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[§] EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (BRITISH 1924-2005) SECRETS OF THE INTERNAL COMBUSTION ENGINE Signed and numbered 500/500 in pencil, screenprint 37cm x 25cm (14.5in x 9.75in) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection   

ROBERT MANGOLD (AMERICAN B.1937) UNTITLED Signed 'R.M.' and dated 1992 in pencil, from an edition of 300 originally published in a portfolio of 9 prints titled 'Book of Silk Screen Prints: Multiple Panel Paintings 1973-1976', this being from the 3rd published edition of the book in 1992, screenprint 29cm x 60cm (11.5in x 23.5in) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

ROY LICHTENSTEIN (AMERICAN 1923-1997) AS I OPENED FIRE - TRIPTYCH Complete triptych of off-set lithographs, published by Stedelijk Museum Amsterdam, 1991, unframed 64cm x 52.5cm (25.25in x 20.75in) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

JASPER JOHNS (AMERICAN B.1930) BENT BLUE, 1971 Signed and dated '71 in pencil, numbered 169/240, lithograph 65cm x 50cm (25.25in x 19.75in) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

[§] CHRISTO & JEANNE-CLAUDE (BULGARIAN B.1935) REICHSTAG, WRAPPED Signed, offset lithograph 42cm x 30cm (16.5in x 11.75in) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

ED RUSCHA (AMERICAN B.1937) UNTITLED Signed and dated '83 in pencil, numbered 48/100, lithograph, unframed 85cm x 72cm (33in x 28.5in) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

LARRY POONS (AMERICAN B.1937) UNTITLED A.P., signed in pencil, screenprint and three further works from different editions by the artist (4) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

[§] MARTIN BOYCE (SCOTTISH B.1967) UNTITLED Photogravure 18cm x 14cm (7in x 5.5in) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

[§] CAROL RHODES (SCOTTISH B.1959) UNTITLED, 2000 Oil on card 15cm x 20cm (6in x 8in) and a further work, a screenprint by Kenneth Noland 'Untitled (From the New York Collection for Stockholm).' (2)Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

ROY LICHTENSTEIN (AMERICAN 1923-1997) GRRRRRR!! - 1965 Signed in pen to margin, offset lithograph published by the Solomon R. Guggenheim Museum, New York, published 1993 77cm x 59cm (30.25in x 23.25in) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

ROBERT RAUSCHENBERG (AMERICAN 1925-2008) FLOWER RE-RUN FROM THE SERIES REELS (B + C) Signed in pencil and dated '68, numbered 44/52, lithograph 40cm x 30cm (15.75in x 11.75in) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

JESÚS RAFAEL SOTO (VENEZUELAN 1923-2005) UNTITLED (BLACK & SILVER) Signed in pencil and numbered 124/150, embossed with 'Denese Rene Editions' stamp, screenprint 80cm x 50cm (31.5in x 19.5in) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

ROBERT LONGO (AMERICAN B.1953) A "SINGLE FRAME" FROM THE 'MNEMONIC PICTURES' FOLIO Signed with initials and dated '95 in pencil, numbered 4/26, photo-lithograph, taken from the set of 24, published 1995, unframed 20.5cm x 25.5cm (8in x 10in) and some text 'Remembering Johnny' from the same series (2) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.

[§] EDUARDO PAOLOZZI K.B.E., R.A., H.R.S.A. (BRITISH 1924-2005) EARLY MENTAL TRAITS OF 300 GENIUSES - FROM 'GENERAL DYNAMIC F.U.N.' 1965–70 Photolithograph from a portfolio of thirty-four photolithographs and sixteen screenprints, edition of 350, published by Editions Alecto, London 38cm x 24.5cm (15in x 9.75in) and two further works from the same folio (3) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

[§] ASHLEY COOK (SCOTTISH CONTEMPORARY) DIANE AMONGST ROSE, 1989 Signed and inscribed 1/8 in pencil to margin, various print mediums 136.5cm x 100.5cm (53.75in x 39.5in) Exhibited: Compass Gallery; Glasgow Print Studio Gallery Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

JON SCHUELER (AMERICAN 1916-1992) SUMMER SKY Signed and dated '81 and inscribed with title in pencil, numbered 33/37, lithograph on Japan paper, unframed 45cm x 53cm (17.75in x 21in), and a further similar lithograph by the artist (2) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.

[§] DOUGLAS GORDON (SCOTTISH B.1966) UNTITLED Signed and dated 2001 to margin, numbered 26/100, offset lithograph 51cm x 40cm (20in x 15.75in) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

[§] NICOLAS PARTY (SWISS B.1980) FLOWERS, 2012 Dated 01.04.2012, signed to 'Modern Institute' label verso, ink on paper 49cm x 69cm (19.25in x 27in) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

[§] ALISON WATT O.B.E., R.S.A. (SCOTTISH B.1965) HAND ON LEFT BREAST Inscribed with title and dated 1994 verso, oil on board 23cm x 18cm (9in x 7in)Note: The artist confirms this work is a self-portrait.Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

[§] ALISON WATT O.B.E., R.S.A. (SCOTTISH B.1965) APPLE HEAD, 1994 Signed, inscribed with title and dated verso, oil on board 12cm x 12cm (4.75in 4.75in) Note: The artist confirms this work is not a self-portrait.Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

