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Ed Suter (British 1967-) MOUNTAIN 1 giclée print PROVENANCEDirectly from the artist 100 by 67 cm FROM THE MOUNTAINS TO THE STREETS Ed Suter is a photographer based in Cape Town, South Africa. He was born in England but grew up in South Africa and after university in Cape Town, went to live in New York for 5 years and London for 12 years. He studied photography at the London College of Printing and began his professional career taking on-set photographs in the television industry. In 2006 he returned to South Africa and since then has worked as a photographer for a range of local and international publications shooting portraiture, fashion and interiors. Inspired by the street life he discovered in South Africa, he began shooting street style photographs of fashion, graphics and street art as a personal project while he travelled the country on assignment. These photographs were published in 2013 as a collection called Sharp Sharp (Quivertree Publications), a look at great style on the streets of Johannesburg, Durban and Cape Town. Exhibitions of these photographs have been held in Paris, Amsterdam and Milan. Since then he has been working on a new book, From The Mountains to the Streets, a look at contemporary and traditional fashion in South Africa. - Information

Mr. Brainwash (French 1966 -) PUP ART signed in pencil in the margin, artists fingerprint in ink in the margin screenprint 55.9 by 55.9cm Pup Art (Green) is a wonderful example of Mr. Brainwash's appopriations of recognisable images from popular culture and art history which he adjusts with his signature brand of irreverence. In this case it is a mid 1900s poster or a work illustrated in the same style.While the artist has screenprinted the Pup Art (Green) in black, white and green, he has created other editions of the same work where he has used the same accents in red, blue or yellow. It can be said that all of the adjustments that the artist has added to the original image have been included in one colour. The boy in the print holds a paintbrush in his hand, as he comforts a cowering girl with a protective hand around her shoulders. The paintbrush drips with the same green paint that the artist implies the boy has just applied to a dog. A pail of green paint rests near the subjects. The word ‘ART’ has been applied to the dog’s coat, pointing to the title of the piece. Pup Art is a pun on Pop Art, the art movement that began in the 1950s and used many of the same references to popular culture employed by Mr Brainwash.Mr Brainwash is a pseudonym of Thierry Guetta, who rose quickly to fame with the release of the Banksy directed documentary on street art Exit Through the Gift Shop (2010). Mr Brainwash was first introduced to street art by his cousin Invader and his production resembles fellow well-known contemporary street artists Banksy and Shepard Fairey. - S.D.Mr Brainwash, accessed January 21, 2020: https://artcollectorz.com/artists/artists-detail_id=36

A.R. Penck ( -) DIE FRAGE NACH DER STAATS... signed with title and a number of inscriptions in pencil and pen on the reverse acrylic with pencil on paper 23 by 31,5cm SYMBOLS AND NEO-EXPRESSIONISM IN POST-WAR GERMANY Since A.R. Penck’s death in 2017 there has been considerable interest in his artwork. Posthumous solo exhibitions have showcased his bold, restless work, filled with his own self-created symbols. These include A.R. Penck: Paintings from the 1980s and Memorial to an Unknown East German Soldier, both held at the Michael Werner Gallery in New York in 2018, as well as the acclaimed I think in Pictures, a show of Penck’s featured works from the 1970s and 1980s held at the Ashmolean Museum of Art and Archaeology at Oxford University in 2019. Penck was born Ralf Winkler in Dresden in 1939. He adopted his chosen pseudonym after the paleogeologist Albrecht Penck out of necessity when the East German State Security began to confiscate his works in the 1960s. His art was deemed not to conform to the ideology of the state. In 1969 the Michel Werner Gallery hosted Penck's first solo show, signalling the beginning of a relationship that would be fortuitous and supportive throughout the artist’s career. Exhibiting in New York was only possible because the artist had changed his name, confusing border officials and allowing his work to pass through the Berlin wall. Michel Werner himself smuggled some of Penck’s artworks out of East Berlin, and arranged for friends in the city to deliver art materials to Penck in order for him to continue his practice.Penck’s Standart works are characterised by a myriad of pictographic marks that the artist viewed as the ‘building blocks’ he used to communicate his ideology, leaving clues and riddles for the viewers of his paintings in this lexicon of coded language. The artist began to explore how symbols, signs and numbers could be abstracted, creating a common language which could express the sadness and loss of post-World War II Germany in the Cold War era. An example is the letters ‘A’ and ‘B’ it is understood that he is referencing the capitalist West Germany and communist East Germany. Due to this aesthetic, Penck is often associated with artists Keith Haring and Jean-Michel Basquiat, although it is more likely that the artist’s style emerged spontaneously. He had little access to the work of his Western contemporaries whilst living in East Germany (German Democratic Republic) which heavily censored any influence that threatened the state. There has been a resurgence of interest in A.R. Penck’s work in recent years, at a time when contemporary artists are exploring the tenuous relationship of abstraction and figuration, and personal and recognisable iconographies and symbols. This has resulted in his work gaining momentum on the secondary market.Penck’s mixed media work, Die Frage nach der Staats Sicherheit zeigt meine eigene falsche Haltung translates to The Question of State Security Shows My Own Wrong Attitude. The artwork is a recto verso: the front side of the paper displays a pencil and acrylic work representing purple mountains with a sunset sky, while the reverse is covered with various pencil and pen inscriptions by the artist in German, including the title of the work. The statement may be that the recto was approved by the German State Security because it was mild, acceptable, benign art. The real artwork is hidden, in this case deliberately, on the reverse of the work. - S.D.A R Penck, Neo-Expressionist Painter Whose Work Reflected on the Postwar German Condition, Dies at 77, Alex Greenberger, ARTnews, accessed 19 January, 2020: https://www.artnews.com/art-news/news/a-r-penck-painter-whose-workreflected-on-the-postwar-german-condition-dies-at-77-8236/A R Penck: I Think in Pictures, Ashmolean, accessed 20 January, 2020, https: //ashmolean.org/event/penckA Tribute to A R Penck, John-Paul Stonard, Apollo:The International Art Magazine, accessed 20 January, 2020: https://www.apollo-magazine.com/a-tribute-to-a-r-penck/

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

CONTEMPORARY ART DECO DESIGN SILK CARPET, 395cm x 335cm, in shades of gold.

