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* HARRY MAGEE (SCOTTISH CONTEMPORARY), SILENT CITY etching, signed, titled and numbered 7/50 12cm x 32cm Mounted, framed and under glass. Note: Harry Magee trained at Glasgow School of Architecture from 1960 to 1962 and then at Glasgow School of Art, 1962 to 1964. He took up printmaking when he joined Glasgow Print Studio in 1978, working in photo-etching and later in photopolymer gravure. He was elected a Professional Member of the Scottish Society of Artists in 1988 and served as Chair of Glasgow Print Studio from 1989 to1993. He has had many solo exhibitions and taken part in numerous group and selected shows. His work is held in Public, Corporate and Private Collections.

* EMMA S DAVIS RSW PAI (SCOTTISH b 1975), ALWAYS THERE mixed media, signed; titled verso 91cm x 91cm (approximately 36 x 36 inches) Framed and under glass. Note: Emma studied contemporary art and painting at the Glasgow School of Art and graduated in 1998 with a sell-out Degree Show, sales included pages from her sketchbook. From the time of graduating to today she has been working full time as an artist. Emma’s diary is filled with exhibitions and commissions from collectors worldwide. She has received many awards over the years including House for an Art Lover Award, the Sir William Gillies Award, the Miller’s Creativity Award, the Glasgow Art Club Award and others. She was the youngest ever winner of The Alexander Graham Munro Travel Award, which took her on an extensive tour of Italy in 2000. At the age of 23 she was also one of the youngest artists to receive the RSW Diploma which she received from HM The Queen. A few years later she also became one of the youngest ever artists to receive the Paisley Art Institute Diploma.

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

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

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

Four contemporary art glass vases with tubeline decoration and two large art glass bowls, H31cm max Condition Report Click here for further images, condition, auction times & delivery costs

An Art Deco Ivory Figure, circa 1920, of a nude maiden, stood on tiptoes with both arms outstretched, on a green onyx base, unsigned, 18cm with three black and white contemporary photographs

Donald Hamilton Fraser (1929-2009) Scottish ''Cyclades'', circa 1960 Oil on paper, 44cm by 38cm Exhibited: ''Painting into Textiles'', The Institute of Contemporary Arts, October 1953, where it was purchased by David Whitehead Literature: ''Artists' Textiles in Britain 1945-1970'', The Antique Collectors' Club in association with The Fine Art Society/Target Gallery, 2003, p.58, no.45 Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration

Marie Walker Last (1917-2017) Abstract Inscribed verso ''Marie Walker Last for St Johns Queens Rd Ilkley'', oil on paper, 43cm by 58cm Before lot 7 During a childhood in West Yorkshire, Marie showed an early inclination towards art encouraged by her father, a successful textiles manufacturer and art enthusiast. After a spell in the Land Army during the Second World War, Marie's early artistic inclinations leant towards capturing the landscape of West Yorkshire. In the mid-1950's she became a member of the Northern Federation of Artists, and whilst attending their summer painting schools met leading artists such as Robert Medley and Terry Frost. Here she was encouraged to move beyond representational depictions of landscape towards more abstract, personal expressions of her surroundings. In 1956 Marie was accepted into the Chelsea School of Art, where she produced bold abstract expressionist work often inspired by her fascination with the Universe and space exploration. Whilst in London, Marie threw herself into the vibrant art scene, working for the Molton Gallery, Annely Juda and New Vision Centre Gallery. Her first solo show in 1959 was at University Gallery, Newcastle, an offshoot of the New Vision Centre Gallery focusing on contemporary abstract art. This was followed by a solo show in the New Vision Centre Gallery in London. In 1961 Marie married lawyer Tom Last and moved to his home town of Ilkley, where she established a studio in nearby Menston. Here she gravitated back to her early fascination with the Yorkshire landscape, which once more became a strong focus for her work. Marie exhibited both locally and nationally, with her first major retrospective held at Dean Clough Gallery, Halifax in 1991. Throughout her long career, Marie Walker Last experimented widely with different movements and styles, but her diverse work is unified by a common emotional response to the landscape around her. Marie Walker Last held many solo exhibitions throughout the 1950's, 60's and 70's and her works can be found in the collections of the Bank of England, Bradford University, Leeds University, Bradford Art Galleries and Museums, The Open University, Halifax Building Society, York University, Arthur Haigh Collection, Granada Television, Yorkshire Television and numerous private collections. ''It is difficult to put into words my aims as a painter: to be able to do so would make painting unnecessary. In abstract painting one is searching in deeper then surface levels for something glimpsed ''beyond human ken'', translating this into shapes, forms, colour and space and always struggling to convey that extra mystical something which is the essence of all good paintings''. Marie Walker Last 1966

