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Kendrick (A.F. & Tattersall, C.E.C.). Hand-Woven Carpets, Oriental and European, 2 volumes [text and plates], 1922, limited edition 707/1000, numerous colour and black and white illustrations, cracked front gutter to volume 1, some minor toning, uniform original gilt decorated cloth, spines lightly marked and rubbed to head and foot, large 4to, together with Parker (John Henry, publisher), A Glossary of Terms used in Grecian, Roman, Italian and Gothic Architecture, 3 volumes, 3rd edition, 1840, 700 black and white woodcuts, volume 1 frontispiece detached, some minor spotting, uniform contemporary gilt decorated red half morocco, guards and spines slightly rubbed to head and foot, 8vo, and Jourdain (M.), The Library of Decorative Art, English Decoration and Furniture of the Early Renaissance (1500-1650)..., 1st edition, 1924, numerous colour and black and white illustrations, some slight spotting, original gilt decorated red cloth, spine lightly rubbed to head and foot, folio, plus other modern antique, architecture and decorative arts reference and related, mostly original cloth, many in dust jackets, G/VG, 8vo/folio (6 shelves)

Glasse (Hannah). The Art of Cookery, Made Plain and Easy..., new edition, 1788, early signature 'Sarah Robinson' to upper blank margin of title (few tears to margins), dust-soiling mostly to first & last leaves, light spotting, 20th century quarter sheep, maroon title label, 8vo, together with Raffald (Elizabeth), The Experienced English Housekeeper, for the use and ease of Ladies, Housekeepers, Cooks, &c. written purely from practice..., new edition, 1789, three folding engraved plates, some offsetting and spotting, contemporary sheep, red morocco title label, joints cracked, extremities worn, 8vo, with Coles (Mary), The Lady's Complete Guide; or Cookery in all its Branches..., also the Complete Brewer...., likewise the Family Physician..., 3rd edition, 1791, half-title, light scattered spotting, modern half sheep gilt, maroon morocco title label, 8vo, and Frazer (Mrs), The Practice of Cookery, Pastry, Confectionary, Pickling, Preserving, &c..., 2nd edition, corrected, Edinburgh & London: Peter Hill, Vernor & Hood, 1795, one engraved plate only (of two), early signature to verso of plate, light dust-soiling, scattered minor spotting, edges untrimmed, modern brown half morocco gilt, 8vo (4)

Venables (Bernard). Mr Crabtree goes fishing, 50th anniversary edition, published Map Marketing Limited, 2000, numerous colour and black and white illustrations throughout, limited edition 8/120, signed by author, publisher's green morocco gilt, oblong 4to, contained in a contemporary card slipcase, together with The Gentle Art of Angling, 1st edition, published Max Reinhardt, 1955, additional half title, occasional black & white chapter headings, publisher's cloth gilt, dust jacket, 8vo, with A rise too the fly, published Robert Hale, 2000, additional half title, limited edition of 58/100, signed by author, black and white illustrations throughout, publisher's cloth gilt, glassine jacket, large 8vo, plus Fish and Fishing, Puffin Picture Book 53, circa 1948, numerous colour and black & white illustrations throughout, publisher's colour lithographic limp boards, oblong 8vo, and The Angler's Companion, published George Allen & Unwin, 1958, additional half title, numerous black & white illustrations throughout, publisher's cloth gilt, 4to, with another 6 volumes on fishing by the same author, mostly 8vo, various condition (12)

Fortin (Francois). Amusemens de la Chasse et de la Peche, o£ l'on enseigne la maniŠre de prendre toute sorte d'Oiseaux & d'Animaux … quatre pi‚s... On y a joint un grand nombre de belles figures, & un Dictionnaire de tous les termes usit‚s pour la Chasse & la Peche, 2 volumes, 5th edition, Amsterdam & Leipzig: ArkstŠe et Merkus, 1743, half-titles present (browned), titles in red & black, 90 engraved plates (some folding), occasional spotting & toning, edges untrimmed, modern sheep, gilt decorated spines with morocco title labels, 8vo, (Brunet I 247), together with Reaumer (Ren‚ Antoine Ferchault), Art de faire ‚clorre et d'‚lever en toute saison des oiseaux domestiques, de toutes especes, soit par le moyen de la chaleur du fumier, soit par le moyen de celle du feu ordinaire, 2 volumes, Paris, 1744, 15 engraved folding plates, contemporary calf, old rebacks, joints slightly cracked, spines rubbed and some wear, 8vo (4)

Kettilby (Mary). A Collection of above Three Hundred Receipts in Cookery, Physick and Surgery; For the use of all Good Wives, Tender Mothers and Careful Nurses, by Several Hands... To which is Added a Second Part, Containing a great Number of Excellent Receipts, for Preserving and Conserving of Sweet-Meats, &c, 2 parts in one, 5th and 4th editions, 1734, spotting and browning throughout, modern brown morocco gilt, 8vo (Cagle 792), together with Henderson (William Augustus), The Housekeeper's Instructor; or, Universal Family-Cook; being a full and clear display of the Art of Cookery in all its Branches..., to which is added, the Complete Art of Carving..., 17th edition, [1811], engraved portrait frontispiece and 11 plates, spotting and some browning, modern half sheep gilt, red morocco title label, extremities slightly scuffed, 8vo, (Bitting p.224), with Simpson (John), A Complete System of Cookery, on a Plan Entirely New..., 2nd edition, corrected & enlarged, [1807], scattered spotting throughout, modern quarter mottled calf, morocco title label, joints rubbed, 8vo (Bitting p.436) and [Copley, Esther H.], The New London Cookery and Complete Domestic Guide. By a Lady, 1st edition, [circa 1827], engraved title and ten plates (including frontispiece), final leaf of index torn to lower inner corner with loss & old repair, slight spotting, modern half sheep gilt, 8vo, (Cagle 632), plus Frazer (Mrs), The Practice of Cookery, Pastry, and Confectionary, 7th edition, enlarged & improved, Edinburgh: Printed for the Author, 1820, two engraved plates, some staining, scattered spotting throughout, contemporary sheep gilt, red morocco title label to spine, joints cracked and light wear, 12mo (5)

