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Gouache (Dimensions: 31cm x 39.5cm (12.25in x 15.5in), with two corresponding table linens and a screenprint, each approximately 28.5cm x 36.5cm (11.25in x 14.25in) (4))(31cm x 39.5cm (12.25in x 15.5in), with two corresponding table linens and a screenprint, each approximately 28.5cm x 36.5cm (11.25in x 14.25in) (4))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Screenprinted linen (Dimensions: 30cm x 43cm (11.75in x 17in), together with a corresponding linen in black and white, 28cm x 35.5cm (11in x 14in) (2))(30cm x 43cm (11.75in x 17in), together with a corresponding linen in black and white, 28cm x 35.5cm (11in x 14in) (2))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Signed in pen (lower right), collage (Dimensions: 31cm x 42cm (12.25in x 16.5in))(31cm x 42cm (12.25in x 16.5in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Including lobster, chicken and flower designs, gouache (Dimensions: Various sizes, the largest 31.5cm x 40cm (12.35in x 15.75in) (5))(Various sizes, the largest 31.5cm x 40cm (12.35in x 15.75in) (5))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

Screenprint (Dimensions: 33cm x 45.5cm (13in x 18in))(33cm x 45.5cm (13in x 18in))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: PORTHIA PRINTS In an attempt to gain publicity for the growing St. Ives art scene in the 1950s, Denis Mitchell and his brother formed the company Porthia Prints . They encouraged local artists to submit original designs, which would then be screen-printed onto pieces of linen and sold as table mats. Terry Frost, who sometimes helped Mitchell with the printing of the textiles, described one reason for the venture as ‘just a way of making a bit of extra money’ for all the artists concerned (quoted in Geoffrey Rayner et al., Textile Design: Artists’ Textiles 1940-1976 , Antique Collectors’ Club Ltd., 2014, p.92). At least 17 painters and sculptors took part in the project and put forward designs to be produced on linen fabric. 13 table mats were selected and, by 1955, they were being produced and sold exclusively through Heal & Son Limited of London. The artists featured were John Wells, Peter Lanyon, Terry Frost, Roger Hilton, Robert Adams, William Gear, Denis Mitchell, Michael Snow, Wilhelmina Barns-Graham, Patrick Heron, Barbara Hepworth, Stanley Dorfman and John Forrester. By 1957 Alexander Mackenzie, Trevor Bell and Agnes Drey had been added to the team. The results were unveiled to the public on 1st March 1955 at the exhibition Abstract Designs at Heal’s Mansard Gallery. It was opened by Philip James, then Director of Art at the Arts Council, and was introduced as follows: “Heals Picture Gallery and Craftsman’s Market present an exhibition of abstract design (pictures, sculpture, prints and table linen) by thirteen artists in collaboration with Porthia Prints: Designers of fabrics repeatedly draw on the inventiveness of contemporary printers and sculptors for their inspiration. This is bad if it perverts or destroys the impact of the artists’ ideas on his public, but it can be a good thing if it helps to break down the separateness of the artists, enabling people to become familiar with his idioms by incorporating them directly into their everyday lives. Recently Porthia Prints invited a number of painters and sculptors, who are not normally fabric designers, to solve a simple problem of functional design. The first results of this experiment form the present exhibition. One part is composed of the table mats, screen printed in two colours onto linen, from the designs of these artists. The other part of the exhibition is of paintings, prints and sculptures by the same artists, so that we can see how, in solving his problem of design, each painter and sculptor has used again the particular personal idiom of his art.” In the early days there was some optimism. Orders were secured in London for £150 worth of mats, and Bonnier’s of Madison Avenue proposed an exhibition. Heal’s declared themselves ‘satisfied’ with the sales of the first few weeks. But problems were already beginning to surface. Repeat orders often caused difficulties, as their production method was calibrated for the manufacture of thirteen or fourteen prints of each design, which were intended to be sold in sets or singly. However, most clients requested sets of six different mats or varieties of individual prints and Porthia struggled to keep up with demand. Denis also wrote to Stanley Dorfman saying, ‘I have found it impossible to get any one to work, they are all damn lazy.’ Mitchell, though, was convinced that together they could have ‘built up a nice little business.’ The production issues led Heal’s to withdraw their support in 1960. Apart from an exhibition at the Redfern Gallery in 1986, showing six of the mats, and a fuller exhibition of the mats in 2006 organised by the Belgrave Gallery, St. Ives in conjunction with Margaret Howell, London, these works have been largely unknown. The following collection from an important St. Ives artist’s estate, including a number of original designs, marks an important moment in the St. Ives artistic movement and a rare and unique collaboration of artists associated with St. Ives in the Post-War years.

A pair of contemporary fruitwood veneered and glazed retail display cabinets on stands marked Faberge, each having magnetic locking slideout shelf with lighting strips above, on four tapered supports, 172cm high and 44cm wide and 46cm deep Sold as works of art as we have had the lighting working and are able to unlock. See Google images for Faberge New York as they can be seen in their Madison Avenue shop

δ John Piper (1903-1992)Babingley - Sepia Variation (Levinson 371)Screenprint in sepia, 1984, signed and numbered from the edition of 50 in pencil, on BFK Rives wove paper, printed at Kelpra Studio, London, published by Christie's Contemporary Art, London, with margins, image 445 x 595mm (17 3/4 x 23 3/8in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

LITERATURE A COLLECTION OF AUCTION CATALOGUES Mostly from Sotheby's, Christie's and Bonhams, the majority relating to Asian, modern and contemporary art. (60) To be offered without reserve.