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

MARTIN DECENT (BRITISH CONTEMPORARY), 'Art Nouveau', a limited edition print of an interior scene, 156/195, signed to lower margin, unmounted, unframed, approximately 46cm x 46cm (condition: good condition)

Victorian silver gadrooned sugar bowl raised on socle base by Robert Pringle & Sons, Birmingham 1898, 62g, 8cm diameter, a pair of Art Deco period silver coasters with piecrust edge by Roberts & Belk, Sheffield 1933 & 1934, 86g, 8cm diameter, a pair of Victorian Scottish silver toddy ladles of fiddle pattern by James McKay, Edinburgh 1849, 87g and a pair of contemporary silver dwarf candlesticks by W I Broadway & Co, Birmingham 1963, 10.5cm tall

Books relating to North American Indians including costume, designs, history, crafts and Sacred Circles exhibition catalogue. (41) Provenance Dr Alan Black Collection.LiteraturePaul E. Kennedy, Dover Publications, Inc., New York, North American Indian Colouring Book, 1971;Maria Naylor (edited by). Authentic Indian Designs, 1975;Richard C. Schneider. Crafts of the North American Indians, A Craftsman’s manual, 1972;John Mack (edited by). Masks, the Art of Expression, 1994;Michael A. Weiner. Earth Medicine-Earth Foods, Plant Remedies, Drugs, and Natural foods of the North American Indians, 1972;W. Ben Hunt. Indian Crafts and Lore, 1973;W. M. Bray, E. H. Swanson, I. S. Farrington. The Ancient Americas, 1989;Cyril B. Courville. Southwest Museum Leaflets, Trade Tomahawks, 1963;Hilary Stewart. Totem Poles, 1990;Geoffrey C. Ward. The West, An Illustrated History, 1996;Peter L. Macnair, Alan L. Hoover and Kevin Neary. The Legacy, Tradition and Innovation in Northwest Coast Indian Art, 1984;Eva Wilson. North American Indian Designs, British Museum Pattern Books, 1984;J. C. H. King. First Peoples First Contacts, Native Peoples of North America, 1999;Joanna Cohan Scherer with Jean Burton Walker. Indians, Contemporary photographs of North American Indian Life 1847-1929, 1974;Hilary Stewart. Cedar, Tree of Life to the Northwest Coast Indians, 1984;Josephine Paterek. Encyclopaedia of American Indian Costume, 1994;Dan L. Monroe, Richard Conn, Richard W. Hill Sr, Suzan Shown Harjo and Jon R. Grimes (exhibition curators). Gifts of the Spirit, works by Nineteenth Century & Contemporary Native American Artists, an exhibition in the Peabody Essex Museum, Salem, Massachusetts, 1996-1997;Natalie Tobert (editor). Feet of Ingenuity, A Catalogue of Footwear, 1993;Karen Duffek. A Guide to Buying Contemporary Northwest Coast Indian Arts, 1983;Fritz Scholder. An Intimate Look, 2008;Ralph W. Andrews. Indian Primitive, Northwest Coast Indians of the Former Days;The Detroit Institute of Arts. Art of the American Indian Frontier, a Portfolio, 1995;Frances Densmore. How Indians Use Wild Plants for Food, Medicine & Crafts, 1974;J. C. H. King. Portrait Masks from the Northwest Coast of America, 1979;Hilary Stewart. Looking at Indian Art of the Northwest Coast, 1979;Colin F. Taylor. Native American Weapons, 2001;National Museums of Canada. The Covenant Chain, Indian Ceremonial and Trade Silver, 1980;Walker Art Center, Indian Art Association, The Minneapolis Institute of Art. American Indian Art: Form and Tradition, 1972; Christian F. Feest (edited by). Studies in American Indian Art, A Memorial Tribute to Norman Feder, 2001;Colin F. Taylor. Native American Hunting and Fighting Skills, 2003;Honolulu Academy of Arts. Of Pride and Spirit, North American Indian Art from a Private Collection in Hawaii, 1981;Martha Black. Bella Bella, A Season of Heiltsuk Art, 1997;Lillian A. Ackerman (edited by). A Song to the Creator, Traditional Arts of Native American Women of the Plateau, 1995;Arts Council. Sacred Circles, Two Thousand Years of North American Indian Art, 1976;Frederick E. Hoxie (editor). Encyclopaedia of North American Indians;Colin McEvedy. The Penguin Atlas of North American History to 1870, 1988;James Austin Hanson. Metal Weapons, Tools, and Ornaments of the Teton Dakota Indians, 1975;Michael G Johnson. American Woodlan Indians, 2003;Akicita. Early Plains and Woodlands Indian Art from the collection of Alexander Acevedo, 1983;R. Gabor. Iroquois Reprints, Costume of the Iroquois, 1983;C. A. Lyford. Iroquois Reprints, Iroquois Crafts, 1984;Colin F. Taylor. Buckskin & Buffalo, the Artistry of the Plains Indians, 1998;Richard Conn. Robes of White Shell and Sunrise, Personal Decorative Arts of the Native American, 1974;(41)

Best, Thomas A Concise Treatise on the Art of Angling London: C. Stalker, 1787. 8vo, frontispiece, with 4pp. publisher's adverts, contemporary calf neatly rebacked with a later spine, endpapers renewed [ESTC T57575]