Lemery (Louis). A Treatise of all sorts of Foods, both Animal and Vegetable: also of Drinkables: giving an account how to chuse the best sort of all kinds... Translated by D. Hay... To which is added, an introduction treating of foods in general..., 4th edition in English, T. Osborne, 1745, title in red & black, occasional toning and scattered spotting, armorial bookplate of Sir Mathew Lamb Bt., and book label of Lord W. Kerr to upper pastedown, contemporary sheep, modern reback, preserving original title label, 8vo (Cagle 822; Bitting p.281), together with Maciver (Susanna), Cookery, and Pastry. As taught and practised by Mrs Maciver, Teacher of those Arts in Edinburgh, a New Edition. To which are added, for the first time, Figures of Dinner and Supper Courses, from Five to Fifteen Dishes. Also, a correct list of everything in season for every month of the year, [6th edition], Edinburgh & London: C. Elliot, G.G.J. & J. Robinson, 1787, ownership signature to upper margin of title and A2, spotting throughout, browning mostly to margins and some dust-soiling, lacking free endpapers, contemporary sheep, red morocco title label, joints and spine cracked at head, worn, 12mo (Cagle 842), with Kitchiner (William), The Housekeeper's Oracle; or, Art of Domestic Management..., 1st edition, Whittaker, Treacher & Co., 1829, engraved portrait frontispiece (spotted and offset to title), few wood engraved illustrations & diagrams to text, scattered spotting and few marks, bookplate of Blanche Anding (cookery writer), edges untrimmed, 20th century quarter brown morocco gilt by Sangorski & Sutcliffe, 8vo (Cagle 803), plus other cookery related including The New Receipt Book, containing a Large Collection of Highly Estimated Receipts, in a variety of branches, viz. Brewing, Making and Preserving British Wines..., by G. Millswood, Derby: Wilkins & Son, c.1825, some dust-soiling and few marks, modern cloth-backed marbled boards, slim 12mo, and The Practice of Cookery, Pastry, and Confectionary..., by Mrs Frazer, 4th edition, with large additions & improvements, Edinburgh: Peter Hill, 1804, lacking all plates, contemporary sheep, boards detached, worn, 12mo, and The Complete Confectioner, by Frederick Nutt, 7th edition, 1815, The French Cook, by Louis Eustache Ude, 13th edition, 1838, and A Dissertation on the Food and Discharches of Human Bodies, by Bryan Robinson, 1748, plus an incomplete copy of The Compleat Housewife, by Eliza Smith, 8th edition, 1737 (13)

Malone (Edmond). The Works of Sir Joshua Reynolds, Knight;..., 3 volumes, 3rd edition, 1801, period inscription to volumes 1 & 2 half-titles, some slight spotting, uniform contemporary half calf, boards and spine rubbed, 8vo, together with Ball (Robert Stawell), The Story of the Heavens, new edition, 1893, 18 colour plates and numerous monochrome illustrations, some minor toning, contemporary gilt decorated red half calf, boards slightly toned and rubbed, spine rubbed to head and foot, 8vo, and Whiston (William), The Works of Flavius Josephus..., 6 volumes, Edinburgh, 1815, some light toning, uniform contemporary gilt decorated half calf, boards and spines rubbed, 8vo, plus other mostly 19th century history and art history reference and related, mostly contemporary leather bindings, condition is generally good/very good, 8vo/4to, (approximately 80 volumes) (2 shelves)

Randall (Lilian M.C.). Medieval and Renaissance Manuscripts in the Walters Art Gallery, 2 volumes (in 3), USA, 1989, numerous monochrome illustrations, uniform original blue cloth, large 8vo, together with Westlake (N.H.J.), A History of Design in Painted Glass, 4 volumes in 1, 1881-94, numerous monochrome illustrations, some toning and marks, contemporary half vellum, boards slightly rubbed, spine rubbed and folding at edges, folio, and Van Der Horst (Koest), Illuminated and Decorated Medieval Manuscripts in the University Library, Utrecht, Netherlands, 1989, numerous colour and monochrome illustrations, ex library stamps to verso of title page, original cloth in dust jacket, covers lightly rubbed to head, large 8vo, plus other illuminated manuscript, stained and decorative glass reference and related, mostly original cloth in dust jackets, some paperback editions, G/VG, 8vo/folio (6 shelves + a carton)

Andy Warhol (1928-1987)S&H Green Stamps (Feldman & Schellmann II.9; Marechal 5)Offset lithograph printed in colours, 1965, from the edition of 6,000, on wove paper, printed by Eugene Feldman, published by the Institute of Contemporary Art, Philadelphia, the full sheet, 584 x 578mm (23 x 22 2/4in) (unframed)The present artwork first appeared as an invitation in the form of a foldout poster announcing the opening of the first Warhol Retrospective at the Institute of Contemporary Art in Philadelphia. It also served as the wallpaper decorating the exhibition space at ICA. Of the six thousand copies printed, five thousand were folded and mailed as invitations, 300 adorned the walls, 300 were sold during the exhibition, and the remainder were used in later exhibitions by the artist.

CONTEMPORARY JAZZ LPS. 28 LPs in fantastic condition with some super names and titles: Ornette Coleman in Europe Vol 1 (FLP 40102, Ex+/Ex), Vol 2 (FLP 40103, Ex+/Ex), Art Blakey and the Jazz Messengers Live at Bubba's (GATE 7003, Ex+/VG+), Art Blakey's + Jazz Messengers plus Subu - Messages (VJD 557, Ex+/VG+), Art Blakey - A Night at Birdland Vol 1 (Blue Note 1521, FR, 1982, Ex+/VG+), Vol 2 (Blue Note 1522, Fr, 1982, Ex+/VG+), Wynton Marsalis, Miles Davis, Arthur Blythe, Thelonious Monk, Chick Corea, Jan Garbarek, Keith Jarrett, Sonny Fortune, Marion Brown, Herbie Hancock. Condition is typically Ex/Ex+ on discs and VG+ and above on sleeves.