BRITISH CONTEMPORARY/URBAN ART, A COLLECTION OF MOSTLY ARTIST SIGNED PRINTS AND POSTERS, APPROX 27, SOLD IN PORTFOLIO

A contemporary Art Deco style sideboard, possibly by Kesterport, enclosed by two doors, with stylised handles, on a plinth base, 85cm H, 209cm W, 57cm D.

A contemporary Art Deco style illuminated display cabinet, possibly by Kesterport, incorporating three adjustable plate glass shelves, with two spotlights over, and enclosed by two plate glass doors with stylised handles and on a plain plinth base, 180cm H, 129cm W, 49cm D.

A contemporary Art Deco style rectangular extending dining or conference table, possibly by Kesterport, on a pedestal base, 2m 5cm extending with two leaves to 295cm x 110cm, together with a set of six Kesterport conference or dining chairs, in brown upholstery, and a pair of similar chairs upholstered in brown leather. (8)

FREDERICK HOLLYER (1837-1933)The Story of Psychethree platinum prints, (individual sized 16 x 11 1/4 in, 16 x 35 in, 16 x 11 1/4 in)in a black painted arts and crafts wood frame, inscribed with metallic paint, overall size 22 x 68 inProvenance: with Christian Klackner, 5, 17th East Street, New YorkThe frame is inscribed (left panel) 'Whilst Psyche wept upon the Rock, Forsaken, Alone, Despairing, Dreading-Gradually'; 'Forsaken, alone, despairing, dreading, gradually (centre panel) by Zephyrus she was enwrapt and taken, still trembling like the lilies planted high, through all her fair white limbs'; (right panel) 'Yet Love was not far off'.Hollyer was exhibiting copies of prints of the Story of Psyche as early as 1894 (see The Photographic Journal, Sept 22 1894 no.146) and into the the early edwardian period. Their subject matter reproducing the relief sculpture by Harry Bates of 'The Story of Psyche'. This exists as a silvered bronze triptych, now in the Collection of the Walker Art Gallery, Liverpool. M.H.Spielmann's 'British sculpture and sculptors of today' (1901) includes a full -page advertisement for 'Permanent photographs of the works of Harry Bates, ARA ... by Frederick Hollyer', including illustrations of the three panels of 'The Story of Psyche'.In the late 19th Century, Frederick Hollyer had established himself as a specialist in the photographic reproduction of contemporary art. Catalogues of his 'platinotype reproductions' were issued regularly between 1893 and 1911. Indeed Hollyer exhibited a set of platinum prints depicting Harry Bate's The Story of Psyche in the 39th annual exhibition of the Royal Photographic Society where it could be purchased for £6 6sh. In his review of that exhibition Alfred Horsley Hinton noted 'A finer or more complete idea of relief has probably never been produced than the reproduction of Harry Bates 'Story of Psyche', which is shown by F. Hollyer. The relief of the original clay modelling is so perfect given that it seems difficult to see why, from an aeshetic point of view, such productions should not be largely used for high class decoration...' (The Photograph, November 1894)

Natalie Guy is a contemporary mosaic artist who creates 2D and sculptural works of art that have character and tell a story. She uses a wide range of materials including diamonds, hex nuts, jigsaw pieces and mirror tiles. Disco Wilbur is based on the Wilbur character who appears alongside Elmer in David McKee’s book series.

LI CANGYI (CHINESE, B.1969) - FISH AND LOTUS Ink on paper 185cm x 185cm with frame Provenance: Purchased from Chang He Gallery About the artist: Li Cangyi is a contemporary young painter.Born in 1969 in Nehe, Heilongjiang, he graduated from Beijing Painting Academy.He is currently the vice chairman of theChina Contemporary Artists Association and Director of the Chinese Painting Arts Committee, and also vice chairman of the Singapore Art Association. He won the gold medal of the Chinese contemporary elite painter competition and the Chinese calligraphy and painting masterpiece exhibition excellence prize.

LI CANGYI (CHINESE, B.1969) - LOTUS DREAM Ink on paper 185cm x 185cm with frame Provenance: Purchased from Chang He Gallery About the artist: Li Cangyi is a contemporary young painter.Born in 1969 in Nehe, Heilongjiang, he graduated from Beijing Painting Academy.He is currently the vice chairman of theChina Contemporary Artists Association and Director of the Chinese Painting Arts Committee, and also vice chairman of the Singapore Art Association. He won the gold medal of the Chinese contemporary elite painter competition and the Chinese calligraphy and painting masterpiece exhibition excellence prize.

IRSAM (INDONESIAN, 1942-2007) - IBU DAN ANAK Oil on canvas, framed Signed 1978 99cm wide x 119cm high, with frame Condition: In a distressed look frame. Detailed condition report available on request Provenance: Christie's sale (label to the back of the frame); Purchased by architect Kerry Hill in the 1980s, remained in his collection until his death Biography of the artist: Born in Klaten, Central Java, 1942, he graduated from the Indonesian Fine Art Academy (ASRI) Yogyakarta. He had held his first exhibition in 1967 in Jakarta. He received an award from the Philippines, Singapore, and Thailand. In 1980 he also joined in the Contemporary Asian Art Exhibition in Fukuoka Art Museum Japan

* 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.

