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Sergei Nikolaievich Andriyaka (Russian b. 1943) Fir trees in the snow; Autumn trees Two, both signed, one dated 2010, the other 2004 Both watercolour 68.2 x 51.2cm; 74.6 x 53.2cm (2) Provenance: Both acquired from the artist by the current owner; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 216-217, 220-221 (both illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Sergei Nikolaievich Andriyaka (Russian b. 1943) Flooded forest; Landscape with buildings amongst trees; Landscape with a path running alongside a forest Three, each signed and variously dated 2008, 2004, and 2007, and extensively inscribed to backing boards Each watercolour 11.2 x 16.6cm; 11 x 17.4cm; 10 x 17.8cm (3) Provenance: Each acquired directly from the artist by the present owner; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 214-215, 218 (each illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Sergei Petrovich Tkachev (Russian b.1922) Pasture Signed, and further signed, dated 1980, titled and inscribed to verso Oil on board 48 x 59.7cm Provenance: A Private Collection of Soviet, Russian and Azerbaijani Art Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Yuri Krotov (Russian b.1964) In the Garden Signed, and further signed and titled to verso Oil on canvas 73 x 50cm Unframed Provenance: A Private Collection of Soviet, Russian and Azerbaijani Art Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Natta Konysheva (Russian b.1935) Sergei's Birthday; The Circus Two, the latter signed, and each signed, titled and dated 1999 and 2000 to verso The former oil on canvas, the latter oil on board 46.3 x 84.6cm; 39.3 x 58.9cm (2) Provenance: Each acquired directly from the artist's estate by the present owner, c. 2010; A Private Collection of Soviet, Russian and Azerbaijani Art Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Emin Mamedov (Russian 20th Century) Still life with a vase Inscribed to verso Oil on canvas 90.5 x 70cm Unframed Together with Breezhatyk (Russian 20th Century), Mother and Child, signed and dated 98, oil on canvas, 80.2 x 50.3cm, unframed (2) Provenance: A Private Collection of Soviet, Russian and Azerbaijani Art Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Pavel Alexandrovich Radimov (Russian 1887-1967) Village landscape Oil on cardboard Inscribed and numbered 025624 to verso 27.8 x 44.7cm Unframed Provenance: Acquired from the artist's family by the current owner c.2007-2008; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 329-331 (illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

Leonid Vasilievich Markov (Russian 1926-1988) Still life with a vase of roses Signed and titled to verso Oil on board 41.8 x 23.4cm Unframed Provenance: Acquired from the artist's family by the current owner, 2010; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 276-277 (illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.

‡ John Kingsley RSW, PAI (Scottish b.1956) St Paul de Vence, France Signed Oil on canvas 81.5 x 81.5cm Provenance: The Contemporary Fine Art Gallery, Eton

‡ John Kingsley RSW, PAI (Scottish b.1956) Back street, Ronda, Spain Signed Oil on canvas 51 x 51cm Provenance: The Contemporary Fine Art Gallery, Eton

‡ John Kingsley RSW, PAI (Scottish b.1956) Landscape in Averyron, France Signed Oil on canvas 46 x 51cm Provenance: The Contemporary Fine Art Gallery, Eton

‡ John Bellany RA (Scottish 1942-2013) Bells afore ye go Signed and titled Watercolour and pencil 37 x 27.5cm Provenance: McTears, Glasgow, The Scottish Contemporary Art Auction, 11 November 2018, lot 132

‡ Alan Bennett (Contemporary) Three heads Signed Acrylic on canvas board 37 x 35.2cm Provenance: The Contemporary Fine Art Gallery, Eton

Pinelli (Bartolomeo). Nuova Raccolta di Cinquanta Costumi de' Contorni di Roma compresi diversi fatti di briganti disegnati ed incisi all' acqua forte da Bartolomeo Pinelli cominciati l'anno 1819, compiti nel 1822, Rome Gio. Scudellari, 1823, printed title and 50 etched plates on laid paper, some light waterstains and minor marginal spotting, some fraying to extreme edges of first and last few leaves, generally with wide margins, untrimmed, contemporary plain wrappers, some worn and soiled, oblong folio (29 x 44 cm, 11.5 x 17.25 ins) (Qty: 1)NOTESProvenance: From the Estate of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.

Warwickshire. An illuminated presentation album, containing watercolours of Warwickshire landmarks & views by Herbert Edward Cox, October 1904, presented to F.G. Green Esq. H.M.I. on his retirement as an inspector of schools from local teachers' associations October 1904, comprising 2 leaves of thick board with presentation title and address signed by association members, and 18 watercolours by H.E. Cox of Warwickshire landmarks & views, each window mounted on 8 thick board leaves (including circular, oval and rectangle portrait & landscape formats, mounted back-to-back), views include Coventry, St. Michael's Spire, St Mary's Hall, Ford's Hospital, Royal Pump Room, Henwood Mill, Griff House, Solihull Church, Coton Church, Warwick Castle, Leamington Bridge, Adelaide Bridge, Guy's Cliffe, Kenilworth Castle, Leicester's Hospital, Stratford-on-Avon Church, Shakespeare's Birthplace, and Ann Hathaway's Cottage, each signed by the artist and dated 1904, dimensions vary from approximately 15 x 11 cm to 9 x 10.5 cm, occasional light finger-soiling to margins and few marks, all edges gilt, marbled endpapers with black calf leather hinges, contemporary black calf, upper board with five roundels containing watercolour armorials of Warwickshire, Coventry, Royal Leamington Spa, Warwick and Stratford-on-Avon, neatly rebacked, extremities rubbed, covers slightly scuffed, oblong folio, leaf size 24.7 x 37.6 cm (Qty: 1)NOTESHerbert Edward Cox (1870-1941) was born in Coventry, the fifth of seven children born to James and Sarah Cox. He attended the Grammar School, and after the death of his father in 1887 he trained to paint at the Municipal School of Art in Coventry, becoming a designer and draughtsman. The family moved in 1901 to Eastbourne, where his mother kept a lodging house and he took up textile design. Herbert returned to the Midlands after marrying fellow Coventrian, Margaret Shilton, a secondary school teacher, in Yorkshire. He taught painting at the Coventry Technical Institute and became recognised locally as an accomplished artist, recording street scenes of pre-war Coventry and many surrounding villages and towns.

Heydon (Christopher). The New Astrology; or, the Art of predicting or foretelling future events, by the Aspects, Positions, and Influences, of the Heavenly Bodies..., 2nd edition, London: G. Kearsley, 1786, folding engraved frontispiece (slightly browned to fold and few light tears mostly at head & foot), with frontispiece explanation leaf present, light toning and occasional dust-soiling, early notes and diagrams to endpapers with ownership inscription 'John Bramley His Book 1806', contemporary sheep, joints cracked, worn at head & foot of spine, 12mo in 6s, together with [Swift, Jonathan] , Travels into several Remote Nations of the World. By Captain Lemuel Gulliver, volume 2 only (comprising parts III & IV), second edition, London: Benjamin Motte, 1726, 3 engraved maps, some browning, light dust-soiling & spotting, armorial bookplate of John Natt to upper pastedown, cloth hinge repairs, contemporary mottled calf, old reback preserving original spine, joints cracked and some wear, 8vo (Teerink 290, the AA edition), plus [Brown, Joseph] , The Tryal of Thomas Duke of Norfolk by his Peers, for high treason against the Queen ... 1571 ... for attempting to marry Mary Queen of Scots without the consent and approbation of the said Queen Elizabeth..., London: J. Morphew, 1709, light dust-soiling, spotting mostly at rear, contemporary calf, joints cracked, slight loss of leather to lower panel of spine, 8vo, and [Aram, Eugene] , The Genuine Account of the Trial of Eugene Aram, for the Murder of Daniel Clark, Late of Knaresbrough, in the County of York. Who was convicted at York Assizes, August 5, 1759, before the Honorable William Noel..., 9th edition, Knaresbrough: Hargrove & Sons, 1808, some dust-soiling and marks mostly at front & rear, near contemporary half calf, spine rubbed, 12mo in 6s, plus other 18th & 19th century antiquarian (Qty: 28)