Collection of art reference books and bindings Comprising Gruel, Léon and L. Libonis, including Manuel historique et bibliographique de l'amateur de reliures. Paris: Gruel & Engelmann, 1887-1905. 2 volumes, 4to, limited to 1000 copies, 1st part being copy number 780 of 700 copies on Vélin de Rives, volume 2 being number 148 of 600 copies on Vélin de Rives, heliogravure plates, library stamp of Newcastle upon Tyne Public Library to title and plate margins, and stamp to spines, maroon half morocco, joints rubbed, one splitting; Libonis, L. Les Styles enseignées par l'exemple. Paris: H. Laurens, [1894], 4to, plates, modern red morocco incorporating tan, mottled and brown morocco onlays; Viollet-le-Duc, E.E. Dictionnaire raisonné du Mobilier Français. Paris: Morel, 1872-75. 6 volumes, 8vo, chromolithographed plates, illustrations, contemporary red quarter morocco, a little light spotting; Yriarte, Charles. La Vie d'un Patricien de Venise au XVIe siècle d'après d'éstat des Frari. Paris: J. Rothschild, [1884]. Large 8vo, plates, illustrations, modern red morocco incorporating tan, mottled and brown morocco onlays (10)

Hogarth Press - Woolf, Leonard and Virginia Two Stories Richmond: Hogarth Press, 1917. First edition , with ‘Publication No.1’ at head of title, [one of 150 copies ], 8vo, 4 woodcuts by Dora Carrington, sewn, the poet Camilla Doyle’s copy with her inscription on the title, this copy without initial and final blank, ink inscription on title “illustrated by Dora Carrington”, contemporary cloth with part of original yellow paper wrapper bearing title preserved on upper cover, [Woolmer 1; Kirkpatrick A2a] (Qty: 1)Footnote: Note: Two Stories is the first publication produced by the Hogarth Press, the publishing house established by Virginia and Leonard Woolf in 1917. The title page states ‘Publication No. 1’ in the top-left corner. Entirely written and printed by the Woolfs, it contains the short stories ‘Three Jews’ by Leonard and ‘The Mark on the Wall’ by Virginia. Dora Carrington, a British artist trained at the Slade School of Art, designed the four small yet detailed woodcut illustrations that accompany Two Stories . The 32 pages were sewn together and bound with paper covers by hand. Being bound on an ad-hoc basis, different covers exist: the British Library’s copy is bound in a blue weave-textured material.

Hope, Sir William A Vindication of the True Art of Self-Defence... to which is annexed, a Short, Edinburgh: William Brown, 1724. First edition, 8vo, [8], vi, [10], 176, [12], frontispiece & 1 folding plate, the latter neatly laid down and short tear repaired, contemporary panelled calf, without the errata leaf, [ESTC T72975, 3 copies UK, 7 copies N. America, 1 Europe], neatly rebacked, spine gilt, a few spots

Paul Gauguin (French, 1848–1903)Famille TahitiennePencil signed with initials 'P.G.0' bottom left; also illegibly inscribed [in French] 'Epreuve unique/de Gauguin/AC' [?] bottom left, monotype and graphite on paperSheet size: 16 3/4 10 1/4 in. (41.3 x 26cm)Executed circa 1902.PROVENANCE:Wildenstein & Co., New York, New York.Acquired directly from the above in 1975.Private Collection, New York, New York.EXHIBITED:" Paul Gauguin: Monotypes," Philadelphia Museum of Art, Philadelphia, Pennsylvania, March 23-May 13, 1973, no. 98.LITERATURE:Richard S. Field, Paul Gauguin: Monotypes, an exhibition catalogue, Philadelphia Museum of Art, Philadelphia, 1973, no. 98, p.121 (illustrated).NOTE:Widely recognized as a major figure in 19th century art, Paul Gauguin is best known as a Post-Impressionist who specialized in vibrant paintings of Tahiti and its natives. He was also a sculptor and highly accomplished printmaker, producing a large and diverse body of prints that includes woodcuts, lithographs, zincographs, drypoint etchings, and, as in the present work, monotypes. The monotype is a hybrid of sorts, occupying a unique space between printmaking and drawing. Indeed, Gauguin himself referred to his works in this medium as "printed drawings" (Richard S. Field, Paul Gauguin: Monotypes, Philadelphia Museum of Art, exhibition catalogue).Gauguin's first reference to monotypes is found in a letter of 1900 to the young Parisian art dealer Ambroise Vollard, in which he describes them as "experiments," writing: "I have just done a series of experiments in drawings with which I am fairly well pleased, and I am sending you a tiny sample. It looks like a print but it isn't" (Field, op. cit.). Gauguin would periodically send these "experiments" to Vollard, who offered them for sale, along with the artist's paintings, at his eponymous art gallery on rue Lafitte, then the nexus of the contemporary art world in Paris.In order to produce his monotypes, Gauguin applied printer's ink to a sheet of paper until it was covered, atop which a second sheet of paper was added and drawn upon, resulting in a line that varied with the hardness and thickness of the pencil (Field, op. cit.). This process, in which the free absorption of ink plays an integral role, yields an atmospheric image with a certain "patina of age" (Field, op. cit.).While these elements are well represented in the present work, Gauguin's true intention in creating Famille Tahitienne is perhaps better explained by an analysis of its technical composition. As Field states, "There exists another sophisticated monotype (no. 98) (…) Its sensitivity to positive and negative forms, and its heavy, bolder line argue for a more developed stage than the torso…It was squared during the process of drawing, that is, the verso was squared in pencil, with the consequence that the recto appears squared in the monotype" (Field, op. cit.).The process of "squaring," wonderfully visible on both sides of the present work, offers a fascinating glimpse into the mind of the artist at work. The main figure in the present monotype appears in three of Gauguin's works: La Soeur de Charité, 1902 (McNay Art Museum), Cavaliers sur la Plage II, 1902 (Fondation Beyeler, Basel); and in reverse in Famille Tahitienne, 1902 (Private Collection). This monotype offers a window into the creative process of one of the 19th century's most enigmatic artists, and is a pleasing, expressive image in its own right.