* DUNCAN MACGREGOR (BRITISH b 1961), YACHTS IN A BLUE SEA oil on board, signed 92cm x 80cm Framed. Note: Duncan MacGregor's inspiration has always come from the sea. He and his wife have sailed the Atlantic together in a little 34-foot yacht and have experienced the frustration of endless windless days - and the extremes of 65mph winds and huge seas. They now sail with their young son (and dog!), mainly on the west coast of Scotland and the Norfolk Broads where Duncan MacGregor was brought up .Duncan MacGregor's work is prolifically exhibited at many of the UK's most prestigious contemporary galleries including DeMontfort Fine Art (The Whitewall Galleries network) and his paintings are held in collections around the world.

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

* MURIEL BARCLAY (SCOTTISH), WONDERFUL AND WOOLLY oil on linen, signed 61cm x 61cm Framed. Note: At the first Scottish Contemporary Art Auction staged by McTear's on 22nd November 2008, "Pink Tutu Tune" by Muriel Barclay sold for £7475 (premium) which is widely believed to be a record price for any maiden painting at public auction by a Scottish artist (past or present). Collections include : Ernie Els, Sir Arnold Clark, Lord Harris, The Sultan of Brunei, Alex McLeish, Sir Jack Harvey, H.B.O.S., Biggart Baillie, Arisaig Partners, and numerous other prestigious corporate and private collections worldwide.

* JACQUELINE WATT (SCOTTISH CONTEMPORARY), THE FIELD'S LETTER mixed media, signed in pencil 30.5cm x 24cm Framed. Label verso: Stenton Gallery, East Lothian. With title, artist's name and cat. no. 136JW/0506. Note: Jacqueline Watt is a graduate of Edinburgh College of Art who exhibits both nationally and internationally. Watt’s work has been informed by the Scottish landscape and its elemental forces and is strong, expressive and colourful as a direct result. Her innovative use of paint and colour is firmly grounded in, and influenced by, her Scottish art education. In 2011 she was awarded the prestigious Charles Rennie Mackintosh Residency in Collioure, South of France, which gave her the opportunity to explore and develop new directions and subject matter in her work. As a direct result of this in 2014, Watt was the invited contemporary Scottish artist to show alongside the Hayward Gallery's touring exhibition, Henry Matisse - 'Drawing with Scissors'. Her most recent work explores new still life colour palettes.

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

* CONNIE SIMMERS, WILD FLOWERS oil on board, signed 35cm x 35cm Framed and under glass. Label verso: The Macaulay Gallery, Stenton, Dunbar. Note: Connie Simmers was born in Glasgow. She attended non-diploma classes at Glasgow School of Art and is now a highly respected figure in the field of Scottish contemporary fine art. Connie Simmers use of bold colours and rich textures express a love of paint and mixed media as well as a love of her subject. Her unique style has gained her much success in many groups and solo art shows, including RSA, RSW and RGI exhibitions. Through travelling widely, Connie's art work has been greatly inspired by the people, colour and light of different parts of the world. She is inspired by the familiar and the unfamiliar and her paintings cover everyday interiors and unusual figurative scenes to landscapes. Connie Simmers is a recipient of many art awards including: Scottish Amicable Award (GSWA), Morton Fraser Award (VAS), Scottish Arts Award (RSW).

* AVRIL PATON (SCOTTISH b 1941), TOPPING OUT DAY (c1995) watercolour on paper 80cm x 100cm Framed and under glass. Label verso: Gatehouse Gallery, Rouken Glen Road, Giffnock, where acquired by the vendor. Note: a remarkably rare work by Avril Paton, the artist who painted "Windows in the West", one of Scotland's best known and most popular contemporary paintings which was acquired for the nation by the Scottish National Gallery of Modern Art and is currently on display at Kelvingrove Gallery, Glasgow. There has been much written about Paton's work from the 1990's explaining the meticulous detail and the many months it took to complete a single picture. Paton eventually moved on to a more spontaneous abstract style of work and consequently her paintings from the 1990's are a distinct isolated body of work and the examples from this time are few and rarely, if ever, appear at auction. Avril Paton's work from this period has been studied as part of the curriculum for many of the nation's youth and there are talks and discussions on YouTube which include "Topping Out Day". Private collection, England.

* EMMA S DAVIS RSW PAI (SCOTTISH b 1975), MORNING CHIT CHAT II oil on board, signed 40cm x 40cm 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 was also one of the youngest artists to receive the Paisley Art Institute Diploma.