Campbell (Colen). Vitruvius Britannicus, or The British Architect, Containing the Plans, Elevations, and Sections of the Regular Buildings, both Publick and Private, in Great Britain..., volumes 1-3, [1725], 229 engraved plates only of 335 (including 48 double-page & folding, engraved title-pages to volumes 1 & 2 in English & French, & engraved dedication to volumes 1, lacking 6 double-page plates), titles to volumes 1 & 2 without imprint, volume 3 with letterpress title in red & black and imprint dated 1725, letterpress dedication also to volume 3, some dampstaining and light dust-soiling, occasional worming to margins, slight marginal fraying to few plates, few marks, contemporary calf, gilt decorated spines lacking title labels, joints split, worn, folio (Qty: 3)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and curator of the Fitzwilliam Museum, Cambridge. Volume 1 contains 86 engraved plates (numbered 1-100, includes engraved title, dedication & 14 double-page & folding plates), occasional dust-soiling, some dampstaining mostly to lower margins, folding plate of Castle Howard frayed to margins. Volume 2 contains 73 engraved plates (numbered 1-20 & 23-98, lacking double-page plates 21/22 & 99/100, includes engraved title, 14 double-page & folding plates), occasional dust-soiling, some dampstaining mostly to lower margins, worming to some inner & lower margins. Volume 3 contains 70 engraved plates (numbered 7-56 & 61-100, lacking double-page plates 3/4, 5/6, 57/58 & 59/60, includes 20 double-page & folding plates), occasional dust-soiling, some dampstaining mostly to lower margins. Fowler 76; Harris 97 & 99.

Flaxman (John). [The Odyssey of Homer engraved from the compositions of John Flaxman] & The Iliad of Homer, engraved from the compositions of John Flaxman, 2 volumes, 1805, engraved title page to second volume of The Iliad, but without title page to first volume of The Odyssey, 34 and 39 line engraved plates respectively, the first volume with some marks and light damp marking to upper outer corners, all edges gilt, contemporary uniform dark green half morocco, rubbed and some marks, first volume with some wear to covers, oblong folio, together The Theogony Works & Days & The Days of Hesiod engraved from the compositions of John Flaxman, 1817, engraved title and 37 numbered line-engraved plates, engraved by William Blake after Flaxman, some scattered spotting throughout, marbled endpapers, front and rear inner hinges restrengthened, all edges gilt, contemporary gilt-decorated full green crushed morocco, a little rubbed and scuffed to joints and edges, and a little faded to spine and outer margins, oblong folio (27 x 42 cm, 10.5 x 16.5 ins) (Qty: 3)NOTESProvenance: From the Estate of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.

Ottley ( William Young ). A Collection of One Hundred and Twenty-Nine Fac-Similes of Scarce and Curious Prints, by the Early Masters of the Italian, German, and Flemish Schools; Illustrative of the History of Engraving, London: Published for the Proprietor, 1828 , additional engraved title, 120 india proof facsimiles on 82 leaves, mounted with 12 additional niello prints printed on silver colour paper, occasional spotting, top edge gilt, contemporary half vellum, green morocco spine label, rubbed and scuffed, folio, together with Ottley (William Young) , An Inquiry into the Origin and Early History of Engraving, upon Copper and in Wood, with an Account of Engravers and their Works, from the invention of Chalcography by Maso Finiguerra, to the time of Marc' Antonio Raimondi, 2 volumes, London: John & Arthur Arch, 1816, Large Paper copy, woodcut & engraved plates and illustrations (woodcuts of St. Bridget and St. Christopher in black & white and colour), scattered spotting throughout, all edges gilt, contemporary russia calf, both volumes rebacked, folio (Qty: 3)NOTESProvenance: From the Estate of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.

Rubens (Peter Paul, 1577-1640). Twelve Famous Greek and Roman Men, [Antwerp], 1638, the set of 12 copper engravings on laid paper by Paulus Pontius, Lucas Vorsterman, H. Withoue and B. a Bolswert after Rubens, very good, strong impressions, with good margins, some very light marginal spotting (generally in very good, clean condition), bookplate of Michael Jaffé to front pastedown, near-contemporary sprinkled full calf, gilt decorated spine, a little rubbed and minor wear to joints and outer corners, large slim folio (37.5 x 27.5 cm, 14.75 x 10.8 ins) (Qty: 1)NOTESProvenance: From the Estate of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Gift inscription to front endpaper dated Christmas 1961 'To Michael from Tim. From the Earl of Pembroke's library, Wilton House, a selection of which was sold at Sotheby's on 27 November 1961: this volume formed part of lot 135.'. First edition of the complete set of twelve engravings based on drawings by Rubens after antique busts, engraved under Rubens' close supervision, possibly from sculptures in the artist's own collection. The subjects are: Socrates, Plato, Demosthenes, Democritus, Sophocles, Hippocrates, Julius Ceasar, Nero, Scipio Africanus, Cicero, Seneca, and Marcus Brutus.

Rubens (Peter Paul). Musée du Louvre. Galerie de Rubens dite du Luxembourg composée des vingt-quatre tableaux de la vie de Marie de Médicis gravés sur acier par les premiers artistes avec leplus beau portrait de Rubens dessiné et gravé par Leclerc, ouvrage accompagné d'un texte descriptif... par S. de Saint-Planchez, Paris, Gustave Guerin, [1882], 40 pages of printed text, 24 engraved plates on india paper paintings by Rubens, each with accompanying leaf of descriptive text, a few leaves loose, top edge gilt, contemporary red half morocco, gilt decorated spine, a few minor marks and minor wear to exremities, large folio (49 x 33 cm, 19.25 x 13 ins) (Qty: 1)NOTESProvenance: From the Estate of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.

Smith (George). The Cabinet-Maker and Upholsterer's Guide: Being a Complete Drawing Book; in which will be comprised Treatises on Geometry and Perspective..., to which is added, a complete series of New and Original Designs for Household Furniture, and Interior Decoration..., London: Jones & Co., 1826, additional engraved title, 151 engraved & etched plates including 38 hand-coloured, front blank with old ink ownership stamp of J.M. Robertson, Kings Head Hotel, Monmouth, browning and scattered spotting, occasional staining mostly to fore-edge margins, contemporary half calf, gilt decorated spine, extremities slightly rubbed, 4to, together with Smith (James) , The Panorama of Science and Art..., 2 volumes, London: Caxton Press, by Henry Fisher, circa 1816, engraved frontispiece to each volume, 48 engraved plates including 5 folding, scattered spotting and offsetting, verso of front free endpapers with old ink ownership stamp of J.M. Robertson, Kings Head Hotel, Monmouth, front pastedowns with early 19th century engraved advertising label for 'J.M. Robertson, Cabinet & Chair Maker, Upholsterer &c., Gloucester. Orders Executed with punctuality & Dispatch. Funerals Performed', contemporary gilt decorated straight-grain red morocco by Needham of Westgate Street, Gloucester, extremities slightly rubbed, 8vo (Qty: 3)

Turnbull (George). A Treatise on Ancient Painting, containing Observations on the Rise, Progress, and Decline of that Art amongst the Greeks and Romans..., London: Printed for the author; and sold by A. Millar, 1740, title in red & black, 54 engraved plates (6 double-page or folding), occasional scattered spotting and marginal finger-soiling, contemporary calf, rebacked and corners repaired, folio (Qty: 1)NOTESProvenance: From the Estate of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.

