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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

Three (3) Contemporary Art Glass Vases. 2 Signed Eickholt. Dated 1994, 1987. Tallest measures 10-1/8". Domestic Shipping: $115.00 Min Est. $150.00 Max Est. $250.00

Four (4) Contemporary Art Glass Vases. 2 signed Eickholt, 2 with illegible signatures. Tallest measures 8-3/4" H. Domestic Shipping: $85.00 Min Est. $100.00 Max Est. $200.00

Five (5) Contemporary Art Glass Vases. Three signed Eickholt. Tallest measures 8". Domestic Shipping: $85.00 Min Est. $100.00 Max Est. $200.00

Contemporary Color Lithograph "Art Deco Lady". Signed illegibly and numbered EA. Nicely framed. Measures 23-1/2" x 17-3/4" (sight), frame measures 32" x 26-1/2". Domestic Shipping: $135.00 Min Est. $150.00 Max Est. $250.00

Contemporary Color Lithograph "Art Deco Lady". Signed illegibly and numbered EA. Nicely framed. Measures 23-1/2" x 17-3/4" (sight), frame measures 32" x 26-1/2". Domestic Shipping: $135.00 Min Est. $150.00 Max Est. $250.00

Patrice Murciano French b.1969 Graphic Art Prints. The four colourful prints contained in contemporary black frames, approx 29 x 29 cms

Derrick Greaves, Tall Vase, Screen print, limited edition numbered 35/200, signed and numbered by the artist and dated '81, with certificate of authenticity from Christie's Contemporary Art, i68 x 53cm approx, framed and glazed.

Derrick Greaves, Square Vase, Screen print, limited edition numbered 16/200, signed and numbered by the artist and dated '81, with certificate of authenticity from Christie's Contemporary Art, i68 x 53cm approx, framed and glazed.

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

Reeves (John). The Art of Farriery both in Theory and Practice, 1st edition, for J. Newbery, 1758, 4 engraved plates (1 folding), errata leaf, front free endpaper excised, closed tear to title page tape-repaired verso, contemporary sprinkled tan calf, slightly marked, some minor wear and expert restoration, 8vo (20.4 x 12.5 cm) Roscoe A434 (1). The work went to a fourth edition by 1778 and the first edition is notably scarce. The author is described on the title page as a farrier from Ringwood, Hampshire; the 'eminent physician' named as contributing part of the text has been identified as Dale Ingram (bap. 1710-1793). (1)

Walton (Izaak and Charles Cotton). The Complete Angler, 2 volumes, Tercentenary Edition, 1893, illustrations, a little light spotting and offsetting, top edge gilt, original vellum-backed boards, one or two light marks, 4to, limited edition, 296/350, together with The British Angler's Manual, or the Art of Angling in England, Scotland, Wales and Ireland, by T.C. Hofland, 1841, plates and illustrations, scattered spotting, bookplate, all edges gilt, contemporary brown calf gilt by Westleys & Clark, spine and corner pieces decorated with gilt fishing motifs, a little rubbed, 8vo, large paper copy, plus another copy of the same work by Hofland rebound in diced calf, 8vo (4)

Watson (J., publisher). Great-Britain's Memorial. Containing a Collection of the INstructions, Representations, etc. etc. Of the Freeholders and other Electors of Great-Britain, to their Representatives in Parliament, for these Two Years past, [bound with:] The Second Part of Great Britain's Memorial, 2 volumes in 1, 1st and 2nd editions, J. Watson, 1741-2, final advertisement leaf to each volume, mild spotting and browning, modern half calf, 8vo, together with: [Salisbury imprint], A Companion in a Post-Chaise; or, an Amusement for a Leisure Hour at Home: containing a Careful Selection from the most approved and entertaining Pieces, in Verse and Prose, that have appeared for many Years past, 1st edition, Salisbury, Sealy and Hodson, 1773, spotting and browning, marginal stain to first 2 quires, modern half calf, 8vo, [Chelsum, James], A History of the Art of Engraving in Mezzotinto, 1st edition, Winchester: J. Robbins, 1786, mild spotting and browning, contemporary manuscript annotation naming the author to title page, contemporary calf, rebacked, 8vo, [Crokatt, Gilbert], The Scotch Presbyterian Eloquence; or, the Foolishness of their Teaching ... the Third Edition, with Additions, London: for M. Smith, 1719, half-title lacking, spotting and browning, ink-stamp of William Shand to title page, bookplate of John Sparrow to front pastedown, modern half calf, 8vo, Weber (Friedrich), Historiae Muscorum hepaticorum Prodorum, 1st edition, Kiel: Aug. Hesse, 1815, pp. 87/8 duplicated (possibly a cancel), both leaves tape-repaired, spotting and browning, marginal damp-staining, modern half calf, 8vo ESTC traces 13 copies of the first part of Great Britain's Memorial (5 in the UK), and four copies only of the second edition of the second part, which contains texts published to June 1741 (the first edition, of which ESTC traces three copies, ended on 1 May). Six copies only located by ESTC for the Salisbury-printed Companion in a Post-Chaise. (5)

