenary Exhibition, September-December 1971, p.74, cat.no.62 (col.ill); this exhibition travelled to Belfast, Ulster Museum, January-February 1972 and New York, Cultural Centre, April-June 1972 LiteratureHilary Pyle, Jack B. Yeats, A Catalogue Raisonné of the Oil Paintings, Volume I, Andre Deutsch, London, 1992, p.322, cat.no.355 (ill.b&w)The painting depicts the last scene of Charles Guonod's 1867 opera Romeo and Juliet, based on William Shakespeare's famous tragedy. In the final act after a tumultuous duet, Romeo expires and Juliet takes her own life. Their entwined bodies lie in the deserted tomb. Guonod's opera was performed in the Gaiety Theatre in Dublin on 2 March 1926. The Irish Times review of the production praised the music and the performers although it noted that Cynlais Gibbs, who played Romeo had a lighter voice than Miss Hill who played Juliet, and was at a slight disadvantage. But it concluded that the orchestra 'gave a fluent account of the strongly coloured instrumental music'. The O'Mara Opera Company, which staged the production, was founded by the celebrated Limerick born tenor, Joseph O'Mara, in 1912 and performed opera seasons regularly at the Gaiety. In 1926, the year before his early death, O'Mara was the first opera singer to perform live on the newly inaugurated Radio Eireann, the Irish Free State's national radio station.Yeats was in attendance at the Gaiety and outlined the scene depicted in the painting in his sketchbook. His book also features drawings of the celebrated staging of Lennox Robinson's play, Cyclops which was performed by the Dublin Drama League in the playwright's home in Dalkey in August 1926. Yeats was an avid theatre goer and playwright. He wrote several plays for children in the early 1900s and his later experimental plays Harlequin's Positions, La La Noo and In Sand were staged at the Abbey Theatre between 1939 and 1949. Several of Yeats's paintings are inspired by his experiences of the theatre. These include Singing The Minstrel Boy (1923, The Model, Sligo), Now (1941, Private Collection), The Talent (1944, Private Collection) and Man Hearing an Old Song, (1950, Private Collection). These paintings like, Romeo and Juliet, incorporate the audience and its involvement in the performance. Yeats's cursory sketch notes the two candles, the balcony to the right and the prominent form of the conductor which are all key elements in the final painting. The figure of the conductor can be seen in the painting on the extreme left. His head is erect and his arms extended as he conducts the concluding notes of Guonod's score. The ghostly bodies of Romeo and Juliet lie next to each other in front of the tomb. Flecks of white, yellow and pink subtly indicate their faces and the flowers that adorn the sturdy sepulchre behind them. The tall ethereal forms of the candles are delicately painted and they and the single flame torch add to the sense of solemnity.The figures are dwarfed by the vast blue expanse of the set. One contemporary reviewer noted the emotional power of this colour in Yeats's painting. 'The surrounding blue seems to be the mystery of life – to symbolise every love-story that was ever lived or written – and birth and death and passion and sacrifice, and everything that is significant in human struggling. It is as if the universe had paused to mark a fleeting perfection'. The stage is framed by the warm reds and yellows of the surrounding auditorium. The heads of the front row of the audience fill the bottom of the composition. On the right hand side the towering structure of the interior of the Gaiety throws the perspective of the stage into stark relief. The elaborate gilt and maroon decoration is richly conveyed by loose swirls of deep colour which take on an organic quality, suggestive of movement and warm reflected light. A spectator is shown seated in the darkened theatre box looking at the performance. The ledge of this box, which stands out in sharp relief, is modelled out of thick brown paint while black lines indicate the railings. This unusual perspective emphasises the collaborative nature of live theatre in which the performers, musicians, and the spectators share in the illusion of the drama. It also draws attention to the artificiality of the set and the theatre itself as an extraordinary site where the human imagination is enabled to take flight. Romeo and Juliet was included in Yeats's one-man exhibition at the Engineers' Hall in Dublin in 1927 and was subsequently shown at the Ruskin gallery in Birmingham and the Arthur Tooth gallery in London. It features in many of the reviews of the acclaimed Dublin exhibition. George Russell described Yeats's work as 'intensely personal' noting that in the paintings, 'the psychic temperament is breaking through the limitations of the physical'. Another critic remarked on the 'powerful and almost audacious wealth of conception and composition' of Romeo and Juliet, which ' is bound to be one of the most discussed of the collection'. Finally the international art journal, The Studio, proclaimed that Yeats 'has now acquired a power over his medium which can only be described as masterly'. We are grateful to Dr. Róisín Kennedy for compiling this catalogue entry.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

