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Red Tomahawk, paynes grey, Vandyke brown, Oil on Canvas, Roni Stretch (British, 1964) 45” x 53”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while  acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona

Red Dog, paynes grey, Vandyke brown, Oil on Canvas, Roni Stretch (British, 1964) 45” x 53”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while  acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona

Lila, titanium white, salt white, Oil on Canvas, Roni Stretch (British, 1964) 60” x 42”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while  acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona

Roma 33, titanium white, first snow, Oil on Canvas, Roni Stretch (British, 1964) 24” x 30”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while  acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona

Roma 127, titanium white, first snow, Oil on Canvas, Roni Stretch (British, 1964) 24” x 30”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while  acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona

1930 football, Oil on Canvas, Roni Stretch (British, 1964) 26” x 32”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while  acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona

Study ii 1910 boots , Oil on Canvas, Roni Stretch (British, 1964) 26” x 32”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while  acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona

1953 Adidas Argentina, Oil on Canvas, Roni Stretch (British, 1964) 26” x 32”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while  acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona

1959 Steiff Bear-blue, Oil on Canvas, Roni Stretch (British, 1964)  36” x 48”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while  acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona

Cranes I Ann Dergara Embossed Metal  - Mounted and Framed 47x98cmThe enthusiasm with which Ann Dergara approaches her art is a lifelong passion. Born to Norwegian German parents who recognized and nurtured her creative abilities, the Greenville, South Carolina native sold her first painting five years prior to beginning her formal education at Georgia State University. In 1978, a printmaking course at Atlanta College of Art led her to Dick Williams and the innovative and contemporary Odyssey Studio. The artist pursued the etching and the collagraph, later the serigraph, and in 1990 began mono printing. Her mastery of the art of print making is described as remarkable.Yet painting remains Dergara’s first love, and a vibrant testament to her profound talent. Santiago Leon of ARTEFINO speaks for many admirers that Ann’s work is typical of an artist assured of her own talent; it is unconstrained, blending great skill and maturity with the free spirit of a child. Dergara is intent on achieving the original, the unique, the different - but only as it celebrates whatis positive and beautiful.Her brilliant use of color expresses her passionate respect for the harmony of nature - a recurring theme in a body of work that brings her growing, international acclaim.

Horses Ann Dergara  Embossed Metal Mounted and Framed 105x51cm The enthusiasm with which Ann Dergara approaches her art is a lifelong passion. Born to Norwegian German parents who recognized and nurtured her creative abilities, the Greenville, South Carolina native sold her first painting five years prior to beginning her formal education at Georgia State University. In 1978, a printmaking course at Atlanta College of Art led her to Dick Williams and the innovative and contemporary Odyssey Studio.The artist pursued the etching and the collagraph, later the serigraph, and in 1990 began mono printing. Her mastery of the art of print making is described as remarkable. Yet painting remains Dergara’s first love, and a vibrant testament to her profound talent. Santiago Leon of ARTEFINO speaks for many admirers that Ann’s work is typical of an artist assured of her own talent; it is unconstrained, blending great skill and maturity with the free spirit of a child. Dergara is intent on achieving the original, the unique, the different - but only as it celebrates whatis positive and beautiful.Her brilliant use of color expresses her passionate respect for the harmony of nature - a recurring theme in a body of work that brings her growing, international acclaim.