CONTEMPORARY ART DECO RESIN FIGUREof a dancing lady in tradition dress on shaped base, 28cm high

A picture entitled Three Elms contemporary art by Georg Guest The signed and limited Print (54/150) is framed behind glass. Christie's label on the back. 35cm x 46cm Framed 52cm x 64cm

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.

RYAN MUTTER (b.1978) 'The Yard Boys', signed, oil on canvas, 28 x 28cm Exh. The Contemporary Fine Art Gallery, Eton, One Man Exhibition 2015 'Times Gone By' and sold together with exhibition catalogue

Mid 16th-early 17th century AD. A rapier of possible Spanish or Italian manufacture; the open basket-hilt sword, fitted with the blade, has straight double-edges with a pointed blade(?), presenting a hilt with straight quillons; the side guards are still preserved, together with the arms of the hilt and the knuckle bows; with two additional rings on the lower part of the hilt, bowing towards the flat undecorated blade; the sides of the blades show strong signs of employment in battle. See Tarassuk L., Blair C., The complete Encyclopedia of arms and weapons, Verona, 1986. 1.6 kg, 94cm (37").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato.A variety of swords were used by the Englishmen during the Tudor period, these included the cutting sword, the broadsword and the rapier. The cutting sword was useful in the medieval period but was less effective on the battlefield by the time the Tudor era began. It was consequently replaced by the rapier which was sleeker and was adopted from Spain. It was a slender sharply pointed sword, mostly used for thrusting attacks, as in fencing. It was very thin and sharp, making it look like a thin pole. The rapier was also used by English noblemen to test their skills at fencing which had become a popular sport during the Tudor period. It was common for the noblemen to wear their rapier along with the civilian dress, usually as a part of the clothing. Discussions about the origin of the use of the rapier in England frequently begin by focusing on the very late 16th century. The term rapier was borrowed in 16th century from the French rapière, which was recorded first in 1474AD in the expression épée rapière, which itself derived from the contemporary Spanish espada ropera, the dress sword carried daily by the Spanish noblemen and gentlemen (Tarassuk-Blair, 1986, pp.401 ff."). This weapon was lighter than the arming sword. With the development of the art of fencing in 16th and 17th century the rapier became narrower and lighter, and so suitable for thrusts only. The teaching of rapier was established in England before 1569, and well before that, the school of the famous Italian teacher Rocco Bonetti, who was already established and active in 1576. Accounts from the 1630s set the time when the rapier replaced the sword and buckler as the weapon of choice for civilian combat as being '20. yeare of Queene Elizabeth' or about 1578. But in order for a weapon to become popular there has to have been training beforehand, in which the Masters of Defence of London played the major' part. This sword is an interesting piece belonging to the early period of diffusion of the rapier in England, with all probability from a battlefield, a castle or a military site. The weapon that embodied the duelling spirit was the rapier. The introduction of the rapier into England was one of the most significant single innovation, yet for those unwilling or unable to use such a 'sophisticated' weapon the 'cut and thrust' sword, arming sword or broadsword remained the primary edged weapon, that is after the omnipresent dagger. The new technique of swordplay, introduced in the mid XVI century, gave emphasis to the point of the blade as main instrument of attack. This brought the change of the structure of the sword's guard. In order to point the blade more effectively, some swordsmen used to put one or more fingers in front of the quillons, and these fingers needed to be protected by the arms of the hilt and side guards. Since ordinary gloves were usually worn during an encounter, the increase of all these elements of the guard became a necessity to cover the hand of the target nearest to the opponent. The English at the end of the 16th century followed the continental fencers in taking on the use of the rapier. Just to give a glimpse we can remember as on September 22nd, 1598, two men wandered out into the damp fields of Hoxton, north of London. On that muddy ground, they drew swords – at least one of which was 'a certain sword of iron and steel called a rapier, of the price of three shillings” and fought. At the end of the affray, one man lay dead, suffering 'a mortal wound, to the depth of six inches and the breadth of one inch' to his right side. That man was Gabriel Spencer, a play-actor in the Lord Admiral’s Men and the man that killed him was Ben Jonson, the playwright, friend of William Shakespeare and one of the most famous dramatists of the age. In defence of a proper English technique, George Silver published a treatise called the Paradoxes of the defence, a treatise which was used to espouse the use of the English weapons and to downplay the use of the rapier. Silver hated the Italians and Spanish and made sure that his readers knew that these styles were more dangerous for the user than good English practices. He also wrote a treatise on his Paradoxes called Brief Instructions. The Italian Elizabethan Masters were instead Saviolo and Di Grassi. Saviolo' s works cover not only his view on fencing mechanics but also the concept of the honour. Di Grassi treatise in particular was one of the finer manuals translated to English in this time period. Although Di Grassi predates the Elizabethan period, his manual, which was originally published in 1570, was translated into English in the late Elizabethan period. Not every sword maker could make a good rapier blade. The most part of the blades were made in specialised workshops: in Italy, Milan and Brescia; in Spain, Toledo and Valencia; in Germany, Solingen and Passau. From these cities the blades were exported throughout all Europe, and the hilts mounted in accordance with local fashion and decoration. For example, although Milano, Napoli, and Palermo were subjects of Spain, the decoration style was typically Italian. In Southern Italy the dominant features were the fuller running down the blade and the decorative work using the technique à jour.Fine condition. Rare.