Paul Signac (French, 1863–1935)Petit Andély, Château GaillardSigned, located and dated 'P. Signac/Petit Andely [sic] 1923' bottom right, watercolor and pencil heightened with white gouache on paperSheet size: 10 x 16 in. (25.4 x 40.6cm)PROVENANCE:Collection La Faille, Paris.Charles E. Slatkin, New York, New York.Acquired directly from the above.Private Collection, New York.EXHBITED:Santa Barbara Museum, 1959 (per label verso).San Diego Museum, 1960 (per label verso).NOTE:In early June 1886, Paul Signac moved to the small town of Les Andelys in Normandy, not too far from Giverny. The artist was first introduced to the beauty of this quaint area by Camille Pissarro, who lived in the nearby village of Éragny-sur-Epte. There, Signac completed a series of exactly ten landscape paintings in which he explored the full potential of his new pointillist approach, applying small dots of pure color directly onto the canvas rather than blending them on a palette. Upon his return to Paris in the fall, Signac showed four of his works at the Salon de la Société des Artistes Indépendants, much to the public's surprise. Art critic Félix Fénéon praised them for their special luminosity and their boldness: "The colours provoke each other to mad chromatic flights-they exult, shout!" (Félix Fénéon, Les Impressionnistes en 1886, Paris, 1886, p. 301, quoted in Marina Ferretti, Signac 1863-1935, New York, 2001, p. 121).While Les Andelys served as the subject of Signac's early pointillist canvases of 1886, it would also be revisited during a period in which Signac was utilizing the watercolor medium to achieve new artistic effects. The present work, painted upon the artist's return to the town in 1921, is an example of Signac's efforts to develop a satisfying synthetization of color and forms. Executed en plein-air along the banks of the river Seine, the work revisits many of the motifs that Signac found attractive in Les Andelys in his earlier paintings, such as the verdant greens of the grassy bank, the shimmering water, and a glaring summer sky. Yet, in contrast with these earlier works in which Signac depicted peaceful town at water's edge, the viewer here is presented with a more dramatic landscape view dominated by the ruins of Château Gaillard, a 12th century fortress built by Richard the Lionheart, which hover impressively over the quiet village.The artist paints an embankment in the foreground to draw us into the scene, creating depth in the landscape and offering a perspective akin to that of the artist when he completed the work. We then find the intense greens of the trees along the left bank and the white, hazy-bright sky, which serve successfully as a frame for the ruins of the château, proudly standing in the center of the composition as its sole, pyramidal focal point. The reflection of the ruins upon the water in the foreground further amplifies this effect and provides the viewer with the illusion that they can almost seize the ruins, beckoning us to return to the scene once more.The work showcases a new freedom in Signac's graphic style, somewhat distanced from the earlier exactness of Pointillism. The artist here is more interested in l'effet d'ensemble rather than the recording of every aspect of the town in front of him. The deliberately muted tones of the scene, combined with the artist's use of faint pencil lines, work to create a monochromatic ensemble, a sense of harmony and timelessness pleasing to both the mind and the senses. The work is very much an elaboration of Signac's contemporary research (particularly of his obsession with water), but it also reveals the artist's long-standing sympathies toward the medieval town, perhaps betraying the slightest sense of nostalgia.We wish to thank Ms. Marina Ferretti for confirming the authenticity of the present lot. The watercolor will be included in the forthcoming new edition of the Catalogue Raisonné of the artist’s work, and will be accompanied by a Letter of Authenticity.

A tray of contemporary glass ware, three candle holders on metal base. shallow bowl, Art Glass style bottle, glass hand bag

A box of wooden and metal signs, five drawer miniature storage chest, four framed contemporary pieces of art by Shot

A contemporary bar stool together with three pieces of wall art - flowers

WITHDRAWN-  A contemporary signed studio art wooden vase of tapering bulbous form having organic recesses within the body. Signed P. Boak to the base. Handmade in Somerset. Measures 45 cm tall.

A stunning Art Deco pendant circa 1925. Continental silver stamped 935 on the back, set with what we think are paste, they do look like old cut diamonds under a loop but haven't been tested. We also believe the chain to be contemporary if not original due to the fine links and clasp, this is unmarked but again believed to be silver as it has discoloured inexactly the same way as the back of the pendant. It could benefit from being cleaned but condition is good with no missing stones. 5 articulated, petal shaped drops hand from a central sunburst motif in graduated stones. Pendant 7cm X 3cm wide. Chain 42cm.

CONTEMPORARY ART DECO DESIGN SILK CARPET, 350cm x 240cm, geometric gold field.

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

A contemporary Art Deco style extending dining table, 213 x 101cm, together with six chairs and a matching sideboard (8)

Large contemporary art glass bowl

Four contemporary Art Deco style ceiling lamps, with frosted grass bowls, diameter 60cm, together with another light fitting lacking bowl (5).

White Apple, Blue Fish signed with initials 'W.S' (lower right) oil on board (Dimensions: 23 x 18cm)(23 x 18cm)Footnote: Provenace With Walker Galleries Contemporary Art, HarrogateCondition report: Oil on board. There is minor abrasion along the upper edge, but overall the painting and frame are in a good condition. There are no glazing spacers between the painting and the frame.

A framed limited edition 125/175 pencil signed lithograph, by Olivier Raab, Prov. Christie's Contemporary Art 1983, framed 79 x 68cm.