* WALTER LANGHAMMER (AUSTRIAN 1905 - 1977), STILL LIFE WITH INDIAN VASE oil on canvas, signed 40cm x 61cm Framed Note: Born in Austria. Left Austria during Nazi occupation of World War II. He was a contemporary of the famous painter Oskar Kokoschka, and was professor of the Academy in Vienna in the 1930s. After fleeing Austria Langhammer spent some time in London where he painted many images of city scapes and travel (carriage) posters for British rail. After moving to India, Langhammer was appointed as the first art director of the Times of India, and later the Chairman of Bombay Art Society. He played a matchless part in bringing art patrons and artists together, and a seminal role in the founding of the Progressive Arts Group. Langhammer would often say, he saw a future in the modern art movement – he felt it was all over Europe. So people like Ara, Raza, Husain, Souza and Raiba, the great names of the Indian Progressive Art Movement, became his students. Every Sunday, it was open house at his studio on Napean Sea Road. Langhammer inspired a generation of artists who then went on to propel Indian Art onto the international forum. Artists like Almelkar, Husain and Razza have candidly admitted to having drawn inspiration from him. His work is widely collected over several continents today. Whilst every effort is made to provide accurate and honest condition reports, none of our staff is a professional conservator, restorer or engineer. Any condition report offered should be accepted as an indication of any obvious issues or problems or the lack of them. Buyers are urged to satisfy themselves in respect of the condition of any lot and McTear’s can provide contact details of local professional restorers who will provide fully comprehensive expert reports – usually for a modest charge. The condition report does not form part of any contract between McTear's and the buyer, and all lots are offered "as is" in accordance with our Terms of Business in the printed catalogue and available on our website.

A 1960s Contemporary Art School, Cubist Face, oil on canvas, framed

Attributed to Eunice Napangardi (circa 1940-2005) and Maxie Tjampitjimpa *ARR (1945-1997), Womans Dreaming, unsigned, acrylic on canvas, 131 x 84cm, with receipt from Corbally Stourton Contemporary Art Gallery, Cork Street, London

Edged Weapons Manuscript Catalogue. An archive of 51 spring-backed loose leaf volumes of original historical research and descriptions of swords, daggers, shafted weapons, etc., from 1600 to World War Two, compiled by A[rthur] N[oel] Ingram of Ewell, Epsom, Surrey, circa 1950, each volume containing between 100 and 200 leaves of typed (and some manuscript) notes and detailed and annotated pencil drawings of sword hilts, etc., numerous additional notes and occasional corrections, unpaginated but arranged systematically to include books or sections on English militia, infantry officers, heavy cavalry officer and non cavalry, bayonets, India, departmental, army pay corps, troopers, battleaxe, pike, etc., occasional printed material tipped in or inserted, leaf versos blank, ownership name of A.N. Ingram to front pastedowns of many volumes, contemporary cloth of varied colours, slightly rubbed and soiled, 8vo (Qty: 51)NOTESA monumental, unpublished work by the seemingly unknown Arthur Noel Ingram (1889-1960). Ingram served in the 4th Battalion, East Lancashire Regiment during World War One, being appointed Second Lieutenant on 14 October 1914. He was appointed Lieutenant with the Royal Regiment of Artillery on 18 December 1940 and Captain on 4 February 1941. In an initialled preface dated at Ewell, 1951, Ingram describes the scope of work: 'The object of this series of books, the first complete one of its kind, is to place on record an authentic and comprehensive catalogue of the swords used by our fighting men from the year 1600 AD to the present day... the author has been engaged in research for the last twenty-five years, and no illustration or detail appears which has not been taken from the actual weapon, and where the specimen is known to exist, that has not yet been examined, a space is left vacant, as it is hoped that some at any rate will eventually come to light and enable an illustration to be made and details ascertained for publication in supplement form subsequently. Further volumes will deal with - Household, Heavy, and Light Cavalry, Artillery, Infantry, Light Troops and Light Officers, Departmental, Bayonets, Band Swords and Swords of the East India Company'. Ingram acknowledges the friends who have assisted with the project, 'Particularly to Sir James Man, who made research at the Tower of London a real pleasure, the Library of the Royal United Services Institution, G.W. Latham Esq., of Wilkinson Sword Company, and to my very great friends Captain Newgent Bosanquet, CVO, RN and S. Dudley Ward whose invaluable help has made this work possible'. In a loose typed three-page preface Ingram notes: 'This work is altogether not intended as a comprehensive treatise, but primarily as a help to those collectors who may have acquired a piece which they prize as an exquisite work of art, but have no knowledge of the date of its manufacture, or the country of its origin, also whether it is in its complete form or whether a piece of the hilt is missing or - a question that occurs frequently - whether the shortness in the blade is due to accident or design, or what type of scabbard belongs to it'.

James O'Nolan (1952-2018) Irish printmaker - A limited edition signed contemporary art print depicting a colourful abstract design. Signed and numbered 2/6. Framed and glazed. Measures 82 cm x 70 cm.

A contemporary Art Deco style faceted mirror, recessed hexagonal plate within a lattice of further mirrors, 94x125cm

PETER HOWSON [1958 - ]. Head Study, 2012. ink drawing, signed. 13 x 20 cm - overall including frame 37 x 43 cm. Provenance: Cameron Contemporary Art {£850]; Private collection, London. [very good condition]. Buyers premium of 20% + VAT is payable.

KEITH VAUGHAN [1912-77]. Two Standing Figures in a Landscape, c.1948. pencil drawing 11 x 10 cm - overall including frame 22 x 20 cm. Provenance: David Holmes Contemporary Art [1998 £450]; private collection, UK. We would like to thank Vaughan expert Gerard Hastings for his help in cataloguing this lot [very good condition - possibly some time toning to the paper - unexamined out of frame]. Buyers premium of 20% + VAT is payable..