JAZZ LPs - BOP/POST-BOP & SWING. Calling all cool cats with this ace collection of around 78 x LPs. Artists/titles include Lucky Thompson - With Gerard Pochonet & His Quartet (original US pressing on Dawn from 1957, DLP 1113 - VG+/VG+), Barney Kessel's Swingin' Party (orig UK Contemporary LAC 576), Roland Kirk - Left & Right (588178), Gerry Mulligan with Lee Konitz and Chet Baker - Midnight Session (688 105 ZL), Cannonball Adderley - Wham! (UK Fontana FJL 117), Art Pepper + Eleven (S7568 RE), Wardell Gray, J.J. Johnson featuring Clifford Brown (UK Vogue 10" LDE 124), Milt Jackson with Horace Silver, Earl Hines, John Lewis - The Wonderful World Of Jazz (UK original SAH-K 6218) and Cool!, Shelly Manne, Eddie Lang with Lonnie Johnson and John Kirkby. Condition is generally VG to Ex.

'Cultural Ties',seventy-eight silk ties designed by contemporary artists, from the edition of 300, manufactured by Ratti, Italy, published for the benefit of UNICEF by Cultural Ties, in the original presentation box, numbered on the reverse,box 45 x 15.5 x 4.5cm (78)Cultural Ties, a celebration of cultural diversity, was a global project and the brainchild of London art dealer, Kapil Jariwala. The brief was for 77 artists from around the world to design neck ties. A limited edition of 300 of each tie were produced for sale worldwide via selected retail outlets, gallery shops and the internet.The contributing artists were Makoto Aida, Douglas Allsop, Darren Almond, Saleem Arif, Sue Arrowsmith, Sylvia Benitez, George Blacklock, Peter Blake, Louise Bourgeois, John Carter, Patrick Caulfield, Jake Chapman, Dinos Chapman, Maria Chevska, Sandro Chia, Adam Chodzko, Jogen Chowdhury, Shelagh Cluett, Bernard Cohen, Enzo Cucchi, Alan Davie, Paul Davis, Mariano de Blas, Teresita Dennis, Angus Fairhurst, Noel Forster, Terry Frost, Paola Gandolfi, Alan Glovsky, Selma Gürbüz, Maggi Hambling, Tony Hayward, Tim Head, Gottfried Helnwein, John Hoyland, Gary Hume, Albert Irvin, Cameron Jamie, Alex Katz, Balraj Khanna, Ken Kiff, Kornar & Melamid + Juthanam, Jeff Koons, Guillermo Kuitca, Yayoi Kusama, David Leapman, Richard Long, Jock McFadyen, John McLean, Gina Metcalf, Sally Musgrove, Yoshitomo Nara, Shinro Ohtake, Jorge Orta, Lucy Orta, Shanti Panchal, Ada Bird Petyarre, Tom Phillips, Steven Pippin, Jaume Plensa, Marc Quinn, Raza, Simon Read, Gulam Sheikh, David Shrigley, Lucy Swan, Walala Tjapaltjarri, David Tremlett, Junichi Tsunoda, Kyoichi Tsuzuki, Simon Willis, Richard Wilson, Bill Woodrow, Kenji Yanobe and Letitia Yhap.

NIKOLAI STEPANOVICH SCHEPILOV (RUSSIAN B.1924) Late Autumn, 1973 oil on board 48.7 x 68.3 cm (19 1/8 x 26 7/8 in.) signed and dated lower right EXHIBITEDUSSR, Art Export Salon no. 24171 (label on verso) Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings, no.39 (label on the backing board) This lot is being sold without reserve.

PAVEL FEDOROVICH SUDAKOV (RUSSIAN 1914-2010) Dusk, 1970 oil on board 33.4 x 45.5 cm (13 1/4 x 18 in.) signed and dated lower right EXHIBITEDUSSR, Art Export Salon (label on verso) Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings, no.4025 (label on the backing board) This lot is being sold without reserve.

MICHEL BOUTBOUL (FRENCH-AMERICAN B. 1951) Adam and Eve on Top of the Moon, oil on canvas 122 x 152.4 cm (48 x 60 in.) signed lower right LOT NOTESInspired by the works of Salvador Dali, Paul Delvaux and other surrealist masters, Miami-based contemporary artist Michel BoutboulÕs works derive from the unconscious mind and realistic representations of esoteric hallucinations. Female nudes are the main figures of MichelÕs art, playing the role of muses and erotically spiritual guides.Born in France in 1951 as the eighth child of sixteen children, Michel departed Europe and lives and works in the United States. His transformative and spiritual works have been successfully shown in the exhibitions throughout the world, including France, Belgium, Russia, New York and Miami.