Eliot Hodgkin (British, 1905-1987)Basket of Fruit signed and dated 'Eliot Hodgkin Sept 53.' (lower left); further signed and titled (on a label attached verso)tempera on board22 x 50 cm. (8 3/4 x 19 3/4 in.)Footnotes:ProvenanceMajor Geoffrey Frederick Robert HirstWith The Bourne Gallery, Reigate, where acquired byPrivate CollectionSale; Christie's, London, 17 May 2006, lot 439Their sale; Sotheby's, London, 11 June 2014, lot 127, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Wildenstein Gallery, Contemporary British Painters, 18 November-23 December 1953, cat.no.38We are grateful to Mark Hodgkin for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Mark Hodgkin, c/o Bonhams, Modern British Art Department, 101 New Bond Street, London, W1S 1SR, or email britart@bonhams.comThis 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

Eliot Hodgkin (British, 1905-1987)Basket of Vegetables signed and dated 'Eliot Hodgkin April-May 1953. ' (lower right); further signed and titled (on a label attached verso)tempera on board22 x 50 cm. (8 3/4 x 19 3/4 in.)Footnotes:ProvenanceMajor Geoffrey Frederick Robert HirstWith The Bourne Gallery, Reigate, where acquired byPrivate CollectionSale; Christie's, London, 17 May 2006, lot 441Their sale; Sotheby's, London, 11 June 2014, lot 128, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Wildenstein Gallery, Contemporary British Painters, 18 November-23 December 1953, cat.no.39We are grateful to Mark Hodgkin for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Mark Hodgkin, c/o Bonhams, Modern British Art Department, 101 New Bond Street, London, W1S 1SR, or email britart@bonhams.comThis 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

A contemporary Art Deco style lamp table, W59cm

Dave Ross, contemporary, oil on panel - Willow in March, signed, framed, 39cm x 54cmExhibited: Colchester Art Society

Dave Ross, contemporary, watercolour - a female nude signed, in glazed frame, 54cm x 36cmExhibited: Colchester Art Society

A pair of 20th century Art Deco revival contemporary bronze effect painted cast iron busts of greyhound racing dogs. Each being cut at the shoulder and raised on naturalistic plinth bases. 

A contemporary Art Deco revival chrome and mahogany standard lamp. Raised on a chrome square plinth base with reeded mahogany frame having a chrome upright top with flanged shade and further arched reading chrome lamp angled to the side. Measures 178cm x 56cm

A contemporary Art Deco revival cast iron Sphinx cat figurine / sculpture. The cast iron two piece figure with classic design being raised on a flat plinth base. Measures 26cm high 

Two contemporary 20th century Art Deco revival bronze effect painted cast iron statues of greyhounds, each being raised don plinth terraced bases. Measures 23cm tall, approx. 

Lesley Anne Derks BA(Hons) (British, B.1977) "The Trongate by Night", oil on board, signed to lower right, unframed 40cm x 50cm. Exhibited: Glasgow Art Club, "This is Glasgow" November - January 2020, The Lille Gallery, Milngavie "Glasgow Society of Woman Artists Annual Exhibition" October 2019, The Line Gallery, Linlithgow "Lesley Ann Derks and Elisabet Thorin" August 2019, Irvin Grill, London, Caledoniart presents 'An Exhibition of Contemporary Scottish Art' June 2019. Glasgow Nightscape.

[BOOKS]. ARCHITECTURE & ART - JAPAN Yahagi, Kijuro. Selected Works, 1987, comprising six booklets, stiff paper covers, illustrations, in slip-case; with Engel, Heinrich. The Japanese House. A Tradition for Contemporary Architecture, eighth impression, Tuttle, Rutland (Vermont) / Tokyo, 1978, cloth, dustjacket, plate and text illustrations, large quarto; and Maki, Fumihiko. Buildings and Projects, Thames & Hudson, London, 1997, pictorial soft covers, colour and black and white illustrations throughout, quarto, (3).