Stonham (Charles). The Birds of the British Islands, illustrated by Lilian M. Medland, 5 volumes, 1st edition, London: E. Grant Richards, 1906-11, half-titles, title-pages printed in red and black, 2 folding maps, double-page key plate, 318 hand-coloured gravure plates, all with captioned tissue-guards, extra-illustrated with 10 coloured photographic plates of eggs in volume 2, text-leaves spotted and browned, occasional spotting along edges of plates (mainly in volumes 4-5), top edges gilt, others untrimmed, contemporary dark green crushed half morocco for Hatchards, green cloth sides, spines sunned to tan, 4to (31.6 x 24.8 cm) (Qty: 5)NOTESMullens & Swann p. 566; Nissen IVB 898; Wood p. 584; Zimmer pp. 604-5. A very rare hand-coloured copy; the author's own copy, which appeared at auction in 2002, contained a limitation leaf stating that 'not more than 15 copies will be coloured by hand by the Artist'. 'A very fine bird painter, [Medland] was the daughter of a wealthy London naturalist and big-game hunter' (Olsen, Feather and Brush: Three Centuries of Australian Bird Art , p. 88). She later emigrated to Australia, where she collaborated with ornithologist Gregory M. Mathews.

Lock (S.R. & G.C. Whitfield). Men of Mark, A Gallery of Contemporary Portraits of Men Distinguished in the Senate, the Church, in Science, Literature and Art, the Army, Navy, Law, Medicine, etc., Photographed from Life by Lock and Whitfield, Biographical Notices by Thompson Cooper, 7 volumes (complete), 1876-83, 252 mounted woodburytype photographic mounted portraits (36 to each volume), light browning to a few text leaves, bookplates, all edges gilt, original uniform green gilt-decorated cloth, a few minor marks (generally in clean bright condition), 4to (Qty: 7)NOTESPortraits include Darwin, Tennyson, Huxley, Verne, Dore, Trollope, Burton, Collins, Gladstone, Disraeli, Millais and Stanley.

Nasmyth (James & Carpenter, James) . The Moon: considered as a planet, a world, and a satellite, 2nd edition, 1874, 23 monochrome plates plus black & white illustrations, some spotting with mold to rear pages, original gilt decorated & embossed blue cloth, boards & spine lightly rubbed & marked, large 4to, together with Holding (T.H.) , Coats, 4th edition, 1902, 64 black & white plates, advertisements to front & rear, torn & repaired front pastedown, some marks throughout, original gilt decorated brown cloth, boards & spine slightly rubbed, 4to, and Jackson (John) , A Treatise on Wood Engraving, 1839, numerous black & white illustrations, bookplate to front pastedown, minor marginal toning, contemporary gilt decorated blue half morocco, boards & spine slightly rubbed, 8vo, plus other late 19th & early 20th century art reference & related, some leather bindings, mostly original cloth, F/G, 8vo/4to (Qty: 3 shelves)

UK Quad general release poster for "Licence To Kill" (1989). Although artist Bob Peak produced some concept poster art, this photographic montage was chosen instead (this being more on trend with the contemporary move away from painted poster designs). The poster incorporated photographs by Keith Hamshere and Douglas Kirkland under the art direction of Robin Behling. This particular poster remains in superb unfolded condition.30" x 40" (76 x 102 cm)Condition: ExcellentUnrestored, unfolded and in excellent condition.Artist: Robin Behling, Keith Hamshere and Douglas Kirkland£100 - 200VAT Status: M

Attributed to Jonathan Christie (1968-2013) Contemporary American school, TODT 'Smell Freedom' blind stamped image, Christie was a former student at the Massachusetts College of Art, during his career he worked for Chihuly, Bourgeois and Kiki Smith, he is renowned for his glass but also worked on other media, framed and glazed internal dimensions 61 cm x 45cm

Twelve Chinese zodiac signs bronze animal heads inspired by the fountains of Yuanmingyuan palace, 19th century, each H 12 cm The Haiyantang (Chinese: ???; pinyin: H?iyàntáng) was an area in the Xiyang Lou (Western style mansions) of the Old Summer Palace, which included the famous Zodiac Fountain - water clock fountain consisting of 12 bronze Chinese zodiac statues. Supposedly designed by Giuseppe Castiglione for the Qianlong Emperor, the statues would spout water to tell the time.The bronze-cast heads of the stone statues were among the treasures looted during the destruction of the Old Summer Palace by British and French expeditionary forces in 1860 during the Second Opium War. Since then, they have been among the most visible examples of attempts to repatriate Chinese art and cultural artifacts. Recently contemporary artist Ai Weiwei created some replicas of these famous Zodiac Heads.

A GROUP OF CONTEMPORARY ART WORKS mainly prints by artist to include Jonathan Shaw, John Waterhouse, Julie Ann Scott etc (7)

OLEG KUDRYASHOV (RUSSIAN B. 1932) Stage Design Maquette for a Contemporary Ballet, 1989 drypoint etching, watercolor, gouache and collage on paper 104.5 (L) x 72.8 (W) x 7.7 (D) cm (41 1/8 x 28 5/8 x 3 in.) signed and dated lower right and also lower center; inscribed board n. 1818, sculpture project and edition 1/1 lower left PROVENANCEThe Nasher Museum of Art at Duke University, Durham

EVA (RUSSIAN B. 1979) Untitled, digital photograph 59.7 x 83.8 cm (23 1/2 x 33 in.) AP, ed. of 10EVA is a prospective contemporary Russian artist whose artwork is known to be popular among private collectors and museum curators in Europe and the U.S. EVA participated in numerous group exhibitions and contemporary art biennials and has held solo shows in Russia and Italy that gained her recognition and respect from art scholars and critics. Her non-traditional approach to collage, as well as careful handling of the texture of bronze in her sculptural works, relates her artistic language to that of the Surrealist tradition. Her creative approach defies labels and definitions -- she practices in every medium and every form of art possible, formulating her own, contemporary language. EVA’s artwork can be found in collections of various museums across Europe and Russia, as well as in many private collections. 