Florence . Galleria Dell' I. E Reale Accademia Delle Belle Arti di Firenze pubblicata con incisioni in rame da Una Societa Artistica..., 1845, Florence, Presso La Societa Artistica, 60 black & white engravings on India paper, decorative text boarders, very minor marginal toning, all edges gilt, publishers original gilt decorated half vellum with marbled boards, boards & spine slightly rubbed, split to foot of the front hinge, folio, together with: Ephrussi (Charles) , Albert Durer et Ses Dessins, 1882, Paris, A. Quantin, numerous tinted & monochrome plates & illustrations, top edge gilt, bookplate to front pastedown, some light marginal toning & spotting, publishers original gilt decorated brown full crushed morocco, spine lightly rubbed, large 4to, and Nolhac (Pierre de) , Les Trianons (Les Grands Palais de France), Paris, circa 1900, 110 black & white plates, some light toning & marks, contemporary gilt decorated blue half morocco bound by Zaehnsdorf, boards & spine slightly rubbed, split to foot of the front hinge, folio, plus other late 19th century & modern Renaissance art & architecture reference & related, including The Fasciculus Medicinae of Johannes De Ketham Alemanus, facsimilie of the first (Venetian) edition of 1491, published by R. Lier & Co. 1924, Milan, Michelangelo The Medici Chapel, by James Beck et al, reprinted, 2000, some leather & vellum binding, mostly original cloth, 4to/folio (Qty: Approximately 60)

Pilkington (Matthew). The Gentleman's and Connoisseur's Dictionary of Painters, 1st edition, 1770, bound without errata leaf, slight marginal toning, presentation inscription to front pastedown, 1856, contemporary half calf, joints cracking, some wear at spine ends and edges, 4to, together with Fuseli (Henry). A Dictionary of Painters from the revival of the art to the present period... new edition with considerable additions..., 1810, some light spotting, endpapers renewed, armorial bookplate with Order of the Garter motto, contemporary calf, edges rubbed, a few stains, 4to, plus others, including J. Hassell, Memoirs of the Life of the late George Morland, 1806, Vignola, Traite Elementaire Pratique d'Architecture, Etude des Cinq Ordres, Paris, circa 1850, both bound in contemporary vellum, folio, Lord Lindsay, Sketches of the History of Christian Art, 3 volumes, 1st edition, John Murray, 1847, with bookplate of A.N.L. Munby to front endpaper of each volume, original blindstamped cloth gilt, a little faded to spines and edges, and some fraying to head and foot of spines and extremities, 8vo, etc (Qty: 9)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.

Mascardi (Agostino). Silvarum libri IV, 1st edition, Antwerp: ex officina Plantiniana, 1622, engraved allegorical title-page after Peter Paul Rubens by Theodoor Galle, final blank (2C4) discarded, title-page slightly soiled, damp-staining to gutter of initial 2 quires (*-2*), first quire (*) with shallow section of erosion to fore edges not affecting text or engraving, a few other marks, 19th-century drab paper boards, worn, 4to (23.6 x 17 cm) (Qty: 1)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Jaffé wrote three substantial books on Rubens: Rubens (1967); Rubens and Italy (1977); and Rubens: catalogo completo (1989). Judson & Van de Velde, Book Illustrations and Title-Pages (Corpus Rubenianum Ludwig Burchard XXI), 48. The 'first book [of] contemporary poetry illustrated with a title-page by Rubens', of which 1,000 copies were printed (Bertram, Rubens as a Designer of Title-Pages, pp. 184 & 60). Ex-Jesuit Mascardi (1590-1640) was a prominent intellectual at the court of Pope Urban VIII.

Audsley (George A. & James L. Bowes) . Keramic Art of Japan, 1881, Henry Sotheran & Co., 32 colour & monochrome plates & in text illustrations, bookplate to front pastedown, some light marginal toning, all edges gilt, publishers original ornately gilt decorated red full morocco, spine lightly rubbed to head & foot, 8vo, together with: De Cardonnel (Adam) , Picturesque Antiquities of Scotland, 2 parts (bound in 1), 1788, numerous black & white illustrations, bookplate to front pastedown, some light toning, rebound retaining contemporary vellum with later gilt decorated spine label, boards & spine slightly marked with loss to head of spine, 8vo, and Lawrence (T. E.) , Seven Pillars of Wisdom a triumph, 7th impression, 1936, 53 black & white illustrations plus 4 maps, some minor spotting & marginal toning, contemporary gilt decorated blue half calf bound by Zaehnsdorf, boards & spine slightly rubbed with minor loss, 4to, plus other 18th & 19th century literature, including Mémoires Du Comte De Grammont, by C. Antoine Hamilton, 7 volumes, 1777, all leather bindings, some gilt decorated, some foreign language, overall condition is generally good/very good, 8vo/4to (Qty: 3 shelves)NOTES85 volumes

Boaden (James) . The Life of Mrs. Jordan;..., 2 volumes, 1831, printed by Edward Bull, black & white engraved frontispiece to volume 1, folding facsimile letter to front of volume 2, some minor spotting & toning, uniform contemporary boards, some loss to spine labels, lightly rubbed to head & foot, 8vo, together with: Crane (Walter) , Ideals In Art:..., 1905, numerous black & white illustrations, bookplate to front pastedown, some minor spotting, original gilt decorated blue cloth, boards & spine slightly rubbed, 8vo, and Watkins-Pitchford (Denys 'B B') , The Countryman's Bedside Book, 4th impression, 1947, The Idle Countryman, reprinted, 1948, Confessions of a Carp Fisher, 1st edition, 1950, numerous black & white illustrations by the author, some light spotting & toning, all original cloth in dust jackets, covers slightly rubbed to head & foot, 8vo, plus other late 19th century & modern illustrated literature, art & miscellaneous reference, including The Life of William Morris, 2 volumes, by J. W. Mackail, 1899, Animals in Black and White, Volume One The Larger Beasts, by Eric Fitch Daglish, reprinted, 1929, mostly original cloth, some in dust jackets, G/VG, 8vo/folio (Qty: 6 shelves)