DMITRI KRASNOPEVTSEV (RUSSIAN 1925-1995) Still Life with Broken Jug, oil on board 35.2 x 49.5 cm (13 3/4 x 19 1/2 in.) signed lower left PROVENANCEAcquired by poet Boris Slutsky and litterateur Pyotr Zalmanovich Gorelik directly from the artist, 1962Gifted by the above to Aleksandr Davidovich Borovsky, head of the Department of Contemporary Art (Otdel noveishyh techeniy) of the State Russian MuseumAcquired from the above by the present collector, May 1990 EXHIBITEDForbidden Art: The Postwar Russian Avant-Garde, February 1998-April 2002The exhibition traveled to:Pasadena, ArtCenter College of Design, Alyce de Roulet Williamson Gallery, February 22 - May 3, 1998Moscow, The State Tretyakov Gallery, May 15 - June 15, 1999St. Petersburg, The State Russian Museum, February 12 - April 4, 1999Oxford, Ohio, Miami University Art Museum, November 2 - December 12, 1999Brighton, Massachusetts, Boston College, McMullen Museum of Art, October 15 - December 10, 2000Gainesville, University of Florida, Samuel P. Harm Museum of Art, April 12 - July 3, 2005Laramie, University of Wyoming Art Museum, September 8 - November 18, 2007St. Peter, Gustavus Adolphus College, Hillstrom Museum of Art, September 3 - November 10, 2008EXPERTISEThe verso bears an attribution and dedication by Aleksandr Borovskiy, in Russian: Podtverzhdayu avtorstvo / D. Krasnopevtseva / Rabota sozdana na rubezhe 50-60h g.g. / Priobretena poetom B. Slutskim i / literatorom P.Z. Gorelikom / v 1962 v masterskoy / khudozhnika / A. Borovskiy / zav. otdelom Gos. Russkogo / muzeya / Zhenechke ot Borovskogo A. / mai 90([I] confirm the authorship / of D. Krasnopevtsev / The work was created on the verge of the 1950s-1960s / Acquired by the poet B. Slutsky / and litterateur P. Z. Gorelik / in 1962 in the studio / of the artist / A. Borovskiy / Deputy head of the department of the State Russian / Museum / To Zhenechka from Borovsky A. / May [19]90)

MICHEL BOUTBOUL (FRENCH-AMERICAN B. 1951) Purple Rose, oil on canvas 101.6 x 137.1 cm (40 x 54 in.) LOT NOTESInspired by the works of Salvador Dali, Paul Delvaux and other surrealist masters, Miami-based contemporary artist Michel BoutboulÕs works derive from the unconscious mind and realistic representations of esoteric hallucinations. Female nudes are the main figures of MichelÕs art, playing the role of muses and erotically spiritual guides.Born in France in 1951 as the eighth child of sixteen children, Michel departed Europe and lives and works in the United States. His transformative and spiritual works have been successfully shown in the exhibitions throughout the world, including France, Belgium, Russia, New York and Miami.

A contemporary art-glass vase attributed to Norman Stuart-Clarke (b.1948), 23 cm, boxed

A contemporary Alessi stainless steel Art Deco style tea set on tray

James R.C. Martin (British Contemporary), 'Moorland Shades'.  Pastel, 22 x 30cmTogether with a pastel landscape by the same hand, 20 x 13cm,Provenance: Chase Art Centre, Cornwall (2)

Nyemike Onwuka (Nigerian, b. 1972)Nkwado II, Preparation Series signed, dated 2011, oil on canvas, 166cm x 89cmA graduate of the Federal Polytechnic in Auchi, Edo State, Nigeria, Nyemike Onwuka exhibits regularly in Lagos, and his work has been displayed at the National Museum, Onikan.Provenance: Bonhams, Africa Now: Modern & Contemporary African Art, 22nd May 2013, Lot 186.

Sam Lewis Francis, American (1923-1994) Acrylic on paper " Untitled Los Angeles (SF76-072)". Signed en verso and dated 1976. Gallery label: Jonathan Novak Contemporary Art, Los Angeles, CA. Framed under acrylic. Measures 21-7/8" x 29-7/8", frame measures 30-1/2" x 38-1/2". Condition: Very good condition. Estimate: $20000.00 - $30000.00 Domestic Shipping: Third party

A contemporary Art Deco style figure of a dancer on a shaped marble effect base

[§] BARBARA RAE C.B.E., R.A., R.S.A. (SCOTTISH B.1943)OVERBERG Artist's proof, signed, screenprint110cm x 146cm (43.25in x 57.5in)Note:Barbara Rae is one of the most distinguished contemporary artists in Scotland. She attended Edinburgh College of Art from 1961 to 1965 and with a travel scholarship, travelled in France and Spain in 1966. In 1967, she had her first solo exhibit in Edinburgh. She lectured at Aberdeen College of Art from 1972 to 1974 and at Glasgow School of Art from 1975 to 1996. Her work has won many awards and recognitions including two Major Scottish Arts Council Awards, the Guthrie Medal, and the Royal Scottish Academy Sir William Gillies Travel Award. In 1983, Rae was elected President of the Society of Scottish Artists. She has had a long association with the Royal Academy and has been a member since 1992 and a Royal Academician since 1996. Rae's work has been exhibited all over the world and is held in many private collections. Rae's work is concerned with the passage of time and history. She "distills the presence of mankind," and often depicts subjects reflective of an area's history and culture. She spends weeks getting to know the surrounding area and people before beginning her artwork. Highly regarded for her printmaking skills, Rae is also a skilled colourist. In "Overberg," she uses more than 30 tones to complete the finished effect. Overberg, an area in South Africa, interested Rae because of its beautiful variety, where wheat fields are bisected by dirt roads, and purple mountains rise around them.

IAIN ROBERTSON (BRITISH B.1955)AUTUMN FORMS Signed, inscribed with title and dated 1997 verso, oil on canvas61cm x 46cm (24in x 18in)Note: Robertson worked in Montgomery Street Studio, Edinburgh, 1991-1999 before relocating to St Ives , Cornwall in 1999, he has retained studio 7 at Porthmeor Studios in St Ives, since 2007.The recipient of a no. of awards including Scottish Arts Council, British Council and Arts Council ,Robertson was the first Scottish recipient of the Pollock Krasner Foundation, New York, in 1988. Notable exhibitions include, Contemporary Abstract Printmaking, Artists- Rachel Clark, Ian Davenport, Christopher Le Brun, John McLean, Mali Morris, Iain Robertson, Clifford Chance Canary Wharf , London, (2017) British Abstract, 108 Fine Art, Harrogate (2015), Abstract Critical Newcomers Award (selector), Kings Place Gallery, London, (2012), Art Now Cornwall, TATE St Ives, (2007), PASKE, Galerie Moderne Silkeborg, Denmark, including artists Karel Appel, Georg Baselitz, Asger Jorn, Per Kirkeby, (1996-2005) NEW WORK, Galerie Moderne Silkeborg, Denmark, solo (1995), NEW WORK Talbot Rice Gallery University of Edinburgh, solo, (1992)Works held in private and public collections including Standard Life, Lothian Road Edinburgh, The University of Edinburgh and The City Arts Centre, Edinburgh.