JULIO LE PARC (ARGENTINIAN B.1928) SÉRIE 23, NO. 1-3, 1971 Signed in pencil, numbered 63/200, embossed with Edicion Denise Rene stamp, screenprint 73cm x 72cm (28.75in x 28.25in) and three further works from the edition of 200 (4) Note: John Calcutt was born in Chipping Norton and moved to Scotland in 1969 to study Fine Art at Edinburgh University and Edinburgh College of Art, but realising his interests lay in the thoughts, processes and concepts of creation, rather than the processes of making, transferred from Fine Art to History of Art, gaining a MA (Hons) in 1973, specialising in European Art c. 1750-1850. He completed his formal education at the Courtauld Institute of Art (University of London) in 1974, gaining an MA in Realism in European Art c. 1830-1860. John returned to academia soon after as Senior Lecturer in History and Theory of Art and Design at the University of Central Lancashire, where he worked for twelve years before returning to Scotland in 1987 to take up the position of Lecturer in the Historical and Critical Studies Department at the Glasgow School of Art. In 2005 he became Senior Lecturer on the MFA Programme at GSA, before succeeding his close friend Sam Ainsley as Programme Leader in 2007, working with another close friend, the artist Graham Ramsay. He was also Programme leader on the MLitt in Fine Art Practice Course at Glasgow School of Art from 2012-16 and continued to work at the school after he retired in January 2017, when he became Director of Bureau de Change, a pioneering Postgraduate Forum he initiated to nurture recent graduate talent. Although John spent 44 years working within higher education institutions, he was no stuffy academic and loved sharing his deep and wide knowledge with students. He was an inspirational teacher, writer and critic who significantly shaped and informed the contemporary visual art scene in Scotland and beyond, nurturing the careers of many of the countries most celebrated and critically acclaimed artists. His collecting interests included contemporary visual art, books and music, with a particular passion for Pop Art; his home a homage to Jasper Johns, Frank Stella and Andy Warhol.Provenance: The John Calcutt Collection

[§] BOYLE FAMILY (SCOTTISH CONTEMPORARY) UNTITLED Inscribed verso 'To Avril and Richard, with love from the Boyle Family', mixed media, resin and fibreglass 40.5cm x 40.5cm x 6cm (16in x 16in x 2.25in) Provenance: The Boyle Family gifted this work directly to the present owner Note: This work is believed to be a maquette for a larger work, a private commission for a British collector c. 2000. Note: Their collective comprises husband, wife, son and daughter, but beyond being close family members, the Boyle Family are artistic collaborators. This began soon after Mark Boyle, a Glaswegian by birth, and Joan Hills, originally from Edinburgh, met whilst living in Yorkshire in the 1950s. Their children Sebastian and Georgia were exposed to studio life from an early age, ultimately opting to continue the collaboration into adulthood. Though initially exhibiting under Mark's name alone, they represented themselves as 'Boyle family' as soon as the artworld expanded its narrow mindset to perceive the nature of their collaborative process, as opposed to only understanding it through the typical mythologizing of the (usually) male artist as loner/genius. From the very first, the work itself had been the primary focus and importance, and they did not divert themselves with attempts to challenge art world stereotypes or with efforts to market themselves in a calculated manner. Now, happily, the industry recognises, respects and celebrates the unique approach to their collective practise. Their work was experimental and cross disciplinary from the start, with famous early projects including innovative visual installations in collaboration with musicians like Jimi Hendrix and the Soft Machine. Elements of film and performance continue to play a part in their practise, but it is the Earth Series for which they are best known. The Earth Series, in their own words, 'are three dimensional casts of the surface of the earth which record and document random sites with great accuracy. These works combine real material from the site (stones, dust, twigs etc) with paint and resins, preserving the form of the ground to make unique one-off pieces that suggest and offer new interpretations of the environment.' The full details of their materials, casting technique and how they achieve such accurate representations is a well-kept family secret. Randomness, chance and an attempt to eliminate all bias are underpinning concepts of this project. Sites were selected on the map by the throw of a dart whilst blindfolded, and the precise patch of ground to be immortalised narrowed down by the toss of a t-square over the shoulder. No subject is above or beneath capture and depiction. Their aim is to create a truthful and unadorned representation of a fleeting moment of reality, freeing us, the audience, from our typical interpretation of art via projected prejudices, cultural reference points, associations and reminiscences. Though Mark Boyle sadly passed away in 2005, the family continue their work. Boyle Family has exhibited in galleries and museums world-wide, including representing Britain at the Venice Biennale in 1978 and the Sao Paulo Biennale in 1987. Their exhibition 'Beyond Image' at London's Hayward Gallery in 1986 attracted 176,000 visitors. Their work is represented in many private and public collections with major works in forty museum collections worldwide, including Tate Britain; Stuttgart Staatsgalerie; Los Angeles County Museum; Kunstmuseum Luzern; Tokyo Metropolitan Museum; Museum Moderna Kunst Vienna. The National Gallery of Scotland, Edinburgh, hosted a major retrospective of the family's work in 2003.

Great Exhibition. The Art Journal Illustrated Catalogue. The Industry of all Nations, 1851, numerous illustrations, some spotting, all edges gilt, contemporary half calf, spine and edges rubbed, 4to, together with The Modern Gallery of British Artists, 1836, additional engraved title, 36 engraved plates, a little light spotting, original green cloth gilt, spine faded, 4to, plus The Jockey Club, or a Sketch of the Manners of the Age, [by Charles Pigott], 2 parts in one, 2nd edition, Dublin, 1792, a little minor toning, contemporary tree calf, light edge wear, 8vo, together with others including another Art Journal 1851, N. Whittock's The Youth's New London Self-Instructing Drawing Book, 1835 and The National Gallery of Pictures of the Great Masters..., 2 volumes, circa 1838 (Qty: 22)

Tymms ( W.R . & Wyatt, M.D.) . The Art of Illuminating as practised in Europe from the earliest times, 1860, Day & Son, approximately 100 colour plates including illuminated title page, book plate to front paste down, later endpapers, minor marginal toning, contemporary gilt decorated green half calf, boards & spine slightly rubbed, large 8vo, together with Jones (E. Alfred) , The Old English Plate of the Emperor of Russia, 1909, privately printed, The Arden Press, Letchworth, inscribed by the author to the half title, 50 monochrome plates, book plate to front paste down, some light spotting, original gilt decorated brown half morocco, boards & spine slightly rubbed, large 4to, and Fox-Davis (Arthur Charles) , Fairbairn's Book of Crests of the families of Great Britain and Ireland, 2 volumes (text + plates), New edition, 1892, Edinburgh, 229 monochrome plates, book plates to front paste downs, some light spotting, uniform gilt decorated red quarter morocco, boards & spines rubbed, large 4to, plus other plate books, peerage, & biography, some leather bindings, some original cloth, condition is generally good/very good, 8vo/folio (Qty: 3 shelves)