Wotton (Henry). Reliquiae Wottonianae. Or a Collection of Lives, Letters, Poems, with characters of sundry personages: and other incomparable pieces of language and art, 2nd edition with large additions, 1654, three engraved portraits (frontispiece with tear at gutter), erratic pagination, occasional light water stains and soiling, contemporary calf, some wear, 12mo (Qty: 1)NOTESProvenance: Professor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool. Harris pp. 499-502; Wing W3649. Contains Wotton's Elements of Architecture, first published in 1624, which was basically a translation of Marcus Vitruvius Pollio's De Architectura, and 'the first theoretical work on the subject published in English.' (Harris).

Panofsky (Erwin & Saxl , Fritz). Durers ' Melencolia I', eine quellen- und typen- geschichtliche untersuchung, 1st edition, B.G. Teubner, 1923, monochrome plates, original cloth, lightly rubbed and a little discoloured to spine and outer edges, large 8vo, together with: Wolfflin (Heinrich). Kunstgescichtliche Grundbegriffe, Das Problem der Stil-Entwickelung in der neueren kunst, 1st edition, Munich, 1915, monochrome illustrations, top edge gilt, contemporary red half morocco, rubbed and a little scuffed, large 8vo, plus Worringer (Wilhelm), Abstraktion und Einfuhlung, Ein beitrag zur Stilpsychologie, 4th edition, Munich, 1916, contemporary quarter green cloth gilt, 8vo, and other art history and reference, all printed in German, including A.B.Y. Warburg, Gesammelte Schriften, 2 volumes, B.G. Teubner, 1932, Erich Fidder, editor, Neue Beitrage Deutscher Forschung, Wilhelm Worringer zum 60. Geburtstag, 1943, Festschrift Heinrich Wolfflin, 1st edition, Munich, 1924, Julius Meier-Graefe, Cezanne und sein Kreis, 3rd edition, Munich, 1920, etc., all 20th century publications printed in German, mostly original cloth, mainly 4to/8vo (approximately 150 volumes) (Qty: 5 shelves)

Books - Chinese Art - Chen Yifei, New York: Hammer Publishing, 1990, h/b, d/j, folio; Chinese Art: One Hundred Plates in Colour [...], Introduced by an Outline Sketch [...] by R.L. Hobson, Keeper [...] at the British Museum, New York: The Macmillan Company, 1927, contemporary red cloth, 4to; Chow (Su-Sing), Flowers of the Four Seasons: A Manual in Chinese Brush Painting, volumes 2-4 only: Summer, Autumn and Winter, [n.d, c. 2000], p/b, 4to, (3); Oleniuk (Marcus), Living with It, Hong Kong: Wordasia, 2003, h/b, d/j, 4to; etc; Japan/Sweden: The Painter of Swedish Life: Carl Larsson [edited by Torsten Gunnarsson], Tokyo: 1994, p/n, square 4to, [8]

Militaira, World War Two, a pair of brothers' rounded rectangular metal-mounted oak presentation boxes, A Token of Stamford's Gratitude 1939-1945, the hinged cover cast and chased with the arms of Stamford and inscribed overall, enclosing a two-division interior, each frieze carved in relief with the name of the recipient: Lac. B.N. Croft and Lac. K.N. Croft, enclosing a contemporary set of medals: 1939-1945 Star, France and Germany Star, Defence Medal and 1939-1945 Medal, folded ribbons en suite with precedence for wearing said medals, contemporary postage box addressed to brother: K.N. Croft [...] of Stamford, Lincolnshire; two earlier World War One Trench Art brass matchbox sleeves, wriggle worked, (2); etc., the presentation boxes 20cm wide, with their original card boxes and covers, [collection]

*GABRIEL SUMMERS (b.1962) GAS MASK; SCARECROW (VERSO) inscribed on the reverse 'The other side painted September/October 08', oil on board 67 x 80cm Gabriel Summers, painter, etcher and dealer-researcher, was born in Dorset, the grandson of the artists Gerald and Nora Summers. Summers' interest in art was encouraged as a child and he won an art scholarship to Canford School, 1975-80, where he was taught by Robin J Noscoe. He graduated in the history of art at Reading University, 1980-3 and gained his masters in that subject at the Courtauld Institute, 1983-4, concentrating on British romantic art, a continuing interest. In 1990, Summers was featured in the episode 'In Search of Bohemia', part of the BBC television 'Abroad in Britain' series, with Jonathan Meades. Group shows included 'Nudes for St Valentine', Bartley Drey Gallery, 1996; 'Contemporary British Art', The Millinery Works, 2003; and 'Little Venice Drawing Group', The Clifton Gallery, 2003. He had solo exhibitions at Odd Fellows Hall, Wimborne, 1997, and Canford School Library, 1999. *Artist's Resale Right may apply to this lot.

An exhibition poster for 'Original Drawings and Pictures by John Lennon at London Contemporary Art, 1989', printed by The Estate of John Lennon 1989, bearing signature, unframed, 76 x 51cm

A bronzed model of a reclining nude, 24cm high, an early 20th century Art Nouveau brass framed wall mirror, the rectangular frame with canted corners enclosing the bevelled mirrored plate, 63cm x 40cm, along with a contemporary Czech painted metal panel within a wooden frame, signed Keknit verso, 21cm x 26cm (3)

PHILIP GRAY (CONTEMPORARY) - 'Stormy Seas', hand embellished giclee print, signed and numbered 43/95, with De Montford Fine Art certificate, framed, 115cm x 96cm.