[§] IAIN ROBERTSON (BRITISH B.1955)TRIBAL NO. 3 Signed and inscribed with title and dated 1997 verso, oil on canvas152cm x 60.5cm (59.75in x 24in)Note: Robertson worked in Montgomery Street Studio, Edinburgh, 1991-1999 before relocating to St Ives , Cornwall in 1999. He has retained studio 7 at Porthmeor Studios in St Ives, since 2007.The recipient of a number of awards including Scottish Arts Council, British Council and Arts Council, Robertson was the first Scottish recipient of the Pollock Krasner Foundation, New York, in 1988. Notable exhibitions include, Contemporary Abstract Printmaking, Artists- Rachel Clark, Ian Davenport, Christopher Le Brun, John McLean, Mali Morris, Iain Robertson, Clifford Chance Canary Wharf , London, (2017) British Abstract, 108 Fine Art, Harrogate (2015), Abstract Critical Newcomers Award (selector), Kings Place Gallery, London, (2012), Art Now Cornwall, TATE St Ives, (2007), PASKE, Galerie Moderne Silkeborg, Denmark, including artists Karel Appel, Georg Baselitz, Asger Jorn, Per Kirkeby, (1996-2005) NEW WORK, Galerie Moderne Silkeborg, Denmark, solo (1995), NEW WORK Talbot Rice Gallery University of Edinburgh, solo, (1992)Works are held in private and public collections including Standard Life, Lothian Road Edinburgh, The University of Edinburgh and The City Arts Centre, Edinburgh.

[§] JAMES MORRISON R.S.A., R.S.W. (SCOTTISH B.1932)ANGUS LANDSCAPE Signed and dated '89, oil on board46cm x 59cm (18in x 23.25in)Note:James Morrison was born in Glasgow in 1932 and attended Glasgow School of Art from 1950 to 1954. This group of four oil paintings, all signed and dated by Morrison, exemplify the panoramic vistas and dramatic skyscapes which the artist is renowned for. In the canon of Scottish art landscape painting has been a symbol of Scottish identity since the eighteenth century and Morrison follows this tradition by exploring the diversity of his native country, drawing inspiration from the remote ruggedness of the West Coast to the rolling fields around his home in Angus where he settled in 1965. The painting, Mountains, Sutherland (1990) depicts a dramatic peak studded landscape cast in partial shadow by a vast sky filled with billowing clouds. Morrison's descriptive title reflects the faithful naturalistic representation of the northern county's sweeping moorlands and dramatic geological formations. These paintings were initially executed en plein air and then later finished in the studio which enabled Morrison to record each distinct season, weather or light. However, to describe Morrison as a realist would be to oversimplify his style. The variety of mark making in Morrison's works subtly reveal the artist's hand reflecting the impact of the European and American avant-garde who in the 1950s and 1960s were experimenting with a more expressive style of painting. Morrison works back into the painting by wiping away washes of colour to reveal the white gesso ground applied underneath in order to give the clouds their bright appearance and create an illusion of solidity against the opaque blue grey sky. Morrison's also evokes the variety of textures in the natural landscape by using directional brushstrokes to suggest the movement of wind through the tufts of long grass in the foreground. These gestural marks add a degree of abstraction into Morrison's landscapes which enable him to bridge the gap between the tradition of Scottish landscape painting and a contemporary expression of artistic individuality.

ANTHONY STERN, a large contemporary Studio Art glass bowl, having a brown streaked lower half, over a blue fading to pink swirled ground, signed to the base, height 25.5cm

A contemporary graphic art print depicting a rolling glass marble with bold colours. The print set to canvas and stretched around a frame. Measures; 37cm x 55cm.

* ANGELA REILLY (SCOTTISH), REVIVAL oil on board, signed with initials 46cm x 62cm (approximately 18 x 24 inches) Framed. Label verso: Thompson's Gallery, 76 Marylebone High Street, London with sold price of £1900. Note: Investigating the luminosity and tone of flesh, Angela Reilly’s paintings technically exude the precision of an old master, likened to a contemporary Holbein. Unusually, Reilly’s paintings becoming more detailed the larger their scale. Though almost photo-realist in their accuracy, Reilly’s work powerfully communicates what is felt as well as seen; realising the intangible. Reilly believes, "Portraiture is a preservation of ones memory not just preservation of appearance." Born in 1966 Angela Reilly studied Fine Art at Duncan of Jordanstone from 1984-87. In 1987 she moved to London working as an illustrator. In 1995 she began to concentrate solely on painting, moving back to Glasgow in 2003. Subsequently Reilly has exhibited in National Portrait Gallery, The Scottish Royal Academy and The Royal Glasgow Institute. In 2006 Reilly was commissioned to paint Lord Falconer’s - then The Lord Chancellor’s - portrait; was awarded a prize for portraiture by the National Portrait Gallery BP Prize 2006 and in 2007 featured in a BBC documentary. Angela Reilly's work is widely exhibited in London and Scotland.

CONTEMPORARY ART DECO DESIGN CARPET, 325cm x 308cm.