Vasari (Giorgio). Le Vite de'piu eccellenti Pittori, Scultori, e Architettori, scritte, & di nuovo ampliate..., co'ritratti loro et con le nuove vite dal 1550. in fino al 1567, Parts 1, 2 and 3 (Primo Volume only), lacking the final part entitled Secondo et ultimo volume della Terza Parte, 2 nd edition, Florence, Appresso I Giunti, 1568, elaborate woodcut title, woodcut initials and ornaments, woodcut portrait of the author to B4 verso, 126 large medallion woodcut portraits of artists, set within borders of female figures representing the arts (woodcut portraits to pages 166, 193, 200, 203 and 232 in Part 1, and to pages 16, 51 and 227 of Part 3 not printed), TT3 with a small portion of the leaf torn out and missing (affecting text), Part 3 lacking title (*1), and colophon leaf at end (Aaa2), some early ink marginal annotations to Part 3, some minor marks and soiling, contemporary vellum, first volume heavily worn with covers detached and spine defective, second volume with some soiling and wear, particularly to lower half of spine, 4to (Qty: 2)NOTESProvenance: John Flaxman (1755-1826), artist and sculptor, with his signature in brown ink to front pastedown of Part 3; John Payne Collier with his ink annotation below Flaxman's signature, and further annotation to verso of front endpaper, stating that the volume was given to him by Mr. John Wilson, dated 17 May 1880; Patricia Milne-Henderson, with her small bookplate to head of front pastedown, Gamba 1725; Censimento 16 CNCE 48229; Mortimer, Italian Books 515; PMM 88; Adams V296. The first two volumes of Vasari's three-volume work. The first volume consisting of the Prima e Seconda Parte, and the second volume containing the Primo Volume della Terza Parte. The third volume, not present here, is entitled Secondo et ultimo volume della Terza Parte. Vasari's Lives was first published in 1550, but without portrait illustrations. This second edition was significantly expanded, and is the first to include the woodcut illustrations. In this copy, the title page to the first volume does not include an inset view of Florence at the foot, and the image of dead artists rising from the ground is placed at the centre of the woodcut title, rather than printed on the verso. Flaxman lived in Rome between 1787 and 1794, and went on sketching expeditions with William Young Ottley in 1792. Flaxman was an assiduous student of so-called Italian 'primitives' such as Ghiberti, Botticelli and Signorelli, and it is no surprise that he owned a copy of this illustrated edition of Vasari's Lives, the 'first modern history of art' (Printing and the Mind of Man).

Clarke (Harry, illustrator). Faust by Goethe, from the German by John Anster, London: George G. Harrap, 1925, 21 plates, 8 in colour, letterpress vignettes, scattered spotting, contemporary ink inscription at head of limitation leaf, pictorial endpapers, top edges gilt, remainder untrimmed, original quarter vellum, spine slightly dust-soiled, paper-covered boards somewhat spotted and toned, corners showing, 4to, together with: Konody ( P. G .). The Art of Walter Crane, 1st edition, London: George Bell, 1902, 16 chromolithographed plates after book illustrations, 7 (of 8) photogravure plates (lacking frontispiece), 73 further plates (a few in colour), tipped-in facsimile bifolium on handmade paper reproducing two leaves from Kelmscott Press's The Story of the Glittering Plain, and numerous illustrations and decorations to text, half-title present, printed throughout in red and black, patterned endpapers (spotted), top edges gilt, remainder untrimmed, original gilt decorated two-tone cloth, damp-stained, two small holes in lower joint, folio (Qty: 2)NOTESClarke: limited edition, English issue, number 31 of 1,000 signed by the artist (a further 1000 copies printed for the American market). Konody: limited edition, number 53 of 100 copies on Arnold's Handmade Paper.

Pollet (Cedric). Bark, An Intimate Look at the World's Trees, London: Frances Lincoln, 2010, numerous colour illustrations from photographs, original cloth, extremities very slightly rubbed, dust jacket, folio, together with Livshits (B. I., editor) , Money of Russia, Moscow: Interbook Business, 2001, numerous colour illustrations, extremities very slightly rubbed, contained in original decorative box, rubbed in places, tab weak, folio, plus Gibbon (Edward) , The History of the Decline and Fall of the Roman Empire, Printed from the edition in twelve volumes, with an Introductory memoir of the author, by William Youngman, London: Frederick Westley and A. H. Davis, 1836, portrait frontispiece (spotted and offset to title), hinges strengthened with gummed tape, contemporary half black morocco, worn, thick 8vo, with others miscellaneous books, including British Sports and Sportsmen: Racing, 1920, Die alamannischen Graberfelder von Neresheim und Kosingen, Ostalbkreis, 1993, Miles Aircraft the Early Years: The Story of F G Miles and his Aeroplanes 1925-1939, by Peter Amos, 2009 (signed by the author), and various natural history, art reference, etc. (Qty: 2 cartons)

Storer (James Sargant ) . Ancient Reliques ; or, delineations of monastic, castellated, & domestic architecture,..., 2 volumes, 1812, numerous black & white engraved plates with tissue guards, period inscription to volume 1 front endpaper, bookplates to front pastedowns, volume 1 front endpaper reinforced with fabric tape, some spotting & light offsetting, uniform contemporary gilt decorated embossed calf, volume 1 front board partially detached, boards & spines rubbed with some loss to head & foot, 8vo, together with Mason (Rupert) , Robes of Thespis, costume designs by modern artists, 1st edition, 1928, Ernest Benn Ltd, 109 colour & monochrome plates, some light spotting throughout, original gilt decorated blue cloth In dust jacket covers marked & rubbed with chipping & minor loss to head & foot, large 4to, plus other late 19th century & modern architecture, costume, art & theatre reference, some leather bindings, mostly original cloth, some in dust jackets, G/VG, 8vo/folio (Qty: 6 shelves)