EVA (RUSSIAN B. 1979) Untitled, digital photograph 59.7 x 83.8 cm (23 1/2 x 33 in.) AP, ed. of 10EVA is a prospective contemporary Russian artist whose artwork is known to be popular among private collectors and museum curators in Europe and the U.S. EVA participated in numerous group exhibitions and contemporary art biennials and has held solo shows in Russia and Italy that gained her recognition and respect from art scholars and critics. Her non-traditional approach to collage, as well as careful handling of the texture of bronze in her sculptural works, relates her artistic language to that of the Surrealist tradition. Her creative approach defies labels and definitions -- she practices in every medium and every form of art possible, formulating her own, contemporary language. EVA’s artwork can be found in collections of various museums across Europe and Russia, as well as in many private collections. 

EVA (RUSSIAN B. 1979) Untitled (Cat), bronze height: 22.9 cm (9 in.) AP, ed. of 10EVA is a prospective contemporary Russian artist whose artwork is known to be popular among private collectors and museum curators in Europe and the U.S. EVA participated in numerous group exhibitions and contemporary art biennials and has held solo shows in Russia and Italy that gained her recognition and respect from art scholars and critics. Her non-traditional approach to collage, as well as careful handling of the texture of bronze in her sculptural works, relates her artistic language to that of the Surrealist tradition. Her creative approach defies labels and definitions -- she practices in every medium and every form of art possible, formulating her own, contemporary language. EVA’s artwork can be found in collections of various museums across Europe and Russia, as well as in many private collections. 

EVA (RUSSIAN B. 1979) Untitled (Bird), bronze height: 46 cm (18 in.) AP, ed. of 10EVA is a prospective contemporary Russian artist whose artwork is known to be popular among private collectors and museum curators in Europe and the U.S. EVA participated in numerous group exhibitions and contemporary art biennials and has held solo shows in Russia and Italy that gained her recognition and respect from art scholars and critics. Her non-traditional approach to collage, as well as careful handling of the texture of bronze in her sculptural works, relates her artistic language to that of the Surrealist tradition. Her creative approach defies labels and definitions -- she practices in every medium and every form of art possible, formulating her own, contemporary language. EVA’s artwork can be found in collections of various museums across Europe and Russia, as well as in many private collections. 

Art sale catalogue.- Catalogue de tableaux de Diverses Écoles, composant le cabinet de feu M. le Lieutenant Géneral Comte Despinoy, priced throughput in ink, some foxing, contemporary calf-backed marbled boards, rebacked, preserving original gilt spine, Versailles, 1850 § Burtin (François-Xavier de) Traité Théorique et Pratique des Connoissances qui sont nécessaires à tout Amateur de tableaux.., 2 vol., first edition, half-titles, engraved frontispieces, some spotting, contemporary calf-backed marbled boards, spines gilt and with red and green leather labels, rubbed, Paris, 1808; and 7 others, most 19th century Italian works on the Fine Arts, v.s. (10)

Agriculture.- Markham (Gervase) The English husbandman...The first part contayning the knowledge of husbandly duties, the nature of all sorts of soiles within this kingdome, the manner of tillage, the diversity of ploughes, and all other instruments. The second part containing the art of planting, grafting, and gardening, the vse of the vine, the hopgarden, and the preservation of all sorts of fruits, the draught of all sorts of knots, mazes, and other ornaments, 3 parts in 1, first f. of parts 1 and 2 blank (the first laid down), woodcuts within text, woodcut head-pieces and decorative initials, R2 torn with loss of text and woodcut, 2C4 torn in 3 places without loss, little marginal worming at foot, water-stained, some creasing, contemporary calf, spine ends chipped, corners worn, rubbed, [Fussell pp.31-32; Poynter 21.2; STC 17358; W&S p.144], small 4to, Printed [by Augustine Mathewes and John Norton] for Henry Taunton, and are to be sold at his shop in Saint Dunstans Church-yard in Fleetstreet, 1635.⁂ Includes growing of vines and hops, angling, cock-fighting, breeding of animals and veterinary matters, amongst other subjects.Provenance: 'Thomas Dunstall, his Booke, Anno Do. 1668'; 'John Dubstall his booke 1672' (ink inscriptions to inner front board and elswhere); Sir Thomas Miller (armorial bookplate).

Trees.- [Venette (Nicolas)] The Art of Pruning Fruit-Trees, with an explanation of some words which gardiners make use of in speaking of trees. And a tract for the use of the fruits of trees, for preserving us in health, or for curing us when we are sick, first English edition, woodcut illustrations, publisher's advertisements at end, tender edges with some tears and loss, not affecting text, small loss to 1 or 2 corners, faint spotting, small marginal worming, not affecting text, contemporary calf, covers detached, lacking spine, rubbed and worn, [Wing V187], 8vo, for Tho. Basset, 1685.⁂ A scarce first English edition of 'L'Art de tailler les arbres fruitiers of 1683, translated by 'a physician of Rochelle.'