16th-17th century AD. A war hammer or Nazdiak of Polish origin, the head composed of two pieces; the twisted shaft made of solid iron, and the head, made of one single piece, shaped like a hammer from one side and a pointed spike or dagger from the other side; the dagger showing a strong quadrangular outline, fixed to the shaft with an upper insertion hole and then rivetted, with the help of an auxiliary iron cap; its spike of a 'raven beak' shape of quadrangular section, while the hammer is flat at the top; the shaft is particularly twisted, and ends, in the lower part, with a short handle. See Йотов В, Въоръжението и снаряжението от българското средновековие (VII-XI век), Варна, 2004; Brzezinski, R., Polish Armies 1569-1696 (1), London, 1987; Gilliot, C., Armes & Armures/Weapons & Armours, Bayeux, 2008. 2.1 kg, 60cm (23 1/2").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato.The war hammer was a bulky weapon. The wider use of hammers, especially among riders, began in the 13th century, with the spread of armour, although traces of war hammers could already be found in 10th century Byzantium, with the weapon called akouphion (Yotov, 2004, pp.106-107"). At the beginning it was made of a lead cylinder, extremely heavy with a handle (Gilliot, 2008, p.150"). In the late Middle Ages (XIV-XVI centuries), with the introduction of a new means of defence - the plate armour, against which swords, axes, maces and other melee weapons were less effective, various types of war hammers became widely used. The old cylindrical plommée (lead cylindrical hammer) were replaced in the early 15th century, by the more solid and light iron hammer. This was a lighter weapon, not exceeding 2.5 kg, the knob of which was a hammer itself or had a hammer on one side and a beak on the other, that is, a facetted spike or a massive blade of different lengths, a straight or slightly curved blade. The name hammer comes from one of the elements of the warhead, even if the a real hammer itself may not be on it. Because of their appearance, hammerheads with beaks were often known by bird-related names, such as ‘black beak’ in Spain, ‘crow’s beak’ or ‘eagle’s beak’ in France, ‘falcon beak’ in Italy and ‘parrot beak’ in Germany and Poland. The bec de courbin' had a particular pointy beak aimed at delivering strong thrusts. Often there was also a point pointing upwards and additional short spikes, directly inserted on the impact surface of the hammer or sideways. The beak was capable of breaking chain mail or breaking through plate armour. With a hammer, the enemy could be stunned and his armour deformed. Beaks could also be used to capture the enemy, primarily pulling the rider off of his horse. But for this, hammers having long shafts were better suited. In this case the bec de courbin took up a long handle in the middle 15th century and was called, because of its primary use by the Swiss infantry, 'Lucerne Hammer'. Compared to the mace and the axe attached to the saddlebow (arcione), the war hammer originated several variants which, to date, make it rather difficult to discriminate its archetypal form. The weapon presented here had in fact, enormous similarities with the horseman's pick, only in some of its regional variants well distinguishable from the war hammer (eg. the Polish nazdiak,) often called a raven-headed hammer of the type here represented. It has good parallels with Polish originals of 16th-17th centuries in the Wojska Polskiego Museum (Polish Army Museum), Warsaw, and illustrated in contemporary documents (Brzezinski, 1987, p.41"). Most probably this specimen is from a battlefield or a castle as it is in excellent condition. The horseman's pick has remarkable similarities with the war hammer, so that some variants of the two weapons are almost identical. In the Germanic areas, both weapons are identified as hammer ('hammer' in German language): reiterhammer ('knight's hammer') the horseman's pick and kriegshammer ('war hammer') the war hammer. The distinguishing element is the shape of the hammer head. Weapon apt to injure by blow, the proper war hammer had often a serrated and massive head. The hybrid forms (eg. Polish czekan,) similar to the peak of arms, instead present a hammerhead reduced to a mere counterweight for the long metallic 'beak' that protrudes on the other side of the head, destined to pierce the armor or the opponent's helmet. However, by comparing a Polish nazdiak with a French or Italian war hammer, fundamental differences stand out. There where the western war hammer (like the heaviest Italian mazzaapicchio) which is able to strike both with the head of the hammer, often toothed, and with the curved tip; the horseman's pick striking mainly with the pointed peak, while the hammerhead was reduced to a mere counterweight. Another distinctive feature of the Polish nazdiak is it being made entirely of metal, like the Italian war mace, and it being longer than the war hammer. Eloquent in regard to its efficiency, is the witness of the account of Abbot J?drzej Kitowicz, who lived at the time of August III of Poland (1696-1763): '[The nazdiak] is a terrible instrument in the hands of the Poles, especially if they are in a warrior or altered mood. With the sabres you can cut off someone's hand, tear his face and injure him in the head and the sight of the blood that flows from the enemy can thus calm the resentment. But with the nazdiak you could cause a fatal injury without seeing the blood and, not seeing its, calm down, instead ending up hitting several times without cutting the skin but breaking bones and vertebrae. The nobles with clubs often beat their servants to death. Because of the danger it posed, they were forbidden to be armed during large assemblies or parliamentary sessions. [...] And in truth, it was a brigand's instrument, because if you hit someone with the pointed beak of the nadziak behind the ear, you kill it instantly, the temple pierced by the deadly iron. '(Jędrzej Kitowicz, Opis obyczajów za panowania Augusta III)'.Fine condition. Very rare.