Madonna with child. . Oil on canvas . Cm 76,50 x 76,50. The artwork is accompanied by a card by Sandro Bellesi. In a good state of conservation, the artwork, originally placed in a rounded frame in the central part, presents, within an indefinite space and seemingly lacking in depth, the figure of the Virgin Mary sitting in the act of supporting on her own legs the Child Jesus, in an upright pose. Halo around by an intense divine brightness, the little child of God, the source of light itself, is described as an infant with a white complexion and a thick blonde hair slightly curled with a blessing hand turned towards one or more ideal bystanders. Full of tenderness and maternal love appears the figure of the Madonna, with perfect features and smooth skin evoking the shiny pink chalcedony of Volterra, which, placed three- quarters, is totally attracted by the contemplation of the little son. The high quality found in the execution of the figures is masterfully emphasized also in the rendering of the fabrics, orchestrated mainly on precious effects rich in enamel, alternating, mostly, blue lapis lazuli to pearly white and red coral to olive green. The style characters and the close affinities with some works by Carlo Dolci, representing the same composition, allow you to refer the painting to the catalogue of this artist. Born in Florence in 1616 and son of the tailor Andra Dolci, Carlo, according to the historical memories handed down by his friend and biographer Filippo Baldinucci ( news of the teachers of the drawing by Cimabue, Florence, 1681-1728), was initiated to study painting around nine years in the school of Jacopo Vignali, an important Tuscan painter from the atelier of Matteo Rosselli. The close dependence on this master's style combined with the knowledge and study of the works of other local painters of the turn of the century, first among all those of Cristofano Allori, characterize, at the turn of the twenties, the artist's first well-known works today, marked by a very refined stylistic language marked largely by an acute realism, clearly visible in the supervised rendering of the characters and in the almost maniacal care of details, carried out with a rigour that we could call hyper-realistic. The success achivied with the first works favored the artist, starting from the early thirties, coveted commissions, mainly linked to the Florentin patrician and in particular to Casa Medici, for whose members Carlo worked at full speed until the moment of his death. On the trace of biographical sources, archive documents and inscriptions present in many paintings it is possible to follow punctually the activity of our, characterized, semore, "frm imagesof virginal and timeless beauty, displayed by the very smooth and almost porcelain rendering of the incarnates on which a pale astral light is shattered, and an aura of sacredness that is also veiled in profane representations, mostly portraits and allegories". The strong link with Christian doctrines, which remained constantly as a key element for the reading of his works and life choices of the artist, led Carlo to abhor the depiction of sensual or malicious paintings, very much in vogue in the Florentine art of the time linked essentially to the teachings of Francesco Furini and his followers, and to dedicate almost all his paintings to sacred subjects, mostly Madonna and Child, Gospel episodes and images of saints. The pure and profound interpretetion of the sacred verb, key element for the iconographic and philosophical reading of the painter's works, favored the close link he established with the Grand Duke Cosimo III de Medici and the mother of these Vittoria della Rovere. The only journey made by the artist beyond the Tuscan borders dates back to 1672. On the occasion of the upcoming wedding of Archduchess Claudia Felicita of Austria with the Emperor Leopoldo of Hasburg, Dolci stayed, in that year, some months at the court of Innsbruck, where he made, among other works, two portrait of the future bride. On his return to his country he was attacked for some years by a deep depressive crisis, which led him almost to abandon his profession. Thanks to the closeness of his family and his closest friends, after 1675, the artist resumed his activity at full speed, which ended with his dead in 1687. The artwork is an autograph replica of well-known compositions by Carlo Dolci, whose prototype is traditionally recognized by contemporary critics in the Madonna with child, otherwise known as Madonna delle pietre due to the presence of a sumptuous baroque frame in gilded metal and semi-precious stones, preserved in the Palatine Gallery of Palazzo Pitti, coming from the Medici collections. Erroneously dated by Francesca Baldassari in the 1930s and the reported by Riccardo Spinelli in the following decade, the work was the object of constant reflections by the artist as they indicate, in addition to the work under consideration, some replicas, sometimes almost identical and others with slight variations, among which they deserve to be remembered, for greater lexical relevance and for better quality, a version at the Borghese Gallery in Rome and one in the collections of the Kunsthistorisches Museum in Viennna. The lack of historical memories related to the ab antiquo origin of the work does not exclude that it can be identified with one of the paintings with Madonna with child reported in the biographical documents and in the archival reports to the name of Carlo Dolci, among which appeared, precisely, a "beautiful Virgin with child, which with special care is preserved (go) in the chapel of the novitiate of the Fathers of St. Mark: work of alienated from the Florentine convent in the unknown era, whose historical memory was found by the writer only in recent times. Although slightly weaker in the passage of the brushstrokes on the crimson cloth of the Virgin's dress than the beautiful and cited prototype of the Palatine Gallery, the work, probably related to a later moment scalable to the sixties or seventies, reveals in any case the full autography of Dolci, as evidenced by the comparison with some derivations of workshop among which stands out a canvas in private collection assigned to seafaring honors: work, the latter, dignified but, to all intents and purposes, decidedly mediocre compared to the specimen under examination. . Frame present

A contemporary hallmarked silver Art Nouveau style photo frame, height 21cm.

Magazine of Art (The), vol.4-8, 10-15 & 18-22, engraved frontispieces and a few plates (some photogravure), wood-engraved plates and illustrations, vol.4-8 & 19-22 original red roan-backed cloth, the rest contemporary half calf, all rubbed, 1881-98; and 6 others, mostly duplicates, 4to; sold as a periodical, not subject to return (21)

NO RESERVE Fine art.- Gautier (Henri) L'Arte di Acquerellare, first edition in Italian, engraved folding plate, errata f., ink monogram stamp to title, N3 paper flaw at foot, some browning and spotting, contemporary calf, gilt, spine in compartments and with red morocco and paper labels, rubbed, Lucca, Giuseppe Rocchi, 1760; and 3 others, Fine Art (4)

NO RESERVE Modern Art.- Descharnes (Robert) Dali: La Obra y el Hombre, second edition, Barcelona, 1989 § Hohl (R.) Alberto Giacometti: Sculpture, Painting, Drawing, 1972 § Cousseau (H.-C.) Helion, Paris, 1992 § Crichton (Michael) Jasper Johns, 1977 § Knutson (A.C.) Andrew Wyeth: Memory & Magic, New York, 2010, illustrations, many colour, original cloth or boards with dust-jackets; and c.55 others on modern & contemporary art, many catalogues, v.s. (c.60)

Bewick (Thomas) The Fables of Aesop, and others, with Designs on wood, woodcut illustrations by Bewick, spotting, ink ownership inscription of David Croal Thomson to endpaper, bookplate of Lytton Strachey to pastedown, contemporary calf, gilt, spine gilt, upper cover detached, Newcastle, for T.Saint, 1784 § Richardson (Samuel) The History of Sir Charles Grandison, 7 vol., engraved frontispieces, contemporary tree calf, rebacked, W. Strahan, 1781 § Otway (Thomas) Plays, 2 vol., engraved plates, J. and R. Tonson, 1736; and 24 others, English literature, 8vo (34)⁂ David Croal Thomson (1855-1930), art dealer and critic, author of The Life and Works of Thomas Bewick.

NO RESERVE British Art.- Ruskin (John) The Works, edited by E.T.Cook and Alexander Wedderburn, 39 vol., "Library Edition", limited edition, some foxing, original morocco-backed cloth, t.e.g., others uncut, very worn, some spines torn or lacking, some covers detached or lacking, 1903-12; The Seven lamps of Architecture, first edition, contemporary blue calf, t.e.g., 1849; The Stones of Venice, 3 vol., fifth edition, contemporary blue straight-grain morocco, gilt, by Birdsall, t.e.g., others uncut, Orpington, 1893; Verona and other Lectures, one of 150 large paper copies on hand-made paper, original half parchment, uncut, Orpington, 1894; Modern Painters, edited by David Barrie, 3 vol. in 1, Yelvertoft, 1987 § Hewison (Robert) Ruskin on Venice 'The Paradise of Cities', New Haven & London, 2009 § Hilton (Tim) John Ruskin: The Later Years, New Haven & London, 2000, plates, some colour, all but the first and last a little rubbed; and a quantity of others by or about Ruskin, 8vo & 4to (c.100)

NO RESERVE Fleece Press.- Lee (Brian North, editor) Dearest Joana: a selection of Joan Hassall's lifetime letters and art, 2 vol., one of 260 copies, frontispieces, illustrations, contemporary half-morocco, 8vo, Denby Dale, Fleece Press, 2000.