English School, circa 17th century. Oil on panel portrait of Henry IV. Inscribed "H.R. IIII" along the upper left. There is a Minneapolis Institute of Arts label attached to the verso, which is inscribed L22-430, meaning the painting was loaned to the MIA in 1922. A partial label attached to the verso reads "Londo" and the letter "G." "T. B. Walker" is inscribed on the verso of the frame in pencil. Provenance: T.B. Walker Collection; private collection, Minnesota. Henry IV of England (1366-1413) was the first king in the Lancastrian line, which ruled England between 1399 and 1471, with a gap from 1461-1470 owing to the Wars of the Roses. His father, John of Gaunt, was the Earl of Lancaster and a major political figure during the early parts of Henry’s cousin Richard II’s reign. Henry entered politics in 1386 as part of the lords appellant, a group in opposition to the crown. Tensions quickly heated up, with conflicts resolved only by John of Gaunt’s timely return from a diplomatic expedition to Spain. At this point, Henry left England to go on Crusade to Central Europe for a few years. Upon his return to England, he immediately began stirring up political conflict, which eventually led to his exile in 1398. Later that year, John of Gaunt died. Richard immediately seized all of his--and, therefore, Henry’s--lands. Henry took this as an opportunity to invade England and usurp the throne, and was crowned king in 1399.He spent the early years of his reign pushing back uprisings of the Welsh, the French, and his own countrymen. Several of these wars dragged for years, particularly the now-legendary revolt led by the Welsh prince Owain Glyndŵr (ca. 1354-ca. 1416), who gained control of nearly the entirety of Wales before he was beaten back by Henry’s son Henry (1386-1422) in the first decade of the 15th century. King Henry grew increasingly incapacitated by illness, likely syphilis, in the later years of his reign, leading to further intrigue in government as various people competed for power and favor. He died in 1413 and was succeeded by his son Henry, who became Henry V of England. Despite the constant action and intrigue of Henry IV’s reign, which was even dramatized by Shakespeare, very few visual records of the man himself survive. The only image surviving from the king’s lifetime is his effigy from his grave in Canterbury. The image here, which is the standard depiction of Henry IV, is not actually based on Henry, but is instead based on a portrait of Charles VI of France, a contemporary of Henry’s. This portrait type was likely developed around the 1580s in response to the growing popularity of portrait halls. These halls were frequently lined with portraits of kings and queens of England as a way of emphasizing loyalty to the crown. The lack of a portrait of Henry created a gap in these halls, which led to the creation of this image, based on the engraving of Charles VI in the 1567 book "Recueil des effigies des roys de France avec un brief sommaire des genealogies faits et gestes d'iceux." Some alterations were made to the portrait: the face was altered to closer resemble that of the effigy, and a red rose, the symbol of the Lancastrian kings, was placed in Henry’s hand.This specific painting likely dates from the 17th century. Its entire history is not known, but once in the United States, it spent time in the collection of Thomas Barlow Walker (1840-1928), an important Minnesota lumberman with a passion for art collecting. Walker’s collection formed the basis for what became the Walker Art Center. This painting is an excellent and unique example of the standard portrait type for Henry IV due to the level of precise detail, and depicts the king in semi-profile to the left, wearing a burgundy tunic with a fur trim and collar. His right arm, which is armored, bears a scepter topped with a fleur de lis, and his left hand is holding a Lancastrian red rose. Around his neck is a gold necklace with a medallion of a lion rampant. The inscription to the left of his head reads H.R. (Henricus Rex) IIII. Unique among portraits of this type, instead of a plain dark background, this painting has scrolling designs on brown. Dimensions: Sight; height: 33 in x width: 22 in. Framed; height: 44 in x width: 33 1/2 in.Condition: Several vertical cracks to the panel, areas of visible inpainting under UV to the figure's face, areas in the background, and some along the body. Wooden supports along the verso, wear to the frame.

Rufino Tamayo (1899-1991). "Mixografia" in colors on Arches, signed in white pencil along the lower right, titled "Constelaciones" 1977. Numbered 77/100 along the lower left. Biography: Rufino Tamayo was one of the leading Mexican artists of the 20th century. He combined his interests in modernist painting and pre-Columbian Mexican art to create a unique style that was both artistically cutting-edge and grounded in cultural traditions. Tamayo was born in Oaxaca in 1899. He studied art at the School of Fine Arts in Mexico City. Following this education, he became the director of the ethnographic drawings department of the National Museum of Archaeology, which strengthened his interest in pre-Columbian traditional art, which was already an interest of his due to the prevalent artistic traditions in Oaxaca. In 1936, he moved to New York City, where he taught at the Dalton School and the Brooklyn Museum. While in New York, Tamayo was influenced by artists such as Picasso, Braque and Matisse, and began experimenting with styles such as Cubism, Expressionism and Surrealism. However, he continued to be connected to his roots by his subject matter, which he drew from Mexican folk traditions and pre-Columbian themes, creating images, particularly still lifes, unlike anything else being created at that time. Throughout his long career, he migrated between New York and Mexico City, continuing to blend the artistic traditions of both places into his own individual style. He gained fame over time, in part for his pointed rejection of the political muralist style which dominated the Mexican art scene in the early 20th century. His work was displayed internationally and won many awards. Along with creating art, he collected many works of art, both European and Mexican, particularly pre-Columbian, which he and his wife donated to the citizens of Mexico, where they became the basis for two major museums, the Museum of Pre-Hispanic Mexican Art in Oaxaca and the Rufino Tamayo Museum of International Contemporary Art in Mexico City. He continued to work until the age of 90, experimenting and adding new components, such as sand, without sacrificing the careful technicality which characterized his work. In "Galaxia," Tamayo used the technique of “mixografia,†a printmaking technique he pioneered with the Rembas family at their lithography workshop in Mexico City, Taller de Gráfica Mexicana. When Tamayo began his collaboration with them in 1973, he was searching for a way to include a textural element, which had become an integral part of his paintings, into his prints. They developed a technique which used a highly textured plate and still-wet paper pulp to create prints with textural elements and vibrant color. "Galaxia" shows the successful results of this new technology. The vibrant evening sky, the topography of the surface of the moon, and the contours of the dark ground all come to life with Tamayo’s technical mastery and innovation. Dimensions: Sight; height: 19 3/4 in x width: 46 1/2 in. Framed; height: 21 3/4 in x width: 49 in. Condition: Good condition, area of missing color along the lower right extreme edge, possibly natural to the production of the artwork

A Mixed Collection Of Ceramic And Glass Items Eight items in total to include Caithness style teal and black smoked glass bowl and matching rose bowl, two contemporary black gloss figures, pop art style ceramic lady figure, pale yellow vase and matching bowl.