18ct Gold Attractive Amethysts and Diamond Set Cluster Ring - In a Contemporary Art Work Setting. The Central Amethysts of Wonderful Rich Colour, Surrounded by 16 Diamonds of Good Colour. Ring Size - M. 4.5 grams. As New Condition, Low Estimate.

OurGlass Of Cockington - Spun Form - A contemporary studio art glass centerpiece fruit bowl of large size having a central spiral design to the well with blue foam decoration. Half grounded base with signature to underside. Measures: 39 cm.

Mdina - Seascape - Large Tall Double Swirl Model 81-299 - A large contemporary Maltese studio art glass vase having a twisted form with ocean blue wave colours and black and azure gold ocean wave spray. Makers marks to base and sticker to front. Measures; 41cm. 

Viz Glass - A stunning large contemporary studio art glass vase having a wide ruffled rim with tapering and waisted body in an aqua blue colourway with streaks of red, blue, yellow, white and nickel gold glitter. Applied label to base. Measures; 31cm. 

A Pols Potten art glass vase (20th/21st century contemporary) of large globular form, with controlled bubble decoration and deep blue detail, remnants of paper label to the base, 20cm high

A large contemporary wall mirror with gilt frame and bevelled edge in the Art Deco style. 111.5cm x 85.5

Five contemporary Liana Vourakis silver pill boxes, of circular and rectangular form, with engraved and monogrammed details, together with two silver Art Nouveau style cup holders, Sheffield 1913, a James Dixon & Sons hip flask in a leather and metal case and a silver plated flask and more (11)

* JAMES ORR (SCOTTISH 1931 - 2019), COTE D'AZUR oil on board, signed 34cm x 40cm Framed and under glass. Label verso: Riverside Gallery, 28 David Street, Stonehaven. Note: James Orr was a regular and successful contributor to The Scottish Contemporary Art Auctions. A modest man when it came to his own achievements, his work is held in the collection of HRH Duke of Edinburgh and in many private collections across the world. He won several awards for his work, including the RGI’s Royal College of Physicians & Surgeons of Glasgow Award. His paintings have given and continue to give great pleasure to many people. Renowned for his kindness and generosity, he also nurtured many budding artists and gave his time generously through artist demonstrations for many art clubs across Scotland. James is much missed by all at McTear's.

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

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

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

NO RESERVE Drunkeness.- Younge (Richard) Sinne stigmatizd: or, The art to know savingly, believe rightly, live religiously, taught both by similitude and contrariety from a serious scrutiny or survey of the profound humanist, cunning polititian, cauterized drunkard, experimentall Christian, woodcut head-pieces and decorative initials, lacking 3A2, occasional marginal worming, some spotting ands staining, modern morocco with original contemporary calf covers laid down, [cf. STC 26112], 8vo, Printed [by Richard Badger] for G. Latham at the signe of the Bishops head in St. Pauls Church-yard, 1639. sold not subject to return.⁂ A re-issue of The Drunkard's Character, 1638, with more preliminaries than called for by ESTC.

Gloria BANNING (American, 20th Century) Sunset Reflections Oil on canvas Signed verso 30.5 x 30.5cm Gloria Tripi Banning was born in Buffalo, New York in 1924. She was well known for her contemporary impressionistic landscapes and was influenced by abstract expressionists William de Kooning, Franz Kline, and Jackson Pollack. Banning came to stay with Barbara Hepworth at her home in Carbis Bay. Throughout the 1970s and 80s, the Albright Knox Art Gallery displayed many of Banning's works, as did various galleries across Western New York.

Pogany (Willy, illustrator). The Rime of the Ancient Mariner in Seven Parts, by Samuel Taylor Coleridge, [1910], 20 tipped-in colour plates, occasional minor spotting, bookplate of S.L. Courtauld, top edge gilt, contemporary red morocco gilt, slight fading to spine, 4to, together with Prieto (Gregorio, illustrator). The Sonnets of William Shakespeare, Grey Wallis Press, 1948, 28 uncoloured illustrations, some light spotting, contemporary presentation inscription, bookplate of S.L. Courtauld, top edge green, original calf-backed boards, spine faded and a little rubbed, slipcase, 4to, limited edition 56/500, plus Undine, by De la Motte Fouque, illustrated by Arthur Rackham, 1909 (Qty: 3)NOTESProvenance: Sir Stephen Lewis Courtauld MC FRS (1883-1967), English philanthropist and youngest brother of Samuel Courtauld, founder of the Courtauld Institute of Art.

Gilpin (William). Remarks on Forest Scenery, and other Woodland Views, (relative chiefly to Picturesque Beauty) illustrated by the Scenes of New-Forest in Hampshire, 2 volumes, 1st edition, London: R. Blamire, 1791, 32 plates, without half-titles (and 'Translation of Quotations' in volume 1, and 'Catalogue of Mr. Gilpins Works' and 'Addenda' in volume 2, noted for the second edition of 1794; not known if required for this edition), offsetting, near-contemporary ownership inscriptions (Martin Hope Sutton) to titles, gilt edges, contemporary red morocco gilt, slightly rubbed and marked, spines darkened, 8vo (22 x 13.2 cm), together with: ibid., Observations, relative chiefly to Picturesque Beauty, made in the Year 1772, on several parts of England; particularly the Mountains, and Lakes of Cumberland, and Westmoreland, 2 volumes, 1st edition, London: R. Blamire, 1786, half-titles, 30 plates, offsetting, bookplates of Patricia Milne Henderson, contemporary half calf, rubbed, volume 1 front board detached, 8vo (21.4 x 13.5 cm), ibid., An Essay on Prints; containing Remarks upon the Principles of Picturesque Beauty, 1st edition, London: J. Robson, 1768, contemporary manuscript leaf (with biography of Gilpin) bound in before title, gift inscription dated 1796 to initial blank, bookplate of Patricia Milne Henderson, contemporary mottled calf, a bright copy, 8vo (18.4 x 10.8 cm), and 8 others, 18th- and 19th-century treatises on aesthetics and art theory, including Aberdeen, Inquiry into the Principles of Beauty in Grecian Architecture, 1st edition, 1822 (ex libris Thomas Philip, 2nd Earl de Grey), Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, 7th edition, 1773, and similar (Qty: 14)NOTESAbbey Scenery 149 ( Remarks , second edition, 1794), 187 ( Observations , third edition, 1808); Upcott pp. 303-2 ( Remarks , second edition), 124 ( Observations ).