Hedin (Sven). Central Asia and Tibet, Towards the Holy City of Lassa, 2 volumes, 1st edition, 1903, portrait frontispiece to each, numerous black & white plates and illustrations, folding maps (folding map at rear of volume 1 torn and repaired), ink stamp to titles, endpapers renewed, top edge gilt, original cloth gilt, rebacked preserving original spines, upper covers marked where label removed, large 8vo, together with Todd (Henry John). Some Account of the Deans of Canterbury; from the new foundation of that church, by Henry the Eighth, to the Present Time. To which is added a Catalogue of the Manuscripts in the Church Library, Canterbury & London, 1793, upper blank margin of title torn and repaired, contemporary calf, rebacked preserving original spine, morocco title label, 8vo, with Oliver (George) , Historic Collections, relating to the Monastries in Devon, Exeter: Printed by R. Cullum, 1820 , occasional spotting, original boards with later cloth spine and printed paper title label, 8vo, and Salter (Thomas Frederick). The Anglers Guide; being a New, Plain, and Complete, Practical Treatise of the Art of Angling for Sea, River, and Pond Fish..., 6th edition, carefully corrected & enlarged, 1825, engraved portrait frontispiece, wood engraved vignette to title (few letters skinned with loss), wood engraved plates and illustrations, frontispiece & title reattached, some spotting and finger-soiling, wax seal stamp to verso of final leaf, contemporary half calf, lacking spine label, rubbed and some wear, 12mo in 6s, plus Kennedy (John) , A Treatise upon Planting, Gardening, and the Management of the Hot-House, volume 1 only (of two), 2nd edition, corrected & greatly enlarged, 1777 , title underlined in ink, contemporary half calf, paper label at foot of spine, lacking upper board detached (replacement full calf board provided), lower joint cracked, worn, 8vo, plus The Parks and Gardens of Paris, by William Robinson, 1878, original cloth, spine and lower board damp soiled, 8vo, together with other British topography related including, Paterson's Roads, by Edward Mogg, 16th edition, 1822, title detached and torn, folding engraved maps, original diced calf, 8vo, The Walloons and their Church at Norwich by William Moens, Lymington, 1888, ex-library copy with usual ink stamps, modern red library buckram, 4to, plus three others (Qty: 12)

Ca.2000 BC. This type of very interesting stone statuette, sometimes referred to as Bactrian princesses or Bactrian goddesses, is a very distinctive and rare object of the prehistoric civilization of Bactria. These seldom exceed 20cm in height and they are composite in nature, with the head (and also often a cap or other headdress) being separate from the body.They are made up with two or more different types of stone; usually green chlorite or steatite for the body, with heads of white limestone and occasionally in green chlorite.Bactra was the Greek name for the area of modern Balkh, in what is now northern Afghanistan and Margiana was the Greek name for the Persian satrapy of Margu, the capital of which was Merv, in today's Turkmenistan.This civilisation was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. Pictographs on seals have been argued to indicate an independently-developed writing system.Religion may have been based around deities represented by pieces such as this. However, they are extremely rare.. Their significance is unclear. Fine Condition, intact. Size: 10.5cm x9cm (4.13 x 3.54 in); 700gr; Provenance: Private collection of an Oxford professional, formed in the 1970s-1990s on the UK art market, All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

Theatre.- Boaden (James) The Life of Mrs. Jordan..., 2 vol., engraved portrait frontispiece, folding plate, extra-illustrated with 28 engraved plates depicting actors and playwrights of the era and scenes from contemporary plays (these all hand-coloured, with 3 after Robert Cruikshank, 1 after Lawrence, and with many engraved by William Ridley) and several ff. culled from published works with notes on contemporary theatre, most pieces mounted to ff. bound in, a little foxing and offsetting, contemporary crushed morocco, a little worn, joints splitting, 1831; Memoirs of Mrs. Siddons..., 2 vol., mezzotint portrait frontispiece, most ff. browned and with marginal damp-staining, hinges splitting, contemporary straight-grain morocco, g.e., a little worn, boards damp-stained, vol.II. upper board detached, 1827; and 5 others, one a copy of Egerton's Theatrical Remembrancer, 8vo (9)⁂Portraits in first include Grimaldi, Mrs Crouch, Miss Lee, Mr Dowton, Mrs Billington, Mrs Mattocks, John O'Keeffe, Mrs Inchbald, and Her Serence Highness the Margravine of Anspach.Provenance: first: Edward Jolly and John Gayner (bookplates).Edward Solly (1819-1886) chemist and antiquary, son of the great art collector.

A quantity of glass including an Art Deco black and clear glass contemporary perfume bottle, a small selection of paperweights, decorative bowls, vases, etc.