A LARGE CONTEMPORARY MODERN ART METAL FIGURAL SCULPTURE IN THE FORM OF A FEMALE DANCER? Approximate H 150 cm (Unsigned example by NEIL WOOD))

Rex Diamond Pendant Named After The Historic Rex Cinema In England; A 1930s Art Deco Gem Boasting A Beautiful Auditorium With Dramatic Chandeliers. Saved From Dereliction By A Local Entrepreneur, The Cinema Was Restored To Its Former Glory In 2005. The Diamond Shape Is A Modern Twist On Classic Elegance, For Contemporary Style With A Touch Of Glamour. 73 × 63 × 81 Cm RRP £3200

Rex Diamond Pendant (UK) Named After The Historic Rex Cinema In England; A 1930s Art Deco Gem Boasting A Beautiful Auditorium With Dramatic Chandeliers. Saved From Dereliction By A Local Entrepreneur, The Cinema Was Restored To Its Former Glory In 2005. The Diamond Shape Is A Modern Twist On Classic Elegance, For Contemporary Style With A Touch Of Glamour. 73 x 63 x 81 cm RRP £3200

A QUANTITY OF ART POTTERY to include a vase with flaring rim by Sidney Hardwick, a bowl by Jane Hanson, an Aldermaston Pottery bowl, a decorative contemporary hand coloured etching, a quantity of glassware, an amber glass decanter, a Victorian Aesthetic pottery vase etc.,

Bernard Buffet was a French Expressionist painter. Best known for his representational work, Buffet's paintings are often figurative, graphic, and central in their compositions. A bold rejecter of abstract art altogether, Buffet was a member of the anti-abstraction group L'homme Témoin, or the Witness-Man, which passionately argued for the importance of representational art at a time when abstraction began to dominate the critical conversation. His oeuvre revolved around ideas of art history, death, sexuality, popular culture, and politics while often directly referencing contemporary events and artists. Buffet had an extremely prolific career, painting over 8,000 works and garnering widespread popularity and acclaim, including dozens of international exhibitions and honors such as being inducted into the Académie des Beaux-Arts in 1974. Born in Paris, France on July 10, 1928, the artist took his own life after a prolonged battle with Parkinson’s disease on October 4, 1999 in Tourtour, France at the age of 71.   78 x 58 cm

Pen and watercolour   Aya Takano (Japanese, b.1976) is a member of the Japanese Superflat movement. Born in Saitama, Japan, Takano spent most of her childhood reading science fiction books and magazines in her father's library. Fascinated by the exotic animals and landforms, Takano turned them into the themes of her futuristic artworks. Osamu Tezuka’s (Japanese, 1928–1989) sci-fi manga (Japanese comics and cartoons) also had a lasting impact on Takano’s dreamy perceptions of the world. She once stated that sometimes, even as an adult, she imagines possessing the ability to fly. These early influences are clearly represented in Looking To The Earth From Moon (2006), in which she placed exotic animals and plants—as well as her nude heroines, with their iconic, slim bodies, bulbous heads, and large eyes—floating freely around the earth. In 2000, soon after Takano graduated from Tama Art University in Tokyo, she became an assistant for Takashi Murakami (Japanese, b.1962)—the leading figure in the Superflat movement—who became her mentor and helped to launch her career. Under Murakami’s encouragement, Takano started working on canvas for the first time, and became a member of his art production company, Kaikai Kiki LLC. Later in the same year, her works were featured in Murakami’s group exhibition Superflat, which was to be followed by more group and solo exhibitions worldwide in the coming years. Soon, Takano became known for her paintings of wide-eyed androgynous figures that combine a contemporary stylization known as kawaii (“cuteness” in the context of Japanese culture), with references to ancient woodprints from the Edo period. Her precision with lines, unique use of color, and ability to work quickly has led to comparisons with Katsushika Hokusai (Japanese, 1760–1849), the painter and printmaker whose work The Great Wave off Kanagawa (c.1830) is one of the most iconic Japanese artworks of the 18th century. Takano lives and works in Japan, where she is also known as a manga artist, illustrator, and science fiction essayist.

Oil on canvas   Aya Takano (Japanese, b.1976) is a member of the Japanese Superflat movement. Born in Saitama, Japan, Takano spent most of her childhood reading science fiction books and magazines in her father's library. Fascinated by the exotic animals and landforms, Takano turned them into the themes of her futuristic artworks. Osamu Tezuka’s (Japanese, 1928–1989) sci-fi manga (Japanese comics and cartoons) also had a lasting impact on Takano’s dreamy perceptions of the world. She once stated that sometimes, even as an adult, she imagines possessing the ability to fly. These early influences are clearly represented in Looking To The Earth From Moon (2006), in which she placed exotic animals and plants—as well as her nude heroines, with their iconic, slim bodies, bulbous heads, and large eyes—floating freely around the earth. In 2000, soon after Takano graduated from Tama Art University in Tokyo, she became an assistant for Takashi Murakami (Japanese, b.1962)—the leading figure in the Superflat movement—who became her mentor and helped to launch her career. Under Murakami’s encouragement, Takano started working on canvas for the first time, and became a member of his art production company, Kaikai Kiki LLC. Later in the same year, her works were featured in Murakami’s group exhibition Superflat, which was to be followed by more group and solo exhibitions worldwide in the coming years. Soon, Takano became known for her paintings of wide-eyed androgynous figures that combine a contemporary stylization known as kawaii (“cuteness” in the context of Japanese culture), with references to ancient woodprints from the Edo period. Her precision with lines, unique use of color, and ability to work quickly has led to comparisons with Katsushika Hokusai (Japanese, 1760–1849), the painter and printmaker whose work The Great Wave off Kanagawa (c.1830) is one of the most iconic Japanese artworks of the 18th century. Takano lives and works in Japan, where she is also known as a manga artist, illustrator, and science fiction essayist.