Contemporary french artist, Op Art print, screen print, signed, framed and glazed, 55 x 50 cm

NESBERT MUKOMBERANWA (ZIMBARBWIAN SCHOOL) 'Hiding', soapstone, mounted on a white stone plinth, the sculpture approximately 23cm wide x 55cm high Originally acquired from The Contemporary Fine Art Gallery, Eton

CONTEMPORARY ART - Keith Tyson. Studio Wall Drawings 1997-2007. London: Haunch of Venison, 2008. 4to (334 x 280mm). Coloured illustrations. Original pink cloth with a blind-stamped design on covers and lettered in gilt, slipcase. "Edition of 3000." With 7 other books of related interest, namely A. Christian (Hong Kong, 1991, cloth, dust-jacket, slipcase), Sergei Bugaev Afrika's Rebus (Moscow & New York, 1994, cloth wallet, ONE OF 1,500 COPIES), Forgacs Eva's Fehér Laszlo ([?]Budapest, 1998, cloth, dust-jacket), Bullás József Munkák/Works 1989-2002 ([No place, ?2002, buckram, dust-jacket), Daniel Brush. Thirty Years' Work (New York, Phillips de Pury & Company, 2007, 4 vols. in common slipcase, cloth), Tracey Emin. Works 1963 - 2006 (New York, [?]2009, paper boards, dust-jacket) and Xiong Lijun (Hong Kong, Editions Opera Gallery, coloured boards, 2011). The lot sold not subject to return. (8)

HERALDRY - David LAING (1793-1878, editor). Fac Simile of an Ancient Heraldic Manuscript emblazoned by Sir David Lyndsay of the Mount. Lyon King of Armes 1542. Edinburgh: William Paterson, 1878. Folio (352 x 260mm). Coloured lithographed title and facsimile leaves (some light staining and spotting). Contemporary morocco-backed cloth boards (extremities rubbed and scuffed). Provenance: J. L. Hope Vere, Blackwood, 1884 (signature on front free endpaper). A cutting from an unidentified bookseller's catalogue [?1930] pasted-in at the front, suggests, "The impression of this valuable work was strictly limited to 250 copies" although no limitation is stated in the book itself. With 3 other related works in 4 vols., namely Edward Barrington de Fonblanque's Annals of the House of Percy (London, "For Private Circulation Only", 1887, 2 vols., chromolithographed frontispieces, plates, vellum, folding "pedigree" in pocket at end of vol. one, some pencil annotation), John Richard Magrath's The Obituary Book of Queen's College, Oxford [additional title, printed in red, green and black: Liber obituarius Aulae Reginae in Oxonia] (Oxford, Clarendon Press, 1910, printed in colours, limp parchment) and Catalogue of a Collection of Objects of British Heraldic Art to the end of the Tudor Period (London, Burlington Fine Arts Club, 1916, buckram). The lot sold not subject to return. (5)

LECLERC [or LE CLERC], Sébastien (1637-1714). A Treatise of Architecture With Remarks and Observations ... Necessary For Young People who would apply to that Noble Art. Engraven in Two Hundred Copper Plates by John Sturt. Translated by Mr Chambers. London: "Sold by Mr Bateman and Mrs Taylor" (and others), 1724. 8vo (195 x 120mm). Engraved title with illustration, 4 engraved dedication leaves with coats-of-arms, 181 engraved plates only (lacking [?]frontispiece and plate 79, but with an additional plate numbered 61B, ink stain to plates 67 and 68, some other staining and spotting). Contemporary half calf (rebacked, corners rubbed and bumped, inner hinges crudely reinforced with linen). This celebrated work, which ran into numerous editions, was first published in French in 1714. With 10 other books including David Blair's An Easy Grammar of Natural and Experimental Philosophy for the Use of Schools ... A New Edition (London, 1808, engraved plates including 2 folding of astronomical subjects, later cloth, worn), E. Pariset's Aphorismes d' Hippocrate, Latine-Français, Traduction Nouvelle (Paris, 1813, 100 x 60mm., elaborately decorated green morocco, rather worn) and 7 miscellaneous vols. (8vo) from Buffon's Histoire Naturelle (mixed editions) with uncoloured engraved plates. The lot sold not subject to return. (11)

PYNE, William Henry (1769-1843). Microcosm; or, a Picturesque Delineation of the Arts, Agriculture, Manufactures, &c. of Great Britain, for the Embellishment of Landscape: comprising the most Interesting Subjects in Rural and Domestic Scenery, in External and Internal Navigation, in Country Sports and Employments, in the Arts of War and Peace. London: R. Ackermann, [?1822-24, but plates dated 1802-5]. Folio (350 x 280mm). Title and 102 aquatint plates (only, [?]of 120) by W. H. Pyne, each plate with multiple subjects (lacking text, title heavily spotted, a few plates lightly browned, some mainly marginal staining and spotting). Contemporary green half morocco gilt, top edges gilt (extremities rubbed, split at foot of joints, some scuffing). Provenance: "To Vincent Lines, R.W.S., A.R.C.A. with grateful appreciation of his social service as Principal of the Hastings School of Art, from Fanny E. Borrow, December, 1956" (presentation label on front pastedown). Abbey Life 177; Brunet II, 451 (under "Gray", who wrote the original text); Hardie English Coloured Books (1906) p.142: "The only book that [Pyne] illustrated himself were his Microcosm, a series of above a thousand small groups of rustic figures ... and his Costume of Great Britain ..."; Graesse V, 515. Sold as a collection of plates, not subject to return.

WYATT, Matthew Digby (1820-77). The Industrial Arts of the Nineteenth Century at the Great Exhibition MDCCCLI. London: Day & Son, March 15th 1853. Volume II only (of 2), folio (491 x 330mm). Chromolithographed title and 80 fine chromolithographed plates by F. Bedford, J. Sleigh, J. A. Vintner and others after various artists, numbered LXXIX - CLVIII (occasional light mainly marginal spotting and staining, a few plates more heavily affected). Contemporary half plum morocco gilt, gilt edges (lower cover detached, heavily rubbed at extremities). FIRST EDITION. Abbey Life 85; Hardie English Coloured Books (1906) p. 253: "The book is interesting as a record of early Victorian art, with its few beauties and its many atrocities. It is valuable, too, for its clear account in the preface of the position of chromo-lithography at the time, and of the particular method of producing the plates."

Donald Hamilton Fraser (1929-2009) 'Dancer - Reflected Light' 150/200, signed and numbered in pencil (in the margin) screenprint 74cm x 54cm. Provenance: Chiristie's Contemporary Art.

Donald Hamilton Fraser (1929-2009) 'Dancer' 150/200, signed and numbered in pencil (in the margin) screenprint 67cm x 54cm. Provenance: Chiristie's Contemporary Art.

"Contemporary Art. A Series of Line Engravings..." Engraved plts after Millais, Leighton, Alma Tadema, etc. cont 1/2 mor, large folio c1870's.

A matching pair of contemporary Rococo style brass table easels having acanthus and scroll decoration. Together with a pair of brass candle sticks moulded in the form of Roman style Legionary soldiers and a Art Nouveau style picture frame having a moulded lady atop with cherub and leaf decoration. Stamped 'BEATRICE' to verso.  Tallest item measures 33cm tall.