11th-12th century AD. A Western European iron conical helmet of Norman or German origin, with one-piece bowl, the fairly low central ridge tapering off at the forehead to which a nose-guard was originally attached; the back of the neck around the lower edge is still preserved; on the front part of the helmet where the rim is completely preserved, eight holes of the original sixteen are visible, intended to fix the internal lining. See Gravett, C., Norman Knight, 950-1204 AD, London,1993; Hermann Historica, 58 Auktion, Ausgewählte Sammlungsstücke – Alte Waffen, Militärisches und Historisches Oktober, 2009, München, 2009; Profantová N., Karolinské importy a jejich napodobování v ?echách, p?ípadn? na Morav? (konec 8. – 10. století), in Zborník Slovenského Národného Múzea –archeológia supplementum 4, 2011, pp.71-104; D’Amato, R., Old and new evidence on the East Roman Helmets from the 9th to 12th centuries, in Acta Militaria Mediaevalia XI, Kraków – Sanok – Wroc?aw, 2015, pp.27-157; Coppola, G., Battaglie Normanne di terra e di mare, Napoli, 2015; our specimen has a clear parallel with a helmet presented by Hermann Historica in the auction of 08.10.2009 (Hermann Historica, 2009, cat.488), to which it is completely identical in the upper part, although the European specimen of Hermann Historica was complete with nose-guard; comparable elements are known in German private collections (D’Amato, 2015, p.70, figs.31.1-2); the iconography is rich, a helmet of this type being represented in the Add. Ms.14789, f.10 of the British Library, showing the duel between David and Goliath (Gravett, 1993, p.51"). 716 grams, 21cm (8 1/4").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato.This specimen belongs to the category of helmets beaten out of a single piece of metal. The nasal, as it was probably in this case, could be forged in one with the helmet, although illustrations suggest that many were made with an applied brow-band. Helmets might have been painted, and all helmets were lined. As no lining and few helmets survive, some scholars consider this idea a simple hypothesis based on the presence of rivets and the examples of later helmets. It may be that a band of leather was rivetted inside the brim, to which a coarse cloth lining was stitched, probably stuffed, quilted and possibly cut into the bowl, then adjusted for height and comfort. The helmet would have been supplied with a thong at each side which fastened under the chin to secure it on the head (Gravett, 1993, p.11"). Contemporary references to lacing helmets are common. It also helped to prevent them from being knocked over the eyes. The helmet (cassis) was usually carried fastened under the chin and the presence of a padding inside to cushion the blows was absolute necessary, since a blow of a sword or a mace, even if it did not break through the skull causing immediate death, stunned the knight making him helpless.Fair condition, some loss and surface pitting, restored. Rare.