Chambers (William). Designs of Chinese Buildings, Furniture, Dresses, Machines, and Utensils, 1st edition, published for the author, 1757, text in English and French, dedication to George, Prince of Wales, list of subscribers, 21 engraved plates and plans by Fourdrinier, Grignion and Sandby, plate XIV with closed tear, bound with at front A Treatise on Civil Architecture, in which the principles of that art are laid down and illustrated by a great number of plates, accurately designed and elegantly engraved by the best hands, 1st edition, 1759, dedication, subscribers list, 50 engraved plates by Rooker, Patton, Mazell and others, some overall light spotting and offsetting, endpapers renewed, contemporary panelled calf, modern calf gilt reback, small repairs, folio Fowler 85 and 86. (1)

Doyle (John). Political Sketches &c. by H.B., 3 volumes, November 1829-June 1935, 300 monochrome plates, some light spotting, contemporary uniform gilt decorated green half morocco, boards and spines rubbed, folio, together with Cuitt (George), Wanderings and Pencillings amongst Ruins of the Olden Time, 1848, 73 monochrome etchings, some light spotting, all edges gilt, contemporary gilt decorated brown half morocco, boards and spines rubbed, folio, and Schoonover (John R, et al), Frank E. Schoonover Catalogue Raisonn‚, 2 volumes, USA, 2009, numerous colour and monochrome illustrations, original cloth in dust jackets, in slipcase, large 8vo, plus other late 19th century and modern art reference, including publications by Antique Collectors' Club, Batsford, Oak Knoll Press, some leather bindings, mostly original cloth, some in dust jackets, G/VG, 8vo/folio (6 shelves)

Wilde (Oscar). Lady Windermere's Fan, a Play about a Good Woman, Paris, [Leonard Smithers], 1903, original cloth wrappers and spine bound in at rear, all edges gilt, contemporary art nouveau-style three-quarter crushed dark green morocco (somewhat faded to brown), by Hatchards, a few minor marks to joints and extremities, 8vo Limited edition 166/250. The pirated edition by Leonard Smithers. (1)

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 CANDLE HOLDER, an Art Nouveau inkwell and an embossed miniature of a woman (3)

An Art Deco sapphire and diamond cluster ring, the central row of four square channel set sapphires with scroll set diamonds above and below, 18ct yellow gold set, size L to/w a contemporary yellow metal textured and pierced band, stamped 750 size M, 4.1g (2)

[§] SIR ROBIN PHILIPSON R.A., P.P.R.S.A., R.S.W., R.G.I., L.L.D. (SCOTTISH 1916-1992)PRESENTATION TO A KING Signed, oil on panel38cm x 28cm (15in x 11in)Exhibited:Fine Art Society, Contemporary Scottish Paintings 1983

SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., R.O.I., L.L.B. (IRISH 1856-1947)WAITING Signed and inscribed verso, oil on canvas24cm x 19cm (9.5in x 7.5in)Exhibited:Paisley Art Institute, 1881 Note: In 1880 John Lavery faced an uncertain future. He had attended early morning and evening classes at the Haldane Academy in Glasgow, and with one or two picture sales had sought his fortune in London. But this venture had not been successful and with no family to support his efforts had returned to Scotland. He now realised that knowing the taste of the public was essential if he was to make his way as an artist.Costume-pieces - small, inexpensive paintings on popular literary themes, often sentimental in nature, and featuring young women in Regency or Renaissance finery, in subjects taken from Goethe's Faust and the novels of Walter Scott - would support him while he developed his craft and acquired a reputation. It was a precarious existence. During these years Lavery lodged cheaply in Buccleuch Street, Paisley, while retaining a small studio in Glasgow. Even after his removal to Paris in November 1881, he would continue to show such works. In the present instance the girl's dress, and probably the model, are those in A Conquest, A Heart for a Rose, 1882 (Glasgow Museums) - the picture which typifies this period.This rediscovery of Waiting is of special significance in that it is likely to be one of Lavery's earliest exhibited works, shown at the Paisley Art Institute. We may even surmise that the young woman in the picture was modelled by 'Georgina', one of the assistants who caught his eye when he was working for MacNair, the Glasgow photographer, in the late 1870s. However in the absence of contemporary illustrations, the issue is complicated by the fact that formerly it was thought that the picture, also entitled Waiting and housed in Renfrew Museums andGalleries, was that exhibited in 1881. The Renfrew painting, of similar size to the present example, was originally owned by Lavery's early patron, John Eadie, of Eadie Brothers, makers of 'ring travellers' for the yarn industry, and one of the town's leading manufacturers. It was presented to the Art Institute around 1914. Although we cannot be conclusive, the appeal of this present work seems more universal and its glen-side setting more romantic.By the time the Institute's exhibition opened at the end of 1881, the painter was already in France and embarking on a new phase of his artistic training. While his work would develop rapidly during subsequent years, from Waiting and similar small beginnings, a great career would blossom. We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot.

John Piper (1903-1992) Foliate Head Blue to Gold, circa 1970 signed (lower right) ink, gouache and wax resist on paper 42cm x 52cm. Exhibited: River & Rowing Museum, Henley-on-Thames, John Piper: A Very British Artist, 2017-18. Provenance: From the collection of Orde Levinson. The present work is the original for the limited screenprint published by Christie's Contemporary Art in 1983.