Robert Ballagh (b.1943) Portrait of J.P. Donleavy Oil on canvas, 89 x 68.5cm (35 x 27'')Signed lower right Born to Irish immigrants in New York, James Patrick Donleavy (1926-2017) served in the US Navy during WWII and moved to Ireland in 1946 to attend Trinity College, which he did for several years, leaving without a degree. Invigorated by the work of Jack B Yeats, he took up painting, which was gradually supplanted by writing. His first novel, The Ginger Man, published in 1955 (its caddish title character generally thought to be based on one of his college contemporaries), established his literary reputation and was an enormous commercial success. It financed his purchase of a country estate on Lough Owel near Mullingar. Donleavy never gave up painting or drawing and began to exhibit more in the early 21st century. To mark his 60th birthday, the dealer Damien Matthews commissioned a portrait by Robert Ballagh.Ballagh visited Donleavy at his home and took a number of reference photographs. His outstanding portrait positions the writer seated with relaxed formality before a window flanked by white-painted shutters. The composition subtly references Edward McGuire’s iconic 1974 portrait of Seamus Heaney, seated at a table and holding a book. In the Ballagh painting, a small stack of books on the floor is topped by a first edition of The Ginger Man. Outside, budding montbretia add a dash of warm colour, though while a wry smile plays at the edge of Donleavy’s lips, his reflective gaze is cool and slightly sardonic - rather like his literary style. Soon after completion, the portrait was included in a retrospective of Ballagh’s work at the RHA Gallagher Gallery.One of the best-known and popular contemporary Irish artists, Ballagh is renowned for his portraiture, in which the detailed realism of his style is often leavened by wit. A Dubliner, he initially studied architecture at Bolton St but then diverted into playing bass guitar for a group called The Chessmen. A friend, artist Micheal Farrell, took him on as an assistant when he won a large commission. Ballagh’s natural facility, drafting skill and enthusiasm for Pop Art won him over to the visual arts and launched him on a remarkable and versatile career. Apart from many ambitious, large-scale subject paintings, his output has included more personal, autobiographical works, portraits, photographic work and design projects, from stamp design to book jackets and theatre sets - the latter including, most famously, Riverdance.Aidan Dunne, November 2019.

Gerard Dillon (1916-1971)Moonstruck YouthOil on board, 29.3 x 25cm (11½ x 9¾'')SignedProvenance: Waddington Galleries, Dublin; Associated American Artists; Sale, Sotheby's London, 11 May 2006, lot 90, where purchased by the present owner. With the outbreak of the Second World War, a number of countries including the Republic of Ireland declared neutrality. The arrival of returning Irish artists and refugee painters Basil Rákóczi and Kenneth Hall, the prime movers of the White Stag Group from London resulted in a distinctly bohemian and avant-garde art scene in Dublin. In 1941, Belfast born, Gerard Dillon moved to Dublin presenting watercolours to Dublin dealer, Victor Waddington who supported progressive artists in his South Anne Street gallery. Dillon became friends with Basil Rakóczi whose scenes from Aran in the early 1940’s may have influenced his decision to visit the Islands a few years later. Although Dillon’s naïve images were not popular with critics or the buying public in the 1940’s, Victor Waddington would have heeded the actions of Mainie Jellett, who championed Dillon, opening his first solo exhibition in The Country Shop in Dublin in 1942. Between 1944-1945 Dillon traveled to Aran, where he made numerous sketches which he later transferred to oil paintings following his return to London to repair bomb-damaged buildings after the War. The idealized images of the Islands were in response to his upbringing in an industrial city and working life in London. One of his Aran pictures was included in the group ‘Living Art Exhibition’ in Cecil Phillips’s Leicester Gallery in London in 1946 where the President of the Associated American Artists (AAA), Reeves Levental viewed the exhibition. Impressed with the show, Levental decided the AAA should sponsor the first postwar American show of Irish art, ‘Contemporary Irish Painting’ in New York in March 1947. Although ‘Moonstruck Youth’ is not listed in the catalogue, the AAA label attached to the work suggests it was included in one of the exhibitions that travelled to Chicago, Ottawa or the new AAA gallery in Beverly Hills, California, later in 1947-8. Dillon made a note in his record book that this work, No. 18. Moonstruck Youth was “sold” in a list of pictures belonging to the artist at Waddington Galleries in 1946-7.Moonstruck Youth depicts a moonlit scene with a barefoot youth staring out at the viewer. The title of the painting and the youth’s pose reveal’s the sitter’s view of Dillon as a stranger on Aran. Despite the sitter’s shy demeanor, Islanders learned from a young age to be hardy, remote in thought and feeling and above all, independent and self-reliant. The proximity of the sea to the cottages points to how people on Aran relied on the sea for food. The lone male figure is depicted in traditional dress style of the Aran Islands; wearing wide-legged homespun patched trousers ending well above the ankle and were usually worn with oiled wool jerseys. The bulky Jerseys, known today as the ‘Aran Sweater’, were knitted by women in the family with undyed homespun wool to help their husbands or sons weather the often-treacherous sea conditions near the Islands. Folklore stories record that individual families had their own distinct raised decorative stitch which also had its own meaning, and the islanders could identify a fisherman by this stitch in fishing accidents. Over the jersey, the young man is wearing a waistcoat, also known as a bainín jacket, or short coat of light, undyed homespun flannel without collar or pockets. The absence of a currach and shoes on the youth’s feet suggest the end of the day. The youth would have moved his light primitive vessel to safety while the sitter’s rawhide shoes would be soaking in water in the nearby cottage for fishing the following day. Known as “Pampouties”, the rawhide shoes prevent slipping in currachs when out at sea. Footwear had a lifespan of about a month and required soaking in water to keep them supple. The youth’s woven belt, known as a crios were made from coloured wools woven without a loom. On one of his visits to Aran, Dillon wrote to a friend in London describing the ‘most glorious holiday.’ Living among Irish speakers, he felt he was living in a foreign country and commented on the men and women’s strange ‘mode of dress.’ The holiday was a ‘change away from the world, complete and absolute peace, living a very natural primitive life from day to day, not knowing what day of the week it is, hearing no news except a scrap when the boat arrived from Galway once a week…I painted life on Inishmore and had there the good luck to sell two watercolours to visitors to the island.’ Karen Reihill, November 2019

ANGELO (DOMENICO)L'école des armes... The School of Fencing, with a General Explanation of the Principal Attitudes and Positions Peculiar to the Art, titles and text in French and English, 47 engraved plates by Ruyland and Hall after J. Gruyn, a few plates foxed, light offsetting, 2 or 3 plates with short tears or paper flaws within platemark but no loss, contemporary half calf, disbound [Cohen-de-Ricci, p.83], oblong folio (460 x 295mm.), S. Hooper, 1765This lot is subject to the following lot symbols: •

CATALOGUES - AUCTION[REYNOLDS (JOSHUA)] A Catalogue of the First Part of the Cabinet of Ancient Drawings Which Belonged to Sir Joshua Reynolds... the Works of Michel-Angelo, Raffaele, Coreggio, Titiano... Will Be Sold at the Prices Marked in this Catalogue by A.C. De Poggi, , half-title, errata leaf, opening gathering loose, original boards, covers detached, T. Burton and Co., 1794--[FALCKE (DAVID)] Catalogue of the Magnificent Collection of Works of Art and Vertu, Formed by Mr. David Falcke, 30 plates, light spotting, contemporary quarter cloth, Christie and Manson, 19 April, 1858--[UZIELLI COLLECTION] Catalogue of the Various Works of Art Forming the Collection of the Late Matthew Uzielli... Sold by Auction by Messrs. Christie, Manson, & Wood... 12th April..., engraved frontispiece, PRICED UP WITH BUYER'S NAMES in ink, Joseph Clayton, 1861--[BERNAL COLLECTION] Catalogue... of Works of Art from the Byzantine Period to that of Louis Seize, of that Distinguished Collector, Ralph Bernal..., engraved frontispiece and plates, PRICED UP in ink, spine rubbed, Christie & Manson, 5 March, 1855, last 2 publisher's cloth, 8vo and small 4to; and catalogues for the collections of Sir T. Gibson Carmichael, 12-13 May 1902, and Victor Rothschild's house at 148 Piccadilly, W.1 (6)This lot is subject to the following lot symbols: •