Michael Kagan (American 1980-), 'I Was There When It Happened', 2019, Virginia Museum Of Contemporary Art exhibition poster, signed in black market; sheet: 71 x 51cm

An Art pottery table lamp by Rooke c.1971, contemporary shade

[Bristol]. The Exercises performed at a Visitation of the Grammar-School of Bristoll on Thursday the 7th of April, MDCCXXXVII. To which are added, Verses on the Garmmar-School, spoken at a former Visitation. Published by A. S. Catcott, Master of the said School, 1st edition, Bristol: printed and sold by Felix Farley, 1737, woodcut head- and tailpieces and initials, contemporary calf, rebacked, spine worn, covers detached, 8vo (20 x 11.9 cm), [Defoe, Daniel; response to]. Reasons prov'd to be Unreasonable: or, an Answer to the Reasons against a War with France, 1st edition, London: [no printer], 1702, disbound, browned, 4to (19.4 x 15 cm), [Shippen, William; attributed], Moderation Display'd: a Poem. By the Author of Faction Display'd, 1st edition, London: [no printer], 1704, disbound, somewhat browned, second leaf (pi2) shaved on all sides, 4to (19.5 x 15.1 cm), [ Armstrong, John], The Oeconomy of Love. A Political Essay. A New Edition, London: J. Hinxman, 1763, half-title, toning, a few marks, inked marginalia to p. 23 attributed to James Burnett, Lord Monboddo (1714-1799) in pencilled note on binder's blank, modern leatherette, 8vo (17.9 x 10.9 cm), ibid., The Art of Preserving Health: A Poem, new edition, London: A. Millar, 1765, inked annotations on half-title verso and frequently to margins, attributed to Lord Monboddo i similar pencilled note on binder's blank, modern leatherette, 8vo (17.8 x 11 cm), and 6 others including similar 18th-century pamphlets (Qty: 11)NOTESESTC T102878 (Bristol: four copies only world-wide), T46474 (Defoe response, four copies in UK libraries), T61830 (Shippen), T136227 (Armstrong, Oeconomy , six copies), T139953 (Armstrong, Art ); Foxon S437 (Shippen).

[Yorkshire]. Group of manuscripts and ephemera, 18th-20th century, comprising: 'Hunting Diary. York & Ainsty. 1911-12 [1912-13]' [cover-title], 2 volumes, 1911-22, fox-hunting diary, printed headings, ruled in red, completed in manuscript on approx. 190 pp. including lengthy remarks, contemporary black skiver over flexible boards, wear to extremities, large 4to (32.6 x 27.2 cm), [Landowner's household ledger], 1738-46, mentioning places chiefly near Wakefield including Little Smeaton, Knottingley, and similar, 258 pp., contemporary vellum, remains of tawed ties, marked, folio (31.6 x 20.4 cm), 'In the Matter of the Revd Edward Frank clerk of unsound mind. The first account of Sir William Bryan Cooke Baronet the receiver ad interim of the estates of the said Edward Frank appointed ... on the 11th day of August 1825 ... As to the rents of the estates in the counties of Norfolk and Suffolk [...York]' [caption-title], 1825-35, [362] pp., contemporary vellum, manuscript cover-title, heavily dust-soiled, rubbed, folio (35.5 x 23 cm), and 7 others, including: 1) [Leeds builder's ledger], c.1850, 78 pp., red skiver wallet binding, rubbed, 8vo; 2) [Testimonial photograph album presented to William Roscoe as chairman of governors at Leeds Modern School], 4to; 3) [Minute book of Halifax Art Union], c.1850, spine worn, 4to; 4) 'A Short History of Chapel Allerton, Allerton Gledhow, Allerton Grange, and Moor Allerton. Volume 1. A. E. Sandford, 1960' [cover-title], typescript with mounted gelatin silver print photographs, 4to; 5) Friendship album, 1856-1908, on varicoloured paper, blind-stamped dark blue roan, shaken, worn, 4to (Qty: 11)NOTESThird item: Sir William Bryan Cooke, 8th Baronet (1782-1851), of Wheatley Hall, was sometime mayor of Doncaster.