Roger Billington (Contemporary), moonlit view of Santa Maria Della Salute, Venice, 'Venetian Nights', oil on board, signed, label for Downland Art Society verso, 40cm by 29.5cm

A collection of Victorian to mid-20th century decorative glassware including a pink, white and brown crimped neck posy vase; an Art Deco amber optic-moulded vase; a Holmegaard smoky grey vase by Per Ludkin, 1962; a Wedgwood 'Brutus' range vase designed by Frank Thrower; a Mdina blue bottle and stopper with splashed decoration; a Holmegaard free form pink cased bowl, a pair of contemporary French vases etc (two trays)

Various collectables and other items, an Art Deco plaster figure of a lady, hammered Tudric pewter teapot, two Silcock's weekly milk recording sheets, various clothing, contemporary Russian dress, fur, etc. (a quantity)

Roundell (Mrs Charles), Ham House, Its History and Art Treasures [...], two-volume set, George Bell and Sons, London 1904, photogravure and other full-page plates, contemporary half-vellum and cloth boards gilt, ex-lib, crown folios, (2); Guiffrey (Jules), Sir Anthony Van Dyck, Translated from the French by William Alison, limited edition of 265, H Henry & Co Limited, London 1896, full-page engravings, further plates and b/w illustrations, slightly later half-calf and cloth boards, fairly clean ex-lib, medium folio; Foster (J.J.), Miniature Painters: British and Foreign, with Some Account of Those Who Practiced in America in the Eighteenth Century, Illustrated by Numerous Examples Selected from Celebrated Collections, Author's Edition, presentation copy, two-volume set, Dickinsons, London 1903, contemporary boards, relaid spines, top edges gilt, Golden Age Armorial bookplate: Sir Weetman Dickinson Pearson, Baronet, 19 Carlton House Terrace, slightly later Pictorial bookplate: Annie Pearson, crown folios, (2); Bemrose (William), The Life and Works of Joseph Wright, A.R.A., Commonly Called "Wright of Derby" [...], numbered 275 and signed by the author, Bemrose & Sons, London 1885, relaid and rebacked binding, crown folio; another copy similar, numbered 357, ex-lib, medium folio, (disbound), [7]

Linda Le Kinff , L'Orchidee, signed limited edition print, signed and numbered in pencil 80 of 120, Christies Contemporary Art label verso, 63.5 x 46cm.

Original rare vintage movie quad poster for the 1970 American western Soldier Blue directed by Ralph Nelson and starring Candice Bergen, Peter Strauss and Donald Pleasance. Soldier Blue is a 1970 American Revisionist Western film directed by Ralph Nelson and starring Candice Bergen, Peter Strauss, and Donald Pleasence. Adapted by John Gay from the novel Arrow in the Sun by T.V. Olsen, it is inspired by events of the 1864 Sand Creek massacre in the Colorado Territory. Nelson and Gay intended to utilize the narrative surrounding the Sand Creek massacre as an allegory for the contemporary Vietnam War. Released in August 1970, the film drew attention for its frank depictions of violence, specifically its graphic final sequence. Some film scholars have cited Soldier Blue as a critique of America's "archetypal art form [the Western]," with other interpretations ranging from it being an anti-war picture to an exploitation film. Poor condition, foxing, staining, tape marks and tears in margins, reinforced with water soluble brown tape on reverse. Country: UK , year of printing: 1970, designer: Unknown, size (cm): 76x100 (Horizontal)

Original vintage advertising poster for performances of the former Blue Blouse Theatre at the Sovremennyi Teatr in Moscow in 1933. The Blue Blouse (Russian: ????? ?????, Sinyaya Bluza) was an influential agitprop theatre collective in the early Soviet Union. Boris Yuzhanin created the first Blue Blouse troupe under the auspices of the Moscow Institute of Journalism in 1923. Their example encouraged similar workers' theatre companies across the country and worldwide; by 1927 there were more than 5,000 Blue Blouse troupes in the Soviet Union with more than 100,000 members. In the autumn of that year, the original troupe began a tour in Erwin Piscator's theatre in Berlin that provoked a rapid growth of agitprop troupes across Weimar Germany. The blue workers' uniforms, in which the actors performed, gave the troupe its name, under which they also published a magazine, which contained scripts and detailed descriptions of staging, costumes, and the troupe's other theatrical techniques, along with news reports and current affairs. Its variety style made many demands on its performers, requiring "a young deft man trained in physical culture, trained in the striking word, in the cheerful, bold and hard-hitting song and couplet, in the contemporary rhythm of the grotesque and simplistic," its magazine explained. The rehearsal process was extremely rigorous, requiring actors to stay physically and mentally alert through a strict exercise program and by keeping up with the political topics of the day. The year 1927 marked the end of the Blue Blouse organisation, when it was forced to merge with the more orthodox Workers' Youth Theatre (TRAM). Agitprop (portmanteau of "agitation" and "propaganda") is political propaganda, especially the communist propaganda used in Soviet Russia, that is spread to the general public through popular media such as literature, plays, pamphlets, films, and other art forms with an explicitly political message. It gave rise to agitprop theatre, a highly politicized theatre that originated in 1920s Europe and spread to the United States; the plays of Bertolt Brecht are a notable example. Russian agitprop theater was noted for its cardboard characters of perfect virtue and complete evil, and its coarse ridicule. Gradually the term agitprop came to describe any kind of highly politicized art. Good condition, folds, tears, staining, pinholes, writing in pencil. Country: Russia , year of printing: 1933, designer: Unknown, size (cm): 65x60cm

Original vintage sport event poster for the 1984 Summer Olympics in Los Angeles featuring a collage by Robert Rauschenberg, who was one of 16 distinguished contemporary artists chosen to produce the official Olympics posters by the Los Angeles Olympic Organizing Committee. Milton Ernest "Robert" Rauschenberg (1925 – 2008) was an American painter and graphic artist whose early works anticipated the pop art movement. Rauschenberg is well known for his "Combines" of the 1950s, in which non-traditional materials and objects were employed in innovative combinations. Very good condition, faint creases. Country: USA, year of printing: 1982, designer: Robert Rauschenberg, size (cm): 61x91.5 (Horizontal)

Original vintage sport event poster for the 1984 Summer Olympics in Los Angeles featuring a colourful painting by Lynda Benglis, who was one of 16 distinguished contemporary artists chosen to produce the official Olympics posters by the Los Angeles Olympic Organizing Committee. Benglis is a well-known Greek-American contemporary artist who took the New York art world by storm in the early 1970's with her brashness and confidence, and quickly came to know the likes of David Hockney, Andy Warhol, Donald Judd, Sol LeWitt, Eva Hesse and Barnett Newman. Very good condition, faint creases and waving in bottom left corner. Country: USA, year of printing: 1982, designer: Lynda Benglis, size (cm): 61x91.5 (Horizontal)

Contemporary art glass table lamp base

*Robert Medley (1905-1995) oil on canvas - still life of tulips and mimosa, 1929, signed, framed, 52cm x 77cm Exhibited: Leicester Museum And Art Gallery, Exhibition Of Contemporary Art 1936 The Robert Medley Exhibition, Hatton Gallery, Newcastle upon Tyne Provenance: Collection of Sir Edward Marsh, K.C.V.O., C.B., C.M.G.