Loschi (Alfonso) Compendi historici ... per tutto l'anno 1693., 20 folding tables, water-stained, 19th century marbled boards, spine worn, rubbed, Bologna, Longhi, 1694 § [Lugiato (Andrea)] Osservazione sopra l' Opuscula che ha per Titolo Art Magica Dileguata, di un Prete dell' Oratorio, title with woodcut ornament, errata f., some foxing, contemporary vellum, Venice, Simone Occhi, 1750; and small qty. of others, Continental, most relating to Louis XIV, including a defective copy of Lipsius' Amphitheatro, 1570, v.s. (Sm.Qty.)

Alexander STUART-HILL (1889-1948) You Can Be Sure of Shell, Mousehole Penzance (1932) Coloured lithograph, condition B/B+; backed on linen Provenance: Personal collection of the Marketing Director for Shell during the 1960s and 70s Sold Christie’s, South Kensington, 4 June 2015, lot 15 Private Collection Under the direction of Jack Beddington, Shell posters were predominantly produced during the 1930s, when Beddington was responsible for the company’s advertising. Poster campaigns such as 'To Visit Britain's Landmarks' and 'These People Use Shell' were designed by leading artists and designers of the day including Alexander Stuart-Hill. Shell quickly became a leader in British advertising during this period, exposing the public to contemporary British art and design. (Dimensions: 78 x 113cm.)(78 x 113cm.)

signed in pencil in the margin, 24/88 in pencil in the plate; thumbprint and dated 2017 on the reverse silkscreen on hand torn archival paper 122 by 92cm Brazen, unapologetic and positioned at the forefront of street art culture, Mr. Brainwashis one of the fearless renegades of contemporary art. The French-born, Los Angeles-based artist is lesser known by his given name of Thierry Guetta, yet his moniker has become synonymous with the explosive collision between pop art and graffiti culture.Treading the boundary between high art and guerrilla satire, Guetta walks arm-in-armwith another one of the urban contemporary scene’s ubiquitous enigmas, Banksy.It was fellow street artist’s Banksy’s Academy Award-nominated 2010 documentary,Exit Through the Gift Shop, that helped to propel Guetta’s unconventionally swift riseto commercial stardom(1).Following the release of the acclaimed documentary, critics began to speculate asto whether Guetta was an authentic creator or an elaborate hoax conjured by theanonymous Banksy. After noting the undeniable likeness between the two artists’styles, some suggested that Mr. Brainwash’s works had actually been created byBanksy himself, while his unruly protégé was an intricate comment on the nature offame within the art world(2). Banksy took to his website to vehemently deny the claims.The widespread controversy only further amplified the notoriety of Mr. Brainwash.The artist’s works toy with pop culture iconography, subverting society’s mostrecognizable images through the sharp-witted use of reconceptualised appropriation.Guetta has captured the imagination of the international market, captivating thediscerning eye of collectors with his large-scale works currently fetching hundreds ofthousands of dollars(3).Deeply inspired by the work of Pop Art prince, Andy Warhol, Guetta has oftenfeatured Hollywood celebrities and cultural icons as the subjects of his vivid portraits.The artist has created images paying tribute to Kate Moss, Jimmy Hendrix, CharlieChaplin, Albert Einstein, and here, Dr Martin Luther King Jnr.Aptly entitled King, the limited edition monochromatic screenprint features the faceof the civil rights movement’s most influential figure. The portrait, with King’s piercinggaze and the austere use of black ink, is exceptional amid the artist’s more typicaltechnicolour works. As a characteristic tongue-in-cheek nod to the controversysurrounding the authenticity of his work, the screenprint boasts Guetta’s ownthumbprint on the reverse. - E.S.K.1. Ben Davis. 9.5 These on Art and Class. Chicago: Haymarket Books, 2013, p.992. Angela Dalle Vacche. Film, Art, New Media: Museum Without Walls? London: Palgrave Macmillan, 2012, p.893. Eric Grzymkowski. Art 101: From Vincent van Gogh to Andy Warhol, Key People, Ideas, and Moments in the History ofArt. New York: Simon & Schuster, 2013, p.67

Piers Browne, 'Is my Team Ploughing', signed, numbered 41/65, etching, 19 x 12cm (Pl), 36 x 28.5cm framed Piers Browne is a British contemporary artist based in Wensleydale, North Yorkshire. He was born in Shropshire and studied at the Byam Shaw School of Art in London where he found inspiration under the tutelage of Maurice de Saumarez and Diana Armfield. He then attended the Royal Academy Schools 1972-1972 where he won the David Murray Landscape Prize in both 1974 and 1975, and was taught printmaking at Islington Studio under Hugh Stoneman. Browne spent some time travelling through Europe and Central Africa whilst painting and eventually settled in Yorkshire. He has had over 75 one man exhibitions across the UK, Iceland, USA and in Germany and was a member of the Askrigg Group for 20 years. Browne is renowned as a printmaker, working extensively in oils and as an etcher.