David Hockney (b.1937) 'Hockney, Home Made Prints', 1989 for the Cleveland Center for Contemporary Art signed in pencil (lower right) lithograph poster 58.5cm x 28cm, unframed.

A contemporary blue art glass jug with repeated circular decoration and 4 matching beakers, with artist’s marks

Four pieces of contemporary art glass.

Gerard Dillon (1916 - 1971)A view of Drogheda (1943)Oil on board, 27.9 x 35.5cm (11 x 14)Signed and dated (19)'43, title versoProvenance: With Jorgensen Fine Art, Dublin‘A view of Drogheda’ was most likely painted after Dillon’s visit to the town with Drogheda painter, Nano Reid (1900-1981) in 1943. The two friends may have arranged a sketching holiday after the opening of their group exhibition of watercolours at the Contemporary Picture Galleries in Lower Baggot Street in July, 1943. A Publican’s daughter, Reid was sixteen years older than Dillon but he never viewed their age difference as an obstacle for friendship. Both artists felt strongly about Ireland’s cultural heritage and admitted in interviews to having influenced each other’s work.This work is typical of Dillon’s subjects in the early 1940’s which were largely focused on everyday subjects that were linked to his daily life. His style of painting was still at an early stage of development but this visit to the town and the surrounding area had a lasting impact on him. In 1944 Dillon and Reid showed works from their sketching holiday in their exhibitions in Dublin and Northern Ireland. ‘View of Drogheda’ may be ‘Drogheda’ listed in Dillon’s joint show with George Campbell at John Lamb’s gallery, Bridge St in Portadown in June, 1944 (Cat.22). Opened by John Hewitt, the Portadown News commented that the two artists ‘cover a wide range of subjects and include landscape, the blitz and life in our cities and on things that are avoided by the majority of artists, but which when painted leave a valuable record of our time for future generations.’(1.7.44) Dillon probably didn’t intend to document this scene as a valuable record of the town but his desire to record the town and the architectural heritage in the area before Institutions were set up to protect listed buildings was a ‘valuable record’ for future generations. It has been suggested that this scene is from the south side of the Boyne looking west possibly from the vantage point of Pitcher Hill, Barack Lane or at ‘Butter Gate’. The Church across the river is probably St. Magdalen’s Church known locally as Dominick’s Church.Karen ReihillNovember, 2018(This writer is grateful for the assistance of Declan Mallon for his help in identifying the location of this work.)

A contemporary metallic pewter coloured erotic body cast wall art sculpture, Wild Isadora, Compulsion Gallery Collection, 71cm high, 38cm wide

A contemporary metallic pewter coloured erotic body cast wall art sculpture, Wryly Kylie, Compulsion Gallery Collection, 107cm high, 35cm wide

Theology - Conybeare (The Rev. W.J.) and Howson (The Rev. J.S.), The Life and Epistles OF St. Paul, two-volume set, Longman, Green, Longman, and Roberts, London 1859, illustrated throughout with full-page plates and maps, contemporary buckram boards as issued, titled paper labels to spine, 4to; Quarles (Francis), Emblems, Divine and Moral, Printed at the Chiswick Press, by C. Whittingham, Sold by R. Jennings, London 1818, line engravings throughout, contemporary half-leather and buckram, 18mo; Newman ([The Blessed Cardinal] John Henry, B.D.), Sermons, Chiefly on the Theory of Religious Belief, Preached Before the University of Oxford, second edition, Francis & John Rivington, London 1844, contemporary calf, the boards with gilt double-fillet enclosing a blind tooled anthemion tendrils, later title label to spine, marbled endpapers, 8vo; The Tract Magazine and Christian Miscellany: Containing Various Pieces of Permanent Interest, 1862, The Religious Tract Society, London, contemporary half-calf and marbled boards, 12mo; Gore (Charles), The Religion of the Church, as Presented in the Church of England: A Manual of Membership, A.R. Mowbray & Co. Ltd., London 1916, Swedish Art Deco binding of red half-morocco and printed two-tone boards, gilt lettered spine with raised bands, 16mo; The Psalter: A Revised Edition of the Scottish Metrical Version [...], Set to Suitable Music [...], Prepared and Published by Authority of the General Assembly of the Presbyterian Church in Ireland, Blackie & Son, Dublin and Belfast, 1880, contemporary straight-grain green morocco, gilt and blind tooled to each cover and spine, owner's monogram gilt lettered to foot of upper cover, 12mo; Kempis (Thomas à), On the Imitation of Christ [...], Kegan Paul, Trench & Co., London 1889, contemporary straight-grain black morocco gilt, marbled endpapers, 12mo; Sturm [Christoph Christian], Reflections of the Works of God; and of His Providence Throughout All Nature, Translated by The Rev. Dr. Balford, two-volume set, G. and W.B. Whittaker, London 1823, contemporary half-calf and marbled boards, 16mo; Spangenberg (The Rev. August Gottlieb), The Life of Nicholas Lewis Count Zinzendorf, Bishop and Ordinary of the Church of the United (or Moravian) Brethren [...], Samuel Holdsworth, London 1838, contemporary half-morocco and marbled boards, 12mo; The Book of Common Prayer [...], 1851, contemporary purple morocco, 8vo; another, similar, later; Cardinal Manning; various bindings and sizes; etc