Andrew Macara (B. 1944) Oil on canvas painting of children playing on the beach at sunset. Signed lower right. Christie's label verso. Mixed Exhibitions Royal Academy of Arts, Piccadilly, London. W H Pattersons, 19 Albemarle Street, London - New English Art Club mixed exhibitions Red Rag Gallery, Stow-on-the-Wold International Art Fair, Olympia, 20th Century Art Fair Bath Contemporary Art Fair. Sight Size: 13.25 x 15.25 in. Overall Size: 18.25 x 20.25 in.

I Nyoman Gunarsa (Indonesia, 1944 - 2017) Oil on Canvas painting of two figures. Signed lower right. Gunarsa established Museum Seni Lukis Klasik Bali in Klungkung, dedicated to classical and contemporary Balinese painting. The museum plays a pivotal role in the preservation and documentation of Balinese visual culture for future generations. His awards include the Dharma Kusuma Award, Bali (1995) and Siwi Nataraja Award, Bali (1996). His works can be found in public collections such as National Museum Jakarta, Department of Art and Culture, Jakarta, Fukuoka Museum, Japan, Tropenmuseum, Amsterdam, Holland, National Museum, Singapore, and the Hermitage Museum, St Petersburg, Russia. Sight Size: 32.5 x 25.5 in. Overall Size: 34.5 x 27 in.

AFTER FELIX TOPOLSKI A LIMITED EDITION SCREEN PRINT ON ARCHES PAPER TITLED "THE LAW COURTS" published in 1983, 60cm x 45cm signed and numbered 206 of 250, glazed in slender modern black frame with Christie's Contemporary Art labels en verso

Cookery.- [Glasse (Hannah)] The Art of Cookery, made Plain and Easy, sixth edition, a little browned, a few stains, title slightly frayed at edges, contemporary ink inscription "Mrs. Bridget Edwardes her Book Feb the 16 1790" to front free endpaper, modern morocco-backed marbled boards, spine slightly faded, [Maclean p.59; this edition not in Bitting, Cagle or Vicaire], for the Author...sold by A.Millar...and T.Trye, 1758; and another, 8vo (2)

Ghisi (Giorgio Mantovano, circa 1520-1582). The Last Judgement (after Michelangelo), mid 1540's [but later, circa 1677], engraved portrait frontispiece of Michelangelo by Ghisi, engraved plate of the complete Last Judgement by Sebastian Furck (1589-1665), and ten irregularly shaped double-page copper engraved plates of Michelangelo's Last Judgement in the Sistine Chapel, numbered A-I and L, the latter signed Georgius Mantuanus, and the preceding plate I with printed dedication to Matthys van de Merwede, the general plate and final plate L with publisher's name Giovanni Giacomo Rossi, Rome (active 1638-1684), all on laid paper, some marks and marginal soiling and light waterstain to upper inner margins, portrait with semi-circular portion to lower blank margin excised, generally with very wide margins, sheet size 495 x 620 mm (19.5 x 24.4 ins), contemporary calf-backed marbled boards, worn, folio (Qty: 1)Boorsch & Lewis, Engravings of Giorgio Ghisi, Metropolitan Museum of Art, New York (1985), 9, state v. The late reissue by Giovanni Giacomo Rossi (1600-1699) of Ghisi's famous engravings after Michelangelo's fresco of the Last Judgement, originally published by Antonio Lafreri.

Rose HILTON (1931-2019) KenidjackOil on canvas Studio seal to the back 122 x 182cm(See illustration)This very personal collection of pictures from the painter Rose Hilton's Botallack Moor house are those she kept about her and saw every day. Botallack was her home for 54 years during 10 of which she was married to the older, abstract painter, Roger Hilton. The house with its views across ruined mine workings to the wide sea was formed of a row of miners' cottages that Roger had spotted advertised for sale in The Times, knocked through and modernised to make a home for their young sons Bo and Fergus. Roger brought a few inherited pieces of antique furniture and the austere self portrait painted by his mother as a student at the Slade School of Art. Rose added her own casual decorative touches, described by their friend the poet W.S. Graham as, 'the Beat style.' The artists in this far flung corner of the St. Ives diaspora had always gifted and swapped pieces amongst themselves and as Rose's painting career reignited in the years after Roger's death she began buying and adding to the growing collection at Botallack. The back wall in the little kitchen hung in a stack, edge-to-edge and almost to the ceiling, featured two by Terry Frost, another from Breon O'Casey was above the upright piano, there were landscapes in the bathroom and a 'gallery' corridor wall that she continually rehung with newer works: pieces by Fergus Hilton and her friends Jeremy Le Grice and Frank Phelan, her elder son Bo Hilton (also a painter) and a pair of striking paintings that she had bought as memorials to her old friend the painter Mary Stork. The picture store in the downstairs back room that was Roger Hilton's bedroom cum studio during the last years of his life was full up, too. 'If you're an artist, you're visual, so you usually paint walls white and have flowers and nice materials and things,' Rose said, describing her style.Rose was generous almost to a fault, and when she was not occupied with painting a steady stream of friends, fellow artists and curious visitors filled this hospitable house, art historians, collectors or the regulars of her weekly life drawing classes and older friends who arrived to talk and drink and join in with singing the chapel hymns she knew by heart around the piano that she had bought from the local pub and the fire in the Long Room. Condition report: In fair studio condition. Canvas unlined and slightly loose on stretcher. Some scattered inclusions in the paintwork, contemporary with the work. Some fading along the outer edges of the canvas. Not signed.