BYROM (John) Miscellaneous Poems, by ----, inventor of the Universal English Short-hand. First edition, 2 vols., Manchester: J. Harrop 1773, 8vo, contemporary calf; An Antidote aganist Melancholy. Being a Collection of fourscore merry Songs. London: for D. Browne 1749, 8vo, calf; GREEN (Matthew) The Spleen an Epistle. First edition, London: A. Dodd 1737, 8vo, ex. libris Graham Pollard, later morocco by Maltby, Oxford; another copy, 2nd edition 1754, modern cloth; another edition 1796, 12mo; ARMSTRONG (John) The Art of Preserving Health. 2nd edition 1745, 8vo, mottled calf gilt; PENROSE (Rev. T) Poems, first edition, London 1781, small 8vo, calf; POTTER (T.; surgeon) The Moralist, or Portraits of the Human Mind, in 2 vols., 1785, covers worn in places

A contemporary book of film interest ' Chris Menges : the lifetime achievement award Camerimage 2015 International Film Festival of the Art of Cinematography ' edited by Marek Zebrowski (2015). Book still in its original plastic wrapping.

A FRENCH ART DECO BRONZED SPELTER AND MARBLE INKSTAND, 26CM L AND A CONTEMPORARY ART DECO BRONZED SPELTER AND MARBLE PEN TRAY, MOUNTED WITH A GERMAN SHEPHERD DOG, 1930S

A MCVITIE AND PRICE LITHOGRAPHED TINPLATE NOVELTY BISCUIT TIN IN THE FORM OF AN 18TH C SERPENTINE MAHOGANY COMMODE, 21CM L AND A LARGER CONTEMPORARY ART NOUVEAU SCARLET GROUND LITHOGRAPHED BOMBE BISCUIT TIN, WITH PANELS OF FRUIT (2)

Postcards - an early 20th century postcard album, presented: To my dear Daddy, with the best wishes for a very happy birthday, from your ever loving daughter Ada, June 3rd, 1903, inserted with a collection of contemporary b/w, tinted and coloured British, German and further European cards, showing topography, transport, scenes of real life and a few humour, some further annotated in ink manuscript, contemporary green buckram with Art Nouveau designs and motifs, thin crown folio

Graham Clarke, Mallards in Flight, etching and aquatint, signed limited edition 189/250, Christies Contemporary Art certificate, 40xm x 59cm. Artist's Resale Rights are applicable on this lot.

Framed & glazed limited edition Lithograph "Les Tuileries" by Ledan Franch with Christie's Contemporary Art no. 7/200 with COA

BRYAN ORGAN (BRITISH, CONTEMPORARY) Bull's Head, colour print, artist's proof, signed and dated 1980 in pencil lower right, 69.5cm x 56cm; with two large art prints of apples and pan tiles, by an unknown hand, all unframed, (3).

Kathleen Caddick (b. 1937) four limited edition prints, 'Woodland Path', 'Hedgerow Trees', 'Tree Ridge' and 'Edge of the Wood', all signed, titled and numbered in pencil to margin, no. 43/250, blindstamped, the former two 22 x 29.5 cm, the latter two 27.5 cm x 22.5 cm, framed and glazed, all with certificates of authenticity (4). Provenance: Christie's Contemporary Art

Indigo Jax - Two contemporary limited edition abstract art prints to include; ' Road To Nowhere ' depicting a psychedelic scene and ' Herald Of Transformation ' depicting a psychedelic picture of a mans face with flowers ladybirds and a butterfly. Both framed and glazed with signature to bottom right. Measures; 54cm x 44cm.

A contemporary art carded sculpture of a fox within a box. The box being a MDF plinth and acrylic display box with an autumn coloured mountain scene to back. Measures; 23cm x 43cm x 23cm.

A contemporary made graffiti art standard lamp. The lamp having a stepped base with bun feet supporting a tall column with metal shade fixing and spherical milk shade to top. The lamp being decorated having a deliberate spilled paint finish.

A contemporary Art Deco style smoked glass barrel coffee / centre table. The table having a metal barrel frame with copper finish , inset smoked glass to top and a smaller smoked glass base raised on chromed stub feet. 

Large modern contemporary art bronze sculpture of a nude reclining lady (overall length 150cm)

A collection of three (3) contemporary art glass vases. Includes an Eickholt vase 8-1/2", Eickholt vase 7", unsigned handled vase 10". Both Eickholt vases are signed. Domestic Shipping: $105.00 Min Est. $150.00 Max Est. $250.00

Collection of 3 Contemporary Art Glass Bull Figures. Unsigned. Largest measures 7" H x 12-3/4" L. Domestic Shipping: $95.00 Min Est. $300.00 Max Est. $400.00

Six (6) Contemporary Art Glass Paperweights. 4 signed Eickholt. Largest measures 3-1/2" H. Domestic Shipping: $58.00 Min Est. $150.00 Max Est. $250.00

Three (3) Pieces Contemporary Art Glass. Signed Eickholt. Dated 2003, 1983, 1984. Tallest measures 6-5/8". Domestic Shipping: $85.00 Min Est. $100.00 Max Est. $200.00

Two (2) Contemporary Art Glass Vases. One signed Eickholt the other with illegible signature. Tallest measures 9-1/4" H. Domestic Shipping: $95.00 Min Est. $100.00 Max Est. $200.00