CATALOGUES - COLLECTIONS[VILLIERS (GEORGE] A Catalogue of the Curious Collection of Pictures of George Villiers, Duke of Buckingham. In Which is Included, the Valuable Collection of Sir Peter Paul Rubens. With the Life of George Villiers... by Brian Fairfax, 2 additional engraved portraits of Villiers, off-setting onto title, armorial bookplate of Fairfax of Cameron, early twentieth century green straight-grained morocco gilt, g.e., W. Bathoe, 1758--Stowe. A Description of the House and Gardens, engraved title-page, 32 engraved plates and plans (a few folding, one strenthened on verso), contemporary half morocco, J. Seeley, 1797--FORSTER (HENRY RUMSEY) The Stowe Catalogue Priced and Annotated, David Bogue, 1848--The Hamilton Palace Collection. Illustrated Priced Catalogue, Remington, 1882--LANGDON (WILLIAM B.) A Descriptive Catalogue of the Chinese Collection, Now Exhibiting at St. George's Place, Hyde Park Corner, first English edition, 8 wood-engraved plates, for the Proprietor, 1842--SMITH (CHARLES ROACH) Catalogue of the Museum of London Antiquities, AUTHOR'S PRESENTATION COPY, inscribed to Mr. Joseph Parish (September 25 1855), 16 plates, for the Subscribers, 1854--Third Annual Report of the Regents of the University, on the Condition of the State Cabinet of Natural History... Revised Edition, 27 plates (17 coloured, 2 loose, some spotting), Albany, Weed, Parsons & Co., 1850--Catalogue of the Bradford Exhibition of Specimens of Natural History, Paintings, Sculpture... for the Benefit of the Building Fund of the Mechanic's Institute, second thousand, drop-head title, some spotting, modern boards, [?Bradford, no date]--MERSON (MARION DU) Histoire du cabinet des médailles, antiques et pierres gravées, half-title, contemporary half red morocco, Paris, Chez l'auteur, 1838--LANDON (C.P.) A Collection of Etchings from the Most Celebrated Ancient and Modern Productions in Painting... Preserved in the Louvre, Paris, 72 engraved plates, contemporary half calf, rubbedW.T. Gilling, 1821--ROTH (HENRY LING) Great Benin. Its Customs, Art and Horrors, 275 (mostly) photographic illustrations, Halifax, F. King, 1903--BRITISH MUSEUM. [Meeting of the Committee... Report], drop-head title ('Private'), 6 folding hand-coloured photolithographed plans, lithographed letter of invitation to a BL committee meeting signed in ink by Antonio Panizzi, Principal Librarian, dated 4 February 1862, loosely inserted 2-page letter (dated 17 March 1795) from John Parkinson of the Leverian Museum, contemporary calf, [no publisher, 1862], unless otherwise stated publisher's cloth, some rubbing, 8vo and small 4to; and 3 others (15)This lot is subject to the following lot symbols: •

FREART (ROLAND)An Idea of the Perfection of Painting: Demonstrated from the Principles of Art, first English edition, translated by John Evelyn, shaved touching signature mark on one leaf, short tear to margin of another leaf, rebacked in calf [ESTC R8804], Henry Herringman, 1668--FRESNOY (CHARLES ALPHONSE DU) The Art of Painting. Translated into English Verse by William Mason, M.A. With Annotations by Sir Joshua Reynolds, binder's label of Mckenzie, spine elaborately tooled with red morocco lettering label, Dublin, Whitestone, 1788--[MARTYN (THOMAS) The English Connoisseur; Containing an Account of Whatever is Curious in Painting, Sculpture, &c., 2 vol., FIRST EDITION, l. Davis and L. Reymer, 1766, all contemporary calf, 8vo (4)This lot is subject to the following lot symbols: •

STALKER (JOHN) AND GEORGE PARKERA Treatise of Japaning and Varnishing, Being a Compleat Discovery in Those Arts... The Method of Guilding, Burnishing, and Lackering, with the Art of Guilding... Also Rules for Counterfeiting Tortoise-shell, and Marble, and for Staining or Dying Wood, Ivory, and Horn, FIRST EDITION, issue with errata/contents leaf, 24 engraved plates plants, animals, architecture and people (plate 17 with one corner slightly torn away, plate 19 with small hole in blank area, plate 21 sprinkled with 6 small gilt spots, a few small marginal tears), contemporary calf, rubbed [ESTC R187178; Wing 5187D], folio (375 x 240mm.), Oxford, Printed for, and Sold by the Authors, John Stalker, at the Golden Ball... ; or by George Stalker, at Mr. Richard Woods House over against the Theater in Oxford, 1688This lot is subject to the following lot symbols: •

Faithfull Fleet, Emily (illus.); St. Nicetas, Bishop of Remesiana (text) Te Deum laudamus. London: Emily Faithfull at the Victoria Press, 1868. 8vo, org. blue cloth over beveled boards (corners restored with tape), boards with gilt fillet borders enclosing central crowned titles, in gilt on upper and blind on lower, a.e.g.; 29 chromolithograph plates and 9 pages of explanatory text. Second ed. Esther Faithfull Fleet was a book illustrator whose children included John Faithfull Fleet, a historian and Indologist; George Rutland Fleet, a successful actor; and Herbert Cecil Fleet, a Vice-Admiral. Her sister Emily was a driven advocate for women's advancement. She founded the Society for Promoting the Employment of Women in 1859 and followed this by setting up the Victoria Press in 1860. The Press only employed women as compositors (though with men to teach the process and carry out manual labour). Surprisingly, this did not sit well with the print union, who engaged in sabotage. The Press flourished, however, and its success led to Faithfull being appointed Printer-in-Ordinary to Queen Victoria. Te Deum Laudamus was dedicated to Victoria, with her permission. This is one of two books published by the Press that used chromolithography. Both were illuminated by Fleet, the other being 38 Texts. M. & N. Hanhart printed 38 Texts as well and were known early on for their chromolithography, having done the plates for Pugin's Glossary of Ecclesiastical Ornament. The book is a masterpiece of Victorian design, comparable to that of Jones and Humphreys. As with other 19th century arts, it sees art history as a broad palette, a visual dictionary to use as the text inspired. The result is a swirl of colours and symbols, merging Egyptian, Flemish, Celtic, Spanish and English medieval styles with contemporary ideas about colour. The book is simultaneously a proto-Arts and Crafts expression of Victorian Christian celebration and a potent symbol of women's struggle for elevation against Victorian society - ultimately recognised by the highest woman in the country.

A DIAMOND PENDANT, BY SABBADINIThe openwork kite-shaped pendant, set throughout with round brilliant, baguette and tapered baguette-cut diamonds, with a kite-shaped and half-moon diamond highlight, mounted in 18K gold, diamonds approximately 6.50cts total, signed Sabbadini, length 7.1cmSabbadini is a long-standing Italian Jewellery House, in fact it is the only jewellery house that still manufactures in central Milan. The flagship store on the celebrated Via Montenapoleone, opened in 1998 and was the first and only commercial space created by the legendary architect-designer Renzo Mongiardino. The Sabbadini Jewellery house is celebrated for its tiny stones clustered in seamless pavés around single statement gems and its exquisite enamelling of natural motifs, ranging from flowers to dogs and its signature bees, which founder Alberto designed for his wife Stefania. The jewellery pieces are contemporary and reflect the Sabbadini’s love of modern art. It is a family run business, Stefania helps run the company with their son and CEO, Pierandrea. All jewellery pieces are designed with the 3 elements at their core, to be unique, elegant and precious.The pendant on offer at Adams is a striking design, a little quieter than the statement pieces Sabbadini is known for, but a very elegant timeless piece.