Miscellaneous - Bindings, Thackeray (W.M.), The Virginians: A Tale of the Last Century, first collected edition, two-volume set, With Illustrations on Steel and Wood by the Author, Bradbury & Evans, London 1858 - 1859, contemporary quarter-calf and marbled boards, gilt lettered crimson morocco title labels, 8vo; Mignet (F.A.), Histoire de la Révolution Française, Depuis 1789 Jusqu'en 1814, fourteenth edition, two-volume set, Firmin Didot Père et Fils, Paris 1827, contemporary calf gilt, lettered spines, marbled endpapers and edges, Golden Age Armorial bookplates by Charles William Sherborn: Charles, Viscount Halifax [1839 - 1934, of Hickleton Hall, Doncaster, Yorkshire], 8vo; The Lady's Magazine; or Entertaining Companion for the Fair Sex, Appropriated folely (sic) to their Use and Amusement, Volume IV, G. Robinson, London 1773, full-page engraved frontispiece, fold-out sheet music, calf spine and period publisher's boards, contemporary ink MS ownership inscription: Elizabeth Cheall, 8vo; Annual Register, 1793; Children's Book, The Poetical Epitome [...], London [n.d., c. 1792], stipple engraved vignette to title-page, disbound with one contemporary calf board remaining but loose, oblong 18mo, (faults); Holy Bible, three-volume set, late 19th century, floppy morocco bindings, gilt edges, 16mo; Chaucer's Works, Oxford University Press, 1901, contemporary Art Nouveau vellum binding, large 12mo; Sophoclis Tragœdiae [...], Apud, Black, Young & Young, London 1825, contemporary calf gilt, extensive contemporary ink MS scholar's marginalia and annotations throughout, large 16mo; other books, various leather bindings and sizes; (qty)

Miscellaneous - The Topographer [...], A Variety of Original Articles, Illustrative of the Local History and Antiquities of England, 1789 - 1791, four-volume set, J. Robson, London 1789 - 1791, illustrated throughout with full-page engravings, contemporary quarter-calf and buckram boards, gilt lettered title labels, gilt-embossed armorial book labels: Ralph Sneyd (1793 - 1870, of Keele Hall, Staffordshire, High Sheriff of the county in 1844), 8vo; Chamberlayne (John), Magnæ Britanniæ Notitia [...], two-parts bound as one, S. Birt [...], London 1755, 20th century brown buckram, bookplate: Bath Municipal Reference Library, 8vo; de Levis (M.), L'Angleterre, Au Commencement du Dix-Neuvième Siècle, Antoine-Augustin Renouard, Paris 1814, contemporary English binding: calf spine with gilt lettered red morocco title label, card boards as issued, 8vo; Debrett's Correct Peerage [...], two-volume set, F.C. and J. Rivington [...], London 1817, contemporary boards and papered spines, Plain Armorial bookplates: Henry Birkbeck, large 12mo; Brydson (Thomas), A Summary View of Heraldry in Reference to the Usages of Chivalry and the general economy of the Feudal System [...], Mundell & Son, Edinburgh, Messrs. Nicol, Egerton, Edwards, Faulder, London 1795, hand-coloured emblematic frontispiece, contemporary calf (rubbed, disbound), 8vo; Fairbarin's Crests [...], two-volume set: Text & Plates, Bickers & Son, London, contemporary green cloth, bookplate to each pastedown: Presented to the Institute of British Carriage Manufacturers by John Philipson, Newcastle-on-Tyne, 1882, 4to; Strutt (Joseph), The Sport and Pastimes of the People of England [...], Illustrated by One Hundred and Forty Engravings [...], A New Edition [...] by William Hone, Thomas Tegg, London 1845, contemporary cloth 8vo; Watkins's Biographical Dictionary, 1827, contemporary calf boards, later 20th century spine, thick 8vo; Lynch (Bohun), A History of Caricature, Faber and Gwyer, London 1926, Art Deco printed boards and buckram spine, paper title label, Golden Age Armorial bookplate: Robert, Marquess of Crewe, 4to; etc

Keiko Minami (Japanese 1911-2004) A Girl, Tree and Bird Etching printed in colours, 1983 Signed in pencil and numbered 110/150 31 x 29cm (12 x 11¼ in.) Provenance: Christie's Contemporary Art, London Together with a certificate of authenticity.

A contemporary continental Art glass vase

A contemporary Art Deco style silver and mother of pearl ring, size K, gross weight 5.3g.