Arthur NEALSelf Portrait Charcoal Cadogan Contemporary label to the back 36 x 35cmThis very personal collection of pictures from the painter Rose Hilton's Botallack Moor house are those she kept about her and saw every day. Botallack was her home for 54 years during 10 of which she was married to the older, abstract painter, Roger Hilton. The house with its views across ruined mine workings to the wide sea was formed of a row of miners' cottages that Roger had spotted advertised for sale in The Times, knocked through and modernised to make a home for their young sons Bo and Fergus. Roger brought a few inherited pieces of antique furniture and the austere self portrait painted by his mother as a student at the Slade School of Art. Rose added her own casual decorative touches, described by their friend the poet W.S. Graham as, 'the Beat style.' The artists in this far flung corner of the St. Ives diaspora had always gifted and swapped pieces amongst themselves and as Rose's painting career reignited in the years after Roger's death she began buying and adding to the growing collection at Botallack. The back wall in the little kitchen hung in a stack, edge-to-edge and almost to the ceiling, featured two by Terry Frost, another from Breon O'Casey was above the upright piano, there were landscapes in the bathroom and a 'gallery' corridor wall that she continually rehung with newer works: pieces by Fergus Hilton and her friends Jeremy Le Grice and Frank Phelan, her elder son Bo Hilton (also a painter) and a pair of striking paintings that she had bought as memorials to her old friend the painter Mary Stork. The picture store in the downstairs back room that was Roger Hilton's bedroom cum studio during the last years of his life was full up, too. 'If you're an artist, you're visual, so you usually paint walls white and have flowers and nice materials and things,' Rose said, describing her style.Rose was generous almost to a fault, and when she was not occupied with painting a steady stream of friends, fellow artists and curious visitors filled this hospitable house, art historians, collectors or the regulars of her weekly life drawing classes and older friends who arrived to talk and drink and join in with singing the chapel hymns she knew by heart around the piano that she had bought from the local pub and the fire in the Long Room.

Augustus Pugin - Gothic Ornaments, Selected from Various Ancient Buildings, Both in England and France, During the Years 1828, 1829, and 1830 [...], Henry G. Bohn, London 1844, full-page plates after drawing on stone by James Duffield Hardy (1798-1863), 19th century calf spine and green cloth boards (disbound), recto pastedown with Alexander W. Mills, J.P. bequest bookplate and the recipient Manchester Society of Architects' bookplate, small folio; Examples of Gothic Architecture [...], Accompanied by Historical and Descriptive Accounts [...], part I only, Printed for the Author, London 1831, engraved title-page and further full-page plates, contemporary green moiré boards, fragmentary spine with leather gilt lettering piece, 4to; Specimens of Gothic Architecture, selected from various Ancient Edifices in England, volume II only, M.A. Nattali, London [n.d., c. 1822], engraved title-page, full-page plates - mostly with tissue-guards, 19th century calf spine and olive cloth boards (worn, split with losses to spine), Institute of British Art History library stamp in places throughout, small folio; Belcher (Margaret), A.W.N. Pugin: An annotated critical bibliography, Mansell Publishing Limited, London 1987, h/b, d/j, 8vo; Germann (Georg), Gothic Revival in Europe and Britain: Sources, Influences and Ideas, Lund Humphries [...], London 1972, p/b, 4to, [5]

Bibliography and Bibliophily - Printing, Typography and Engraving - Rummonds (Richard-Gabriel): Printing on the Iron Handpress, Oak Knoll Press & the British Library, 1998, h/b, d/j, 4to; Nineteenth-Century Printing Practices and the Iron Handpress, two-volume set, Oak Knoll Press & the British Library, 2004, p/b, 4to, (2), (3); Pringtin in the Twentieth Century: A Survey [...], The Times Publishing Company Ltd, [London] 1930, h/b, d/j, 4to; The London Society of Compositors: A Centenary History [...], Cassell & Company Limited, London 1948, red cloth and gilt-lettered leather label, 8vo; The British Printer, volume 4 only, 1891, various colour full-page and a few fold-out plates, some adverts, Art Deco blue goatskin gilt binding, blue speckled edges, 4to; Dooley (Allan C. Dooley), Author and Printer in Victorian England, University Press of Virginia, 1992, h/b, d/h, 8vo; Reed (Talbot Baines), A History of the Old English Letter Foundries [...], Faber and Faber Limited, London 1952, h/b, d/j, 4to; Degering (Hermann), Lettering: Modes of Writing in Western Europe from Antiquity to the Eighteenth Century: Ernest Benn Limited, London 1965, h/b, d/j, 4to; Tschicold (Jan), Treasury of Alphabets and Lettering, Omega Books, 1985, h/b, d/j, large 4to; Printer's Abecedarium, The Bodley Head, London 1975, h/b, d/j, 8vo; Journal of the Printing Historical Society: no 2 1966, no 3 1967, no 5 1969 (2), no 6 1970 and no 8 1972, (6); Broomhead (Frank), The Zaehnsdorfs (1842-1947): Craft Bookbinders, Private Libraries Association, 1986, red cloth, 8vo; other bookbinding; Stanley Morrison, various; Chatto (William Andrew), A Treatise on Wood Engraving: Historical and Practical [...], Chatto and Windus, London [n.d., 1861], contemporary red leather and gilt spine, red cloth boards, ex-lib, 4to; Carter (Harry), Orlando Jewitt, Oxford University Press, 1962, h/b, d/j, 8vo; Broomhead (Frank), The Book Illustrations of Orlando Jewitt, Private Libraries Association, 1995, black cloth gilt, 4to; Chambers (David), Joan Hassall: Engravings & Drawings, Private Libraries Association, 1985, black cloth gilt, 8vo; further engraving and illustration works, type specimens, printing manuals; (collection)