Turner (Joseph Mallord William). Picturesque Views on the Southern Coast of England..., engraved by W.B. Cooke, George Cooke, and other eminent engravers, 2 volumes bound as one, London: John and Arthur Arch et al., 1826, 48 engraved plates and 32 vignettes, some spotting throughout, autograph letter signed from William Alexander (Keeper of Prints and Drawings at the British Museum) dated 25 October 1814, to the publishers J. & A. Arch congratulating Arch and the other proprietors of the Southern Coast on the engraving by W. Cooke from Turner's beautiful drawing of Lyme Regis..., 2 pages with integral address leaf and third page with notes of a reply, 4to, tipped onto front free endpaper with specimens of W.B. Cooke and George Cooke's autographs on two separate sheets tipped onto following flyleaf recto, with an accompanying holograph note in respect of the inserted items by the original owner Dawson Turner, dated 1826, also noting that this is a large paper subscribers' copy, armorial bookplate of Josiah Vavasseur to front pastedown and armorial bookplate of S.L. Courtauld to endpaper facing, all edges gilt, contemporary blindstamped and gilt decorated dark green morocco with crest and monogram of Dawson Turner to upper and lower covers, rubbed at extremities, covers detached, folio (36 x 26 cm), Large paper copy (Qty: 1)NOTESProvenance: Dawson Turner FRS (1775-1858), English banker, botanist and antiquary; Josiah Vavasseur CB (1834-1908), English industrialist who founded Vavasseur & Co. (also known as London Ordnance Works); Sir Stephen Lewis Courtauld MC FRS (1883-1967), English philanthropist and youngest brother of Samuel Courtauld, founder of the Courtauld Institute of Art.

Viner (Charles). A General Abridgment of Law and Equity, alphabetically digested under Proper Titles with Notes and References to the whole, 17 volumes [of 23], 1st editions, Aldershot: printed for the author, 1742-53, contemporary calf, worn, folio, together with: Godolphin (John), Repertorium Canonicum: or, an Abridgment of the Ecclesiastical Laws of the Real, consistent with the Temporal, 3rd edition, London: for Christopher Wilkinson, 1687, imprimatur leaf, contemporary panelled calf, worn, 4to, Seller (John), Practical Navigation; or an Introduction to the whole Art, London: R. and W. Mount and T. Page, 1718, additional engraved title-page (torn with loss), 5 plates (only: lacking at least plate 4), leaf B1 torn with loss, other defects and soiling, contemporary sheep, 4to, and others, English law, calf bindings, wear (Qty: 3 shelves)NOTESSold with all faults, not subject to return.

Lindsay (Norman, illustrator). Petronius. A revised Latin text of the Satyricon with the earliest English translation (1694) now first reprinted with an introduction ... privately printed by Ralph Straus, 1910, 100 plates, a little minor soiling, bookplate of S.L. Courtauld, top edge gilt, contemporary green half morocco by Zaehnsdorf, spine faded, 4to (Qty: 1)NOTESProvenance: Sir Stephen Lewis Courtauld MC FRS (1883-1967), English philanthropist and youngest brother of Samuel Courtauld, founder of the Courtauld Institute of Art. Limited edition of 250 from a total edition of 265, this copy unumbered and signed by the artist only (usually signed by artist and printer).

Turner (Joseph Mallord William). Picturesque Views in England and Wales from Drawings by J.M.W. Turner..., with descriptive and historic illustrations by H.E. Lloyd, 2 volumes, London: Longman, Orme, Brown, Green & Longmans, 1838, 96 engraved plates, text leaves toned and some scattered spotting throughout, armorial bookplate of S. L. Courtauld to both volumes, all edges gilt, contemporary gilt-decorated green morocco, heavily rubbed, spines darkened, folio (Qty: 2)NOTESProvenance: Sir Stephen Lewis Courtauld MC FRS (1883-1967), English philanthropist and youngest brother of Samuel Courtauld, founder of the Courtauld Institute of Art.

Knight (Charles) . London, 6 volumes (bound in 6), 1841-44, numerous black & white illustrations, some toning & light marks, uniform contemporary gilt decorated half calf, boards & spines rubbed with minor loss, 8vo, together with Hedgemann (Werner & Peets, Elbert) , The American Vitruvius: An Architects Handbook of Civic Art, 1922, New York, numerous black & white illustrations, ex-library copy with associated bookplate & stamps, some minor toning & marks, publishers original gilt decorated blue cloth, boards & spine slightly rubbed to head & foot, folio, and Alpern (Andrew) , The New York Apartment Houses of Rosario Candela and James Carpenter, 1st edition, 2001, New York, numerous black & white illustrations, bookplate to front pastedown, original cloth in dust jacket, 4to, plus other 19th century & modern London & American architecture reference & related, mostly original cloth in dust jackets, G/VG, 8vo/folio (Qty: 6 shelves & a carton)