ƟAhmad bin Ali ibn Zanbal al-Rammal, Kitab al-Thahab al'Abrir fi Ilm al-Raml al-Athar ('Book on the Science of Sand', a treatise on geomancy), in Arabic, decorated manuscript on paper [Near East (possibly Syria), dated Safar 1191 AH (1777 AD)] 48 leaves, complete, catch-words, single column, 19-21 lines black cursive naskh per page, key words and headings in red, 6 full-page tables and charts in the text, a few contemporary ink inscriptions to margins, 3 additional folios (one pasted to the lower pastedown and two loosely inserted), a few ink smudges, some outer margins darkened or soiled, top edge of first leaf repaired (not affecting text), 225 by 165mm.; early nineteenth-century morocco over pasteboards, outer edges ruled in gilt, covers with later blind-stamped decorative medallions, a little scuffed This treatise deals with the art of divination by interpreting lines and textures in sand. The text is 'Ilm al-Ramal' (science of the sand) in Arabic, and is the work of Ibn Zunbul nicknamed 'al-Rammal' (the geomancer) for his work in this area. This composition focuses on the patterns and formations of the sand and translates them into codes, often connecting them with divinations and astronomical events, while his other work Kitab al-maqalat fi hall al-Muskilat, is considered more of a practical manual for geomancy. Ibn Zunbul's precise dates are unknown, but he was certainly alive in the mid-sixteenth century: Sultan Suleyman I (1520-1566 AD) is cited in one of his writings, and one of the author's sons is known to have passed in away in 1553. He was a reputable astronomer and an army general in the Mamluk court, being cited by Brocklemann as a “civil servant of the war division” (Brockelmann II, 43, 298). Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).  

Ɵ Terence, Comoediae, in Latin, illuminated humanist manuscript on paper and parchment [Italy (probably Florence), dated 4 April 1446] 94 leaves (plus a later paper endleaf at each end), wanting one gathering between original foliation 12 and 25 (with text from end of Andria I “curabo & mecum adductum …” to opening of Euriuchus II “… Operam adjuvabo numquid”, written space 172 by 110mm.), else complete, collation: i-vii12, ix10 (last two blank cancels), contemporary foliation, parchment bifolia innermost and outermost in gathering, single column of 30 lines in an excellent and accomplished humanist hand, verse opening each line with a capital, running titles and rubrics in faded red, simple and elegant red or turquoise-blue initials, seven initials in burnished gold on blue, green and dark pink grounds, each heightened with white or yellow swirls of foliage, watermark of the common version of Golgotha (a tri-lobed mountain surmounted by a cross), very occasional missing lines added vertically in margins by main scribe, some marginal notes in Latin and Italian and a small amount of underlining from later readers, some smudges, small amount of worm damage in gutter, small spots and stains with first and last leaves discoloured at edges, a few small tears to edges of paper leaves, overall in good condition, 230 by 170mm.; eighteenth- or nineteenth-century limp parchment binding with “Teren/tii Affri /Comed” in pen on spine A handsome Renaissance copy of one of the most widely read classics of the Ancient World, probably from the town in which the text was performed again for the first time since antiquity Provenance:The colophon at the end of the text states that the book was completed on 4 April 1446, and the style of the tri-colour illuminated initials strongly suggests that this was done in Florence or its vicinity (compare, for example, that in a Florentine Cicero made c. 1475-90, once Major Abbey, J.A. 3208: J.J.G. Alexander and A.C. de la Mare, The Italian Manuscripts, 1969, no. 21; and copies of the works of Marsilio Ficino from that city, now in the Laurenziana, Plut. 82.15 and 82.11, both from last decades of the fifteenth century: Renaissance Florence: The Age of Lorenzo de’ Medici, 1993, pp. 133 and 135). Text:Terence (more properly Publius Terentius Afer, c. 195/185-c. 159 BC.) is one of the most well known Roman playwrights. He was of Berber origin from Carthage, and was brought to Rome by the senator Terentius Lucanus as a slave and then educated and freed. He disappeared during a visit to Greece when only twenty-five years old, and it is presumed he died on the trip. Despite this short life, his literary impact has been enormous. His works were performed in Rome for the first time in 170-160 BC. and have remained popular throughout the centuries to the present day. Due to this popularity and the endurance of his appeal, all six of his works survive, the comedies: Andria (‘The Girl from Andros’, a comedy adapted from Menander and in the genre of forbidden marriage and star-crossed lovers); Hecyra (‘The Mother-in-Law’, again adapted from Menander as well as Apollodorus of Carystus, in which male debauchery is concealed and then exposed with the figure of the mother-in-law as the catalyst for that revelation); Heauton Timorumenos (‘The Self-Tormentor’, another tale of star-crossed lovers separated by parental disapproval, war and then the practicalities of the world); Phormio (‘The Parasite’, revolving around a young man who makes his living performing duties for the wealthy, and who turns his talents to helping two young men with their respective romantic problems); Eunuchus (‘The Eunuch’, again adapting a similar play by Menander, centring on a complex love affair between an Athenian man and a foreign born courtesan); and Adelphoe (‘The Brothers’, which explores methods of child rearing both strict and permissive through two brothers separated at birth). All of these were written between 166 and 160 BC. His texts were used throughout the Middle Ages to learn to copy manuscripts, and young students are recorded as performing the plays in order to improve their spoken Latin. Despite this popularity the first recorded formal performance of one of his works after Antiquity is that of Andria in Florence in 1476, after which it was adapted by Macciavelli for his work of the same name. Given the likely production of the present manuscript in the same city, exactly thirty years before that performance, it is tempting to speculate that it attended that historic performance in the lap of its elderly first owner or a youthful subsequent one, and was used to follow the play line-by-line. Approximately 650 manuscripts of his works survive, but they are far from common to the market, with the last to emerge: (i) one from the library of W.E. Gladstone (also Florence, c. 1440-50), sold Sotheby’s, 18 June 1991, lot 83, and returning to Christie’s, 3 April, 1996, lot 7; and (ii) another in the Foyle sale (made France, c. 1450), Christie’s 11 July 2000, lot 80, and reappearing in Joern Guenther cat. The Art of the Book, 2000, no. 34. To these should perhaps be added a fragment of 40 leaves from a fifteenth-century German copy, recovered as individual leaves from binding fragments, sold in Reiss, 23 October 2007, lot 63, and then offered by Les Enluminures in 2008. Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).  