Italy - History and Art, Cennini (Cennino), A Treatise on Painting [...], Translated by Mrs Merrifield, Edward Lumley, London 1844, chromolithograph and gilt title-page, later rebind of half-velvet, 4to; Photography, Italy through the Stereoscope: Journeys in and about Italian Cities, Underwood & Underwood, New York 1903, green cloth, large 12mo, with the accompanying stereoscopic viewing cards, cased en suite, (2); Eustace (John Chetwode), A Classical Tour through Italy [...], fourth edition, two volumes, J. Mawman, London 1817, lacking prelims and incomplete, contemporary half-calf and marbled boards, 8vo, (2, faults); Wonder of Italty [...], sixth edition, The Medici Art Series, Florence 1930, anachronistic pastiche armorial leather binding gilt, marbled endpapers, large 8vo; Withrow (W.H.), The Catacombs of Rome and Their Testimony Relative to Primitive Christianity, with Numerous Illustrations, sixth edition, Hodder and Stoughton, London 1895, blue cloth, 8vo; other 19th century and later works on Rome and its catacombs, various; Bumpus (T. Francis), The Cathedrals of Central Italy, with Fifty-one Illustrations, T. Werner Laurie, London [n.d., c. 1911], blue cloth, large 8vo; Coronelli (Vincenzo), Ravenna Ricercata Antico Moderna, Arnaldo Forni Editore, h/b, d/j, oblong 4to; Ravenna; etc

Miscellaneous - Gessner [Salomon], La Mort d'Abel, Poême en cinq Chants, Chez Tournachon-Molin, Libraire, Lyon 1809/10, pp: [v], [iii], iv-xii, [1], 14-274, [ii], double-engraved allegorical title-page by Jean-César Macret (1768-1813), contemporary mottled calf, covers with blind fillet, gilt spine, lettered in the second compartment with a morocco piece, gilt bosses to further compartments, marbled endpapers, recto pastedown with a slightly later ink MS prize bookplate dated 1818 and stamped with the royal Bourbon arms, 12mo; Dufour (J-M), De L'Ancien Poitou, et de sa Capitale [...], Mmes Loriot, Poitiers 1826, two-fold architectural and epigraphical antiquarian lithographic plates, contemporary calf spine and marbled boards, marbled endpapers, 8vo; Japanese Art, Strange (Edward F.), The Colour-Prints of Hiroshige, With 52 Plates including 16 in Colour, Cassell, London 1925, contemporary cloth, 4to; A Week's Preparation [...] Lord's Supper [...] Holy Communion, fifty-second edition, Printed by Affignment (sic) from Sam Keeble [...], London 1757, engraved frontispiece, contemporary calf (worn, rubbed), contemporary ink MS inscription to pastedown, 16mo; The Methodist Magazine for the Year 1815 [...], volume XXXVIII only, engraved frontispiece, ink MS inscriptions, partial-contemporary quarter-calf binding, 8vo; Zweig (Arnold), The Case of Sergeant Grischa, Martin Secker, London 1928, contemporary quarter-leather and buckram, 12mo; bibliography; Folio Society; etc

Miscellaneous - Jewitt (Llwellynn, F.S.A.), The Ceramics Art of Great Britain [...], Illustrated with Nearly Two Thousand Engravings, first edition, two-volume set, Virtue and Co., London 1878, contemporary pictorial gilt blue cloth, 4to, (2); The Paris Exhibition 1900, The Art Journal Office, London 1901, illustrated, contemporary cloth, small folio; Chambers Book of Days: A Miscellany of Popular Antiquities [...], two-volume set, W. & R. Chambers, London [1869], wood engraved vignettes, contemporary stained green half-calf gilt and cloth boards, marbled edges, 4to, (2); Wilson's Historical, Traditionary, and Imaginative Tales of the Borders, and of Scotland, three-volume set, Adam & Co., Newcastle-on-Tyne [n.d., c. 1880], contemporary black roan gilt, cloth boards, 4to, (3); 19th century leather and part-leather bound copies of Bunyan's Pilgrim's Progress, various imprints and sizes; The Land We Live In: A Pictorial and Literary Sketch-Book of the British Empire, three-volume set, Charles Knight, London [n.d., c. 1845], 4to, (3); Holy Land and Christ, various plate books; etc

Ruskin (John): The Stones of Venice, fifth edition, three-volume set, George Allen, London 1893, illustrated with architectural chromolithographs and b/w wood engravings by the author, contemporary quarter blue-stained calf and boards, gilt lettered spines, marbled endpapers, top edges gilt, 4to, (3); The Poetry of Architecture [...], George Allen, London 1893, full-page colour and b/w lithographs, contemporary perished calf spine, cloth boards, ad hoc slipcase, 4to; Sesame and Lilies, eleventh edition, George Allen, London 1890, illustrated with albumen photographs of works of art, contemporary vellum binding gilt, upper-cover decorated in tones of red polychrome with the municipal Florentine fleur-de-lys, stained red edges, gilt floral endpapers, 12mo; Selections from the Writings [...], Smith, Elder and Co., London 1866, stipple engraved portrait frontispiece, contemporary quarter-calf gilt and green cloth binding, recto applied with contemporary newspaper reviews/notices, 12mo; Jesus College, Cambridge Binding, The Seven Lamps of Architecture, third edition, George Allen, London 1891, full-page wood engravings, contemporary olive half-morocco and marbled gilt armorial binding, all edges gilt, endpapers marbled en suite, 12mo; etc, various, (5), [12]

A GOOD CHINESE CONTEMPORARY ART INK & WATERCOLOUR BY ZHANG ZHIDONG " GREAT HAPPINESS" (1967), ink and watercolour on paper, 'Great Happiness', signed and sealed, 47cm x 68cm.

ANOTHER A GOOD CHINESE CONTEMPORARY ART INK & WATERCOLOUR BY ZHANG ZHIDONG " RELAXING " (1967), ink and watercolour on paper, 'relaxing', signed and sealed, 64cm square.