Neville Weston (1936-2017) British Contemporary, Oil on canvas, 'Port Adelaide'. Dated '86, signed bottom left and titled on reverse. Framed. Canvas measurements W 45.5 x H 35.5cm, Framed measurements W 48 x H 36.7cm Neville Weston (1936-2017) was a figurative painter and a key figure in the Liverpool avante garde art scene, closely associated with Adrian Henri and Keith Arnatt. He relocated to Australia in the 1970s, accepting a number of art lecturing positions at various universities, he was appointed the Dean of Visual Art in Perth, before becoming a Professor in Art History at James Cook University. He has written extensively and published works on subjects regarding Australian art. His paintings of Australian landscapes are widely praised and he has been exhibited across Australia and North West Europe. Weston returned to the UK for the final decade of his life, continuing to paint and exhibit his work until his death in 2017.

David Greenall, pencil and watercolour, titled 'Brancaster Staithe', dated '91, mounted and framed. Measurements 26.2 x 23.2 (i) framed Measurements 44 x 45.3cm Plus two further watercolours by different hands; Colin Kent RI, watercolour, titled 'Ochre Morning', signed bottom left, mounted and framed. Measurements 44.7 x 21.6cm (i), framed measurements 44.5 x 65.5cm. Massey, watercolour, signed bottom right, mounted and framed. Measurements 22.6 x 23.5cm (i), framed measurements 42.5 x 45 cm (Qty: 3) David Greenall (b.1947) is a contemporary British artist born in Merseyside. Greenall studied printmaking at the Winchester School of Fine Art before relocating to the Isle of Lewis with his partner Ruth O'Dell, who is also an artist. He works mostly in abstract style and uses his own handmade colour from pigments including egg, resins, oils and waxes.

Piers Browne, The Wrekin from Caer Caradoc, signed, numbered 86/100, dated 1982, etching, 7.5 x 15cm (PL), 31 x 40cm framed Etching from A.E. Housman 1988 A Shropshire Lad, Ashford Press Publishing, Plate XLIII Piers Browne is a British contemporary artist based in Wensleydale, North Yorkshire. He was born in Shropshire and studied at the Byam Shaw School of Art in London where he found inspiration under the tutelage of Maurice de Saumarez and Diana Armfield. He then attended the Royal Academy Schools 1972-1972 where he won the David Murray Landscape Prize in both 1974 and 1975, and was taught printmaking at Islington Studio under Hugh Stoneman. Browne spent some time travelling through Europe and Central Africa whilst painting and eventually settled in Yorkshire. He has had over 75 one man exhibitions across the UK, Iceland, USA and in Germany and was a member of the Askrigg Group for 20 years. Browne is renowned as a printmaker, working extensively in oils and as an etcher.

Andrew White (b.1968), British contemporary, oil on canvas, titled 'The Oriental Screen', signed bottom left, framed. Measurements 76.2 x 50.8cm, framed measurements 97 x 71.5cm Sticker verso for Burlington Paintings, London. Andrew White (b.1968) is a British contemporary artist from Lincolnshire. He attended the Slade School of Art in London and cites influence from Victorian painters such as J.W. Waterhouse and D.G. Rosetti. He strives to re-establish confidence in traditional painting, his works have been described as having an almost haunting atmosphere.

Mackenzie Thorpe (Contemporary British), Walking in the Rain, photo lithograph, 775/850 edition, dated 2000, Artist Proof /85, signed bottom right, mounted and framed. Measurements 19 x 35.5 cm, framed measurements 47 x 62.5 cm. Certificate of Authenticity verso, Washinton Green Fine Art Publishing Company Ltd. Mackenzie Thorpe (b.1956) is a British contemporary artist from Middlesbrough. He began his working life in ship building before studying at the Cleveland College of Art and Design and the Byam Shaw College of Art in London. Upon his return to the North, Thorpe founded the Arthaus gallery in Richmond. His work is predominantly abstract, ranging from more accessible figures to challenging pieces exploring themes such as isolation and human struggle, many influenced by his childhood growing up in working-class North East. He has received a number of honours including an Honorary Masters Degree from Teeside University and an Honorary Professorship from Seisa University in Japan. Thorpe was appointed as the official artist for 2019 Tour de Yorkshire and in 2019 launched a world tour 'From the Heart' to as a 30 year retrospective.

Darren Hughes (b.1970) Welsh contemporary, Titled 'A Song of Winter II', mixed media on paper, mounted and framed. Measurements 15.5 x 29 cm, framed measurements 36 x 48.5 cm Sticker verso for Thackeray Gallery, London. (Qty: 1) Darren Hughes RCA (b.1970) is a Welsh contemporary artist from Bangor and has been described as one of the 'rising stars of Welsh painting'. He studied at the Falmouth School of Art and Design before going on to the Cyprus School of Art. He is best known for his dark, brooding Welsh landscapes. Hughes has exhibited alongside, and attracted the admiration of, Sir Kyffin Williams.

Andrew White (b.1968), British contemporary, 'The Drawing Room', oil on canvas, signed bottom left, framed. Canvas measurements 45.7 x 35.6cm, framed measurements 59.8 x 49.7cm. Sticker verso for Burlington Paintings, London. Andrew White (b.1968) is a British contemporary artist from Lincolnshire. He attended the Slade School of Art in London and cites influence from Victorian painters such as J.W. Waterhouse and D.G. Rosetti. He strives to re-establish confidence in traditional painting, his works have been described as having an almost haunting atmosphere.