* Christopher Bramham [b.1952]- Embankment view from studio window, Richmond,:- pastel drawing 83 x 109cm. * Provenance. Christopher Bramham [b.1952]. A small Private Collection of works and related correspondence inherited from Charles Sutcliffe [d.2002], Head of Art at Kingham Hill School, Chipping Norton, teacher and mentor to Bramham. * Biography. ChrIstopher Bramham, born Bradford, Yorkshire 1952. * Notes. Exhibitions 1970 Bradford College of Art. 1971-73 Kingston upon Thames Art School. 1974-86 Part-time teacher. 1982 Meets Lucien Freud who buys a watercolour of a chicken. 1986 Young Contemporaries Exhibition, Agnews, London. 1988 Living in Richmond and Exhibits at The Fine Art Society, London. 1989/90 Lucien Freud paints portraits of Bramham and his children. 1991-2002 Solo Exhibitions at The Marlborough Gallery, London. 1999 Moves to Cornwall with his wife Ruth and children. 2001 Exhibits with The School of London and Their Friends, Yale Centre for British Art, Connecticut. 2004 Solo Exhibition at Browse & Darby, London. 2006 Exhibited. Drawing Inspiration. Contemporary British Drawing, Abbot Hall Art Gallery, Kendal, Cumbria. 2007 Exhibits with Lucien Freud and Duncan Wood at Browse & Darby. 2010 Exhibits with Jonathan Clark Fine Art, London

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.

‡Peter Howson OBE (Scottish b.1958)RiseSigned and dated 2012Pencil heightened with white on cream paper39.5 x 29cmProvenance:Eton Contemporary Fine Art Eton++Some very small areas of what appears to be yellowed gum on hands feet and one spot to left of crown maybe original otherwise good condition

Jonathan Shaw (British, b.1959) - 'Red and Purple Skyline'Acrylic, signed, bears labels verso for DeMontfort Fine Art and Bailey Arts, approx 29x90cm, inset stylish contemporary frame.

• This anonymous artist wanted to create a contemporary and lively version of The Snowdog. Using a contoured chrome surface this artist has created Gizmo the Snowdog with a real funhouse mirror effect! • This camera shy artist prefers to remain anonymous despite their artwork being hugely popular across several Wild in Art programmes. Although not formally trained in the arts, this artist is a huge talent in street art and graffiti.H 153 cm to top of earsL 170 cmW 75 cm(back)W front including ears 78 cmW front and back including brackets 70 cm/75 cmLarge: 44kg

Art. A selection: Tassi, Roberto; 'Sutherland: The Wartime Drawings', 1980, 1st. Elliott, Patrick; 'Contemporary Art in Print', 2001, 1st. And, 3 others. (5)

Allister Malcolm (British Contemporary) 'Frozen Moment', a naturalistic clear art glass vase with applied luster glass ammonite's, signed and dated 2012, H24cm Condition Report Click here for further images, condition, auction times & delivery costs

ZEIJKO LAPUH (1951) 'Mihaljka' Family modern contemporary art painting oil on board dated 1986 18cm x 26cm

Contemporary acrylic on canvas of Tregonning Hill overlooking Mounts Bay, Cornwall in snow by Rachel Jeffrey ex Newlyn & Falmouth School of Art, 93cm x 73cm overall

Tanner (John) The hidden treasures of the art of physick; fully discovered. In four books. Containing 1. A physical description of man. 2. The causes, signs and cures of all diseases incident to the body..., third edition, small repair to foot of first few ff., some staining and spotting, lightly browned, contemporary sheep, sympathetically rebacked, head of spine chipped, corners worn, rubbed, [Wing T137A], 8vo, printed by John Streater, and are to be sold by George Sawbridge, at the Bible on Ludgate Hill, 1672.

Dickens (Charles).- Catalogue of the Beautiful Collection of Modern Pictures, Water-Colour Drawings, and Objects of Art, of Charles Dickens deceased, 12pp., first edition, sale catalogue, contemporary ink signature of Alexander Walker at foot of title with note in pencil "I attended the sale" and prices in manuscript (ink over pencil), one leaf chipped at fore-edge, newspaper cuttings concerning Dickens's will and sale report pasted to front free endpapers, loose in old brown wrappers, upper wrapper inscribed "Dickens' sale catalogue Priced July 9th 1870" in ink at head, spine worn, covers detached, edges chipped, 8vo, Christie, Manson & Woods, 1870.⁂ The auction of Dickens's pictures was held a month after his death and was well-attended, with prices greatly exceeding expectations. The highest prices were for W.P.Frith's Dolly Varden (1000 guineas) which was commissioned by Dickens from the artist, Clarkson Stanfield's The Eddystone Lighthouse (990 gns) which was painted as scenery for the amateur production of Wilkie Collins's The Lighthouse in 1855, and Daniel Maclise's portrait of Dickens (660gns) presented to him by his publishers on the completion of Nicholas Nickleby in 1839. The stuffed raven which was the model for Grip in Barnaby Rudge fetched 120gns.