A FABERGE DIAMOND AND GOLD BROOCH, BY WORKMASTER EDUARD SCHRAMM, ST PETERSBURG, CIRCA 1885The old brilliant-cut diamond weighing approximately 0.85ct at the centre of a diamond similarly-cut seven pointed star, within a frame of old cushion-shaped diamonds to a further frame of seed pearls, struck with maker's mark in Latin 'ES' for Fabergé work master Eduard Schramm, 56 zolotnik-gold standard for 14K gold, remaining diamonds approximately 2.00cts total, length 2.8cmReference: Encyclopaedia of Who’s Who in the House of Faberge by Will Lowes and Christel Ludewig McCanless, page 235The initials ES are stamped on the diamond and pearl star brooch. This piece is by the German workmaster Eduard Wilhelm Schramm, who married a Russian girl Elena Zacharova and qualified as a master goldsmith in 1874. He opened his own workshop that same year, but he remained an independent master throughout his life, collaborating with foremost jewellers in St Petersburg, among them Fabergé and Bolin. Schramm had an extraordinary talent, and was particularly skilful, mastering complex and intricate techniques. He also had his finger on the pulse of current styles, such as Art Nouveau and Japonisme, which he adapted with his personnel touch. He occasionally supplied gold cigarette cases and small gold objects, such as pill boxes and plates to Fabergé, often with a hammered finish. The impeccable detail and tightness of design of this beautiful brooch, illustrates Schramm’s talent as a master goldsmith. Another example of Schramm’s jewellery went up for auction in Sotheby’s ‘Russian Work of Art, Fabergé and Icons’ in London on 1st December 2015, Lot 413, a rare Faberge Jewelled Gold Brooch. The house of Fabergé is held in the highest of esteem in the world of jewellery, with the name being synonymous with the Imperial Fabergé Eggs created for the Russian Royal Family. Carl Fabergé acquired unrivalled skill as a goldsmith and his posthumous reputation continues to increase, the further we move from Fabergé’s fleeting decades between 1882 and 1917.The Russian revolution brought irrevocable change, with the communist regime became more and more insular and the eventual drop of the “Iron Curtain” on the outside world. Luxury businesses were redundant in this communist society, where basic survival was paramount and Fabergé with its obvious connections to the Court was one of the first to have its doors closed. With Soviet Russia sealed off from the rest of the world, Fabergé’s glory faded fast and few people remembered Carl’s genius and the remarkable business it fostered. There was a dearth of knowledge about Fabergé and his work alone was left to speak for itself, the witty animal carvings, the extraordinary jewellery and intricate Imperial Easter eggs became silent witnesses on their own account.The story begins in 1842 with Gustav Faberge establishing his own jewellery store on the main street of Bolshaya Morskaya, post apprenticeship with the notorous firm of Keibel, goldsmiths and jewellers to the Emperors of Russia. Peter Carl Fabergé (1846-1920), the eldest son of Gustav took over the business in 1882, the design-led artist-jeweller with a penchant for colour through both stones and reviving the lost art of enamelling, brought the firm to great heights, along with his brother Agathon.Carl studied at the Dresden Arts and Crafts School and frequently visited the Grünes Gewölbe (Green Vault) museum, home to largest collection of treasures in Europe. In 1864, at age 18 toured Europe where he studied under respected goldsmiths in Germany, France and England and took a course at Schloss’s Commercial College in Paris. Carl returned to St Petersburg in 1870 to help run his father’s business, that was being managed by a team headed by workmaster Peter Hiskias Pendin, who assumed the role of both tutor and mentor. He got involved with cataloguing, repairing and restoring masterpieces in the Court museum and he went on to restore and repair the 18th Century objects d’art in the Collection. This no doubt sowed the seeds in his mind for using past genre as inspiration for contemporary art. He married Augusta Jacobs in 1872 with whom he would go on to have four sons.Fabergé showcased their jewellery at the Pan-Russian Exhibition in Moscow, this was a serendipitous occasion for the house, as it marked the beginning of a relationship with the royal family. The Tzar was very impressed with the quality and artistry of the jewels, and commissioned Fabergé to create an ornate Easter egg for his wife Maria Feodorovna. This was the first of 50 Imperial Easter eggs that Fabergé would create for the Romanovs and these same eggs continue to fascinate and inspire today. Fabergé were granted the Royal Warrant soon after and given the title ‘goldsmith by special appointment to the Imperial Crown’. Faberge’s international reputation was secured in 1900 at the Exposition Universelle in Paris , the overwhelming success of this event led to commissions from Edward VII and other European royals. The business was rapidly expanding and by 1900 Carl had about 500 people employed and was running the country’s largest jewellery firm, making a wealth of objects and jewels.The firm's success continued until the 1917 Revolution and despite the tragic circumstances surrounding the demise of the firm, the name Fabergé lives on and remains as revered today as it was in the 19th and early 20th centuries. Fabergé’s success stands as a testament to the exceptional talents of a vast team, including master goldsmiths and silversmiths, who were guided by the uncompromising and remarkable leadership of Carl Fabergé. Carl had a keen eye for skill and talent, he gave said craftsmen the opportunity to set up independent workshops to supply the expanding Fabergé business. These craftsmen hailed from regions not too far from St Petersburg, coming from poor families the thriving metropolis offered the opportunity for employment and advancement. They signed on as apprentices, and through hard work and resilience they qualified as master goldsmiths and silversmiths, experts in their field, necessary to meet the exacting requirements demanded of Carl Fabergé. The initials of the craftsmen were stamped on Fabergé pieces, allowing their skills be recorded in the annals of gold smithery.

Conveyance of the title and privileges of the Priore d’Urbino to Giovanni Battista Zanchini da Castiglionchio, granted by Ferdinand Medici, Grand Duke of Tuscany, grand illuminated manuscript charter in Italian on parchment [Italy (Florence), dated 8 November 1589]large and impressive single sheet document, opening with liquid gold capitals: “NOI FERDINANDO MEDICI” (each letter about 34mm. high), above 37 lines of capitals ruled in liquid gold, with ending of sentences marked off with gilt floral sprays, rows of gilt fleur-de-lys down each side of text, and entire text framed within concentric bands of liquid gold (in outermost layers these laid over turn up at foot to continue striking visual impression), contemporary endorsements at foot including scrawled signature of the Grand Duke, brief endorsements on reverse, cords for lead bulla attachment present but broken, lead bulla with Medici arms also present (but loose with item), natural flaw in parchment hidden by turn up with contemporary patch repair, some folds resulting in small scuffs, else outstanding condition, 487+10 by 740mm.Giovanni Battista Zanchini da Castiglionchio (d. 1590) was a sixteenth-century Florentine senator, who greatly enlarged the Palazzo Zanchini-Corbinelli in Florence. He commissioned a statue of Giasone from Pietro Francavilla, a pupil of Giambologna (now Muzeo Nazionale, Bargello), and is recorded as a substantial art collector by Francesco Bocci’s 1591 guide to Florence. This is most probably his own lavish copy of this grant.

Gehry, Frank Owen, Flowing in All Directions, Circa Publishing, 2002, signed Deluxe Edition, numbered 60/100, with laid-in original etching of Disney Hall signed in pencil by Gehry and numbered 60/100, folio, thick card pasted on silver coloured boards, in heavy car clamshell box decorated to exterior with Gehry artwork.Footnote: This publication accompanied the "Frank O. Gehry: Work in Progress" exhibition at The Museum of Contemporary Art, Los Angeles, 7 September 2003 - 26 January 2004. It was published in three variations, this being the rare deluxe edition.

MIRROR, contemporary design of Art Deco influence, 110cm x 110cm.

•RICHARD NORMAN RSW (SCOTTISH CONTEMPORARY) NARCISSISTS Oil on canvas, signed and dated June 1998, 66 x 91.5cm (26 x 36") Paisley Art Institute Exhibition label verso Condition Report: Small abrasive markings to the surface evident in the area of the bottom left corner and close to the top edge in the left section. Otherwise in good condition and no significant issues. .