A.R. Penck ( -) STICK FIGURE signed and editioned 34/50 lithograph printed in colours 250 by 130cm 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.His stick figure was Penck's most common motif and is given precedence in the lithograph Stick Figure, which is part of the artist’s well known Standart works, which he produced over a number of decades. The works in this series evoke graffiti art, cave paintings and Asian calligraphy. Here the colourful stick figure takes centre stage in the composition. The character could not be more typical of Penck’s chosen subjects. In the 1980s, when his career began to take off. Penck began exhibiting widely in London and New York and participated in the 1984 Venice Biennale as well as four editions of Documenta.

A.R. Penck ( -) STALIN WAR UR EIN SPIEL artist's signature inscribed into the frame on the reverse Lücke TPT: Harald Gallasch.Wolgang Opitz.A.R Penck.Terk.Gemeinschaftsbilder.Dresden 1971 – 1976, Museum für Gegenwartskunst, Basel, 1992 Lücke TPT: Harald Gallasch.Wolgang Opitz.A.R Penck.Terk.Gemeinschaftsbilder.Dresden 1971 – 1976, Städtische Galerie im Städel, Frankfurt am Main, 1992 Lücke TPT: Harald Gallasch.Wolgang Opitz.A.R Penck.Terk.Gemeinschaftsbilder.Dresden 1971 – 1976, Staatliche Kunstsammlungen Dresden Gemäldegalerie Neue Meister, 1993 Lücke TPT: Harald Gallasch.Wolgang Opitz.A.R Penck.Terk.Gemeinschaftsbilder.Dresden 1971 – 1976, Universitätsdruckerei und Verlag, H.Schmidt GmbH. Mainz, 1972, illustrated on P90 PROVENANCEAccompanied by Lücke TPT: Harald Gallasch.Wolgang Opitz.A.R Penck.Terk. Gemeinschaftsbilder.Dresden 1971 – 1976, Universitätsdruckerei und Verlag, H.Schmidt GmbH. Mainz, 1972. Signed by the artist. Schmerbach Collection, Berlin 123 by 84cm 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.In 1971 Penck was a founding member of the artist’s group GAP, along with Steffen Terk, Wolfgang Opitz and Harald Gallasch. GAP existed until 1976. Stalin War Nur Ein Spiel is an acrylic on board work in which Penck incorporated a number of found objects including pieces of wood, playing cards and a book about Stalin. The book has been adhered to the board only by the back cover, making it possible to turn the pages. Thus making the information potentially available. The playing cards allude to games and a magician’s tricks. A literal work, all elements directly link to the title, which translates from German to mean Stalin Was Just a Game.

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.