Cookery.- Rose (Giles) A Perfect School of Instructions for the Officers of the Mouth: shewing the Whole Art of a Master of the Houshold [sic], a Master Carver, a Master Butler, a Master Confectioner, a Master Cook, a Master Pastryman..., first edition in English, woodcut illustrations, with contemporary ink inscriptions "Diana Dormer her book [?]1691" & "Mrs Eliz. Holford her book" on front free endpaper and date "1719" in margin of title, rather browned and a little damp-stained, tears to I1 & 2 but no loss (second repaired), one or two leaves slightly frayed at fore-edge, hole to front free endpaper repaired, contemporary calf, rubbed, rebacked, corners repaired, new endpapers, preserving old inscribed endpaper, [Bitting p. 407; Cagle 970; Oxford p.42; Wing R1933], 12mo, printed for R. Bentley and M. Magnes,1682. ⁂ Rare; the first work in English to demonstrate carving techniques. A translation of L'Escole Parfaite des Officiers de Bouches of 1662, Bitting notes that the "translation is much scarcer than the original". ESTC lists 5 copies in the UK and 6 in America; we can trace only 4 copies at auction, one of which was defective. In addition to the woodcuts of table settings and carving guides it includes directions for folding napkins and cutting fruits into decorative and animal shapes.

Veronica Gosling (20th/21st century) -The seesaw with a figure, bird and a cockerel, signed with initials, oil on board, 11.75" x 15.5" ** The artist lives in Exeter and has exhibited at a great many shows including the Chenil Gallery, London, the Contemporary Art Fair, and other venues throughout the UK.

An Art Deco silver salt and pepper set of tapering from together with a contemporary silver and cut glass pepper mill. Various hallmarks CONDITION REPORT: Minor marks etc.

Contemporary Japanese Art Pottery Shaped Vase With Incised Decoration to The Body With Thick Running Glaze. Signed To The Base. Height 15 Inches

Master of San Miniato (active Florence, circa 1460-1480) The Madonna and Child, seated beneath a curtain before an extensive landscape tempera and gold on panel, in an apparently contemporary or near contemporary tabernacle style frame, later repainted and regilded 56 x 37cm (22 x 14in) Provenance: Probably acquired by either a member of the Fownes or Haythorne families in the 19th Century, Thence by family descent to Mrs Winifred S Parsons (nee Haythorne) died in 1977; Anonymous (her Deceased) Sale, Christie's, London, 12th October 1979, lot 50, when withdrawn prior to sale; Thence to her son, Sir Richard Edmund Clement Fownes Parsons (1928-2016), the late owner Other Notes: The Master of San Miniato is named after a group of altarpieces by an as yet unidentified painter in the Church of San Miniato al Monte, Florence. The attribution is due to the late Everett Fahy from photographic images which he was first shown post the 1979 Christie's sale by the late owner and again in 2016. Sir Richard Edmund Clement Fownes Parsons (1928-2016) This sale includes selected items from the collection of the late Sir Richard Parsons, removed from his Norfolk home. Sir Richard Parsons was a career diplomat, and through the 1970s and 1980s he was successively British Ambassador to Hungary, Spain and Sweden. During the late 1960s and early 1970s he had postings to Ankara and Lagos, as well as periods in London. In 1976 he was appointed ambassador to Hungary. He was the Ambassador to Sweden from 1984 to 1987, after which he left the Diplomatic Service and settled in King's Lynn, Norfolk. In his retirement he focused on his writing and at the town's literary festival gave talks about his diplomatic adventures. Notable pieces from this collection are the present lot and the rare miniature by Isaac Oliver of Sir Richard Parsons' ancestor, Thomas Fones, who was Mayor of Plymouth (lot 161). Also of note are the vibrant watercolours by his grandfather, Alfred Parsons, RA (lots 85-88) which demonstrate the family's artistic leanings in addition to their passion for collecting. Lots 59, 62, 63, 65, 83, 99, 130, 134, 161-165 are also from this estate. In our March 2019 Fine Art sale we will offer a Grand Tour portrait of his ancestor Edward Curtis of Mardyke House, Hotwells, Bristol, by Marco Benefial (Italian, 1684 - 1764) together with the embroidered silk waistcoat the sitter is wearing (please refer to the advertisement at the beginning of this catalogue). Tempera on panel which has been reinforced at the reverse with a wooden cradle. The paint layer has some areas of raised and vulnerable paint, mainly following the vertical woodgrain of the panel. There is a loss at the top edge. There are areas of retouching mainly localised in the Madonna's blue robe. The varnish is very yellowed and thick. There is some wear and retouching to teh sight edge of the frame, otherwise it is in a good condition.The loss top left is an old repair which has flaked and can be repaired. The varnish has yellowed. The painting needs consolidation as there are numerous areas of raised blistering. 