Ferguson (James). Lectures on Select Subjects in Mechanics, Hydrostatics, Pneumatics and Optics. With the use of globes, the art of dialing, and the calculation of the mean times of new and full moons and eclipses, 1764, 23 folding engraved plates, bound with A Supplement to Mr. Ferguson's Book of Lectures..., 1767, 13 folding engraved plates, a little light spotting and toning, contemporary calf, rebacked, rubbed, 4to, together with The Art of Dialling..., by William Leybourne, 1st edition, 1669, woodcut illustrations, lacking portrait and plate, head of title excised with loss of text, light soiling and spotting, previous owner inscriptions, later half sheep, rubbed with some edge wear, 8vo (Qty: 2)

Auction Catalogues . Bowie/Collector, 3 volumes, November 2016, Sotheby's, original wrappers in folding slip, Leonardo da Vinci, Salvator Mundi, Post-war and Contemporary Art, 2 volumes, 15 November 2017, Christie's, original wrappers in folding slip, If I live I'll see you Tuesday..., 12 May 2014, Christie's, original wrappers in folding slip, together with 33 further Christie's & Sotheby's contemporary art catalogues, including The History of Now, the collection of David Teiger, all original wrappers, VG, large 8vo. (Qty: 36)

Jussieu (Antoine-Laurent de). Genera Plantarum Secundum Ordines Naturales Disposita, 1st edition, Paris, 1789, errata leaf at end, some light toning and water stains, hinges reinforced, contemporary half calf, rebacked with original spine relaid, a little rubbed and stained, 8vo (Hunt 703; Norman 1194), together with Geodaesia: or, the Art of Surveying and Measuring of Land made easy, by John Love, 4th edition, 1731, woodcut illustrations, a liitle light spotting at front, early ownership signature to front endpaper (detaching), contemporary sprinkled calf, spine rubbed, joints cracking, 8vo,. plus An Historical and Descriptive Account of the Steam Engine, by Charles Frederick Partington, 1st edition, 1822, eight folding engraved plates (one detaching, publisher's catalogue bound in at end, light offsetting, bookplate, original boards, rebacked with paper label remnant, light edge wear, 8vo, with others including La Scienza delle persone di Corte, di Spada e di toga del signore di Chevigni, 4 volumes, Venice, 1720, John Bonnycastle's An Introduction to Astronomy, 8th edition, 1822,Priscilla Wakefield's An Introduction to Botany, 1796, Report from the Committee appointed to examine the physicians who have attended His Majesty during His illness, new edition, 1789, C. Stower's The Printer's Grammar, 1808, The History and proceedings of the Lords and Commons of Great Britain, in Parliament with regard to the Regency, 1789 and Lexicon Technicum or an Universal English Dictionary of Arts and Sciences, volume II only, 1710 (Qty: 19)

[Révéroni Saint-Cyr, Jacques Antoine]. Essai sur le Mécanisme de la Guerre, ou application des premiers principes de mécanique au mouvement et à l'action des corps d'armée…, Par un officier français, de la Légion d'honneur, et de plusieurs Académie, 1st edition, Paris: Chez Magimel ..., Cocheris fils ..., et Barba ... 1808, five large folding engraved plates containing some 65 figures, outer margin of final plate nicked with loss but not affecting image, some occasional spotting and light browning, stitching partly broken, uncut, original pink wastepaper wrappers with author's name written in a contemporary hand to upper wrapper and then more legibly in a later hand below, manuscript title on spine, a little rubbed and soiled, spine cracked, 8vo (Qty: 1)In this little known work on the 'Mechanism of War' the author deals first with the principles of warfare and the mechanisms of strategic positions, marches, battles and retreats. The second section includes a more detailed discussion upon certain tactical manoeuvres and various machines of war, including the art of sieges, the use of hidden bunkers and trenches to gain a dominant firing position. It also covers the use of aerial observation and the use of pontoons to traverse rivers.

Binding. Shakespeare's Sonnets, Reprinted from the Edition of 1609, Hacon & Ricketts, [Vale Press], 1899, wood engraved border with large decorative initial by Ricketts, early manuscript inscriptions and bookplate of Helen Cecil Minns on preliminary blanks, patterned endpapers, all edges gilt (small unexceptionable ink blot to edge of final few leaves), contemporary olive green crushed morocco by Florence Paget, signed in gilt 'FP 1902' to lower pastedown, slightly rubbed spine and margins of sides faded, raised bands, gilt titled direct in second compartment and with date at foot, spine and covers gilt panelled with square lattice design incorporating roundels and lozenges at intersections, gilt fillets on edges and turn-ins, large 8vo in 4s (Qty: 1)Tomkinson page 167: '210 copies on paper at a guinea; the entire vellum edition was burnt at the Printers'.' Inscribed: Grace Moultrie June 24.1902. C.P.L.P.' and below in another hand 'Given to H. C. Minns in memory of Miss Moultrie in 1914'. Florence Paget was a pupil of Douglas Cockerell who lived and worked in Farnham, Surrey. She exhibited at the Arts and Crafts Exhibition Society in 1899 and is known to have been practising the art of bookbinding at least until 1907. Marianne Tidcombe illustrates a binding executed by her in 1902 for a Vale Press Sonnets by Sir Philip Sydney (now in the Wormsley Library) and refers to Paget's 'tastefully designed gold-tooled bindings.' (Marianne Tidcombe, Women Bookbinders , 1996, pages 162-63).

Antiquarian . A large collection of miscellaneous 18th,19th & early 20th century literature & reference, including Chambers's Encyclopedia, 10 volumes, 1901, uniform contemporary gilt decorated half morocco, Art Journal, 23 volumes, a broken run, circa 1849-76, mostly contemporary gilt decorated red half morocco, mostly contemporary leather bindings, some original cloth, condition is generally good, 8vo/folio. (Qty: 6 shelves)Approximately 100 volumes.