An Egyptian faience Shapti (of Horwedja), a priest of the goddess Neith, 30th dynasty (380 - 343BC), with striped wig and plaited beard, a hoe in the left hand and a mattock in the right with a grain basket hanging over the right shoulder on a rope, the body inscribed with hieroglyphics with a spell from chapter 6 book of the dead, the foot with contemporary waxed cotton label, 'Ushapti, from the tomb of Horwita, Egyptian noble about 600BC, see book pages 92 and 93', 23cm (9in) Provenance: Given as a gift to the current vendor from the archaeologist Raymond Inskeep (1926 - 2003) Other Notes: This particular Shapti was probably part of a collection of 399 found by Sir William Matthew Flinders Petrie, FRS, FBA, commonly known as Flinders Petrie, in 1890 in the Faiyum region of Egypt, the tomb housed the best preserved and highest quality group of funerary figures known, much of the original colour has been lost due to water damage as the tomb was flooded. Examining other letters from 'Flinders Petrie', the hand writing on this label appears very similar and is thus most probably written in his hand. Raymond Inskeep came to archaeology later in life and after serving in the latter part of the Second World War in Egypt and Palestine, he developed a love of archaeology and later won a scholarship to St John's College Cambridge. After graduating, he went to Africa to study rock art sites in Tanzania, then he had a spell as assistant lecturer at Cambridge, then later took up a position in Cape Town as a lecturer in ethnology and archaeology (where he would stay for 12 years). His research and determination to properly organise South African archaeology made him one of the major figures in this field. In 1972 he settled in Oxford where he helped set up the Donald Baden-Powell Quaternary Research Centre and also worked at the Pitt Rivers museum.

*Antonio Pisano called Pisanello (c. 1393-1455), Filippo Maria Visconti (Duke of Milan, 1412-47), bronze medal, bust to right wearing hat with soft top; long inscription giving his titles of Duke of Milan, Count of Pavia and Angera, Lord of Genoa, rev., the duke in full armour on horseback left holding lance upright; to the right, a page on horseback and between them, an armed horseman to front; in the background, a mountainous landscape with buildings and, on the right, a colossal female statue stands amid the buildings; signed below, OPVS PISANI PICTORIS, 102.5mm (Hill 21; Arm. I, 8, 23; Kress 3 = Pollard 2; Syson & Gordon 66, 2.24), pierced, a few knocks in obverse field, a very fine contemporary cast with brown patina. Much has been written on the subject of Pisanello’s medals for he is universally acknowledged as the inventor of the portrait medal, an art form that he made popular and which flourished thereafter in Italy and beyond. His first medal has generally been regarded as that of John VIII Palaeologus who was in Italy in 1438-39 to attend the ecumenical council of the Greek and Latin churches held initially in Ferrara and later moved to Florence. The present medal of Filippo Maria Visconti has also been put forward as a contender for Pisanello’s first medal – and Syson and Gordon in Pisanello, Painter to the Renaissance Court (2001) date the medal of Visconti to c.1435-40 and that of the Byzantine emperor to c.1438-41. They show how the chivalric reverses have been influenced by, in the case of Visconti, Pisanello’s fresco of St. George and the Princess of Silena (c.1434-38) and in the case of John VIII Palaeologus, Pisanello’s painting of The Vision of St. Eustace (c. 1438-42). The duke was notoriously shy of his appearance (as related by his secretary Pier Candido Decembrio) and would only allow Pisanello to portray him, so that all other depictions of him depend upon the medal. Provenance: Collection Vicomte de Jonghe, J. Schulman, 24 November 1936, lot 3 and pl. III.

SHUTOV, SERGEY(B. 1955) At Sunset , signed, titled in Cyrillic and dated 2003 on the reverse.Oil and glitter on canvas, 120.5  by 180.5 cm.Provenance: Russian Contemporary Art, Sotheby’s London, 12 March 2008, lot 124.

Two boxes of books CDS and DVD on China, to include Second Chinese Revolution by K.S. Karol (1975), The Real Thing - Contemporary Art from China, Liu Yong Comrades, Poems of Mao Tse-tung, China Onward - Chinese Contemporary Art from 1966-2006 (2007), etc.

JAZZ LPs - SWING TO CONTEMPORARY. A musical delight here with this collection of around 95 x LPs. Artists/titles include Urbie Green - The Fox, Dave/Don Grusin - Sticks And Stones, Roland Hanna inc. Perugia, Glove, Time For The Dancers and Sir Elf Plus 1, Earl Hines inc. Grand Reunion Vol I and II, Billie Holiday, Lionel Hampton, Chico Hamilton, Bobby Hackett with Zoot Sims, Keith Jarrett inc. Tribute (ECM 1420/21), Shades, Ruta And Daitya and Still Live, Hank Jones - Hanky Panky, Bluesette and I Remember You, Quincy Jones - Gula Matari and Fab!, Art Tatum, Clark Terry And Thelonious Monk, Cal Tjader, McCoy Tyner - Trident, Charlie Ventura and Mal Waldron. Condition is generally VG to Ex.