Sunflowers John Holt Limited Edition 261/300  - Mounted and Framed 94x50cmOften being confused on a search engine request for namesake John Holt, the reggae music artist rather than the contemporary landscape artist we’re concentrating on here, our John Holt instantly diffuses the stressful situation with the presentation of his calming painted scenes of traditional harbours and such like. Although we’re pretty sure John Holt the musician would also chill us the shizzle out with his own brand of tuneage. Anyway, we digress. Art is the name and in this instance Provencal landscapes, café scenes, hill towns and harbour reflections are the very illustrated game, courtesy of the John Holt whose of the greater interest to us. Born and bred near Manchester in 1949, Holt won a place on the coveted BA (Hons) Advertising and Graphic Design course at Stockport College of Art whence he’d bode farewell to secondary education in his native North West.Going on to complete the final year of this degree course at Salford College of Art, Holt’s end of year work was honoured in the receipt of the prestigious Bursary Award, as handed over by no lesser body than the respected Royal Society of Arts. After successfully graduating with all creative guns blazing it would appear, Holt ventured into the commercial world of advertising as of 1973, and engaged in the role of Art Director for a prestigious agency, where his primary remit was the design and illustration of titles for the European market. It transpires that it was courtesy of this position and the exposure to Spanish and French post-Impressionist painters in particular that his interest and later, passion for the subject matter blossomed.Inspired by the works of art he witnessed Holt took it upon himself to visit both local and national art exhibitions around this time and quickly established a penchant for the creative works of the revered likes of Fauvist masters, Matisse and Braque. This new-found fascination with the illustrative genre and truly took a seismic hold of Holt and he knew he had to paint for himself, whilst harbouring a long term view of perhaps even painting for a living. Over the following weeks and months Holt set about laying the foundations to achieve just that, and started putting together a portfolio of individual pieces both for his own personal pleasure as well as with one eye to his future. Today, with titles such as ‘French Riviera, Café Provence, Sunflowers, Simaine’ and View of Mento’ forming signature parts of Holt’s impressive back catalogue, there’s no mistaking the preferred vistas and panoramas which the artist has routinely made his business to track down and then interpret in his own distinguished pictorial way over the intervening years and since turning professional.Holt’s work has been the subject of countless group and solo exhibitions both home and away, as his stock rose sharply in contemporary landscape circles as he quickly gained a foothold within the genre. Such was the success that Holt encountered from pretty much the outset that it was suggested that he found himself a fine art publisher in which to represent him in a crowded market place, and more pertinently someone with whom Holt could collaborate with in light of getting his work out there to a broader demographic. Obviously quality reproductions and limited edition prints of Holt’s originals were the best plan of immediate, commercially-orientated action, and it wasn’t long before demand for Holt’s original pastel and oil compositions were threatening to outstrip supply at that initial juncture.Thanks to an extensive publishing programme of his superb limited edition prints and dazzling original silk-screens, Holt rise to prominence in the mainstream public art-collecting arena gained momentum. In terms of Holt’s hallmark style and illustrative delivery, the Impressionism presentation which we touched on earlier set his specific pictorial scene going forward, and one which he still very much champions today; complete with a use of exuberant colouration, yet packaged with a certain degree of laid back charm. Speaking on this very matter, Holt offers the following insight into his thinking behind and considered approach to his paintings; “I have worked at giving my paintings a very special warmth of their own.As well as being evocations of particular places, my work is related to abstract ideas, executed in slabs of rich colour and texture”. Duly recognised and acknowledged by the industry which he serves well, Holt has been regularly nominated by the respected Fine Art Trade Guild, with this bestowed upon him in the category of ‘Best Up and Coming Artist’ in two successive years (1999 and 2000) amongst Holt’s honours.

Paris Penthouse Fanch Ledan Signed Limited Edition 118/395  Certificate of Authenticity Giclee on paper c1998 Part of a suite of 5 paintings - Mounted and Framed 65x65cmFanch Ledan Born in France in 1949, self-taught artist François Ledan (Fanch Ledan as he signs himself) has a wide-established reputation with works that are appreciated by a growing number of international collectors. Using the rhythms and elements from today’s visual environment, Fanch gives us a distinct, original, contemporary vision of his work. In the past decade he has turned his talent to something he calls “Interiorscapes”, which have become his signature style.Using a playful and colorful technique he blends together interior and exterior settings to create a happy marriage between art and architecture. By intentionally leaving the interiors uninhabited by human figures, he invites the viewer to imagine himself in this balanced and harmonious space. Since 1975, when he completed his first editions of lithographs, he has enjoyed numerous one-man exhibitions and group shows in galleries around the world. Fanch’s artwork has been admired by collectors internationally from Japan and Australia to Europe and the United States.Below is a partial list of his collectors, publishers and some of the corporate commissions. Private Collection: Gloria Swanson, Baron BIC, Jack Nicholson, Armand Hammer, Prince de Polignac, John Williams. Corporate Commissions : Air France, U.S. Air, Nissan, Mitsubishi, Tokyo Dome, Yokohama, Esso Exxon, Guerlain Perfume, Havas Advertising. Publishers: Christie’s Contemporary Art, Brentano’s, Okuda Editions, Original Print Collector’s Group, Blinder Fine Arts, Parkwest Gallery, Hammer Graphic

Interior With Two Chagals Fanch Ledan Limited Edition 2/395  Certificate of Authenticity Giclee on paper, c1997. Special edition 'continuity' mounting. - Mounted and Framed 80x57cmFanch Ledan Born in France in 1949, self-taught artist François Ledan (Fanch Ledan as he signs himself) has a wide-established reputation with works that are appreciated by a growing number of international collectors. Using the rhythms and elements from today’s visual environment, Fanch gives us a distinct, original, contemporary vision of his work. In the past decade he has turned his talent to something he calls “Interiorscapes”, which have become his signature style. Using a playful and colorful technique he blends together interior and exterior settings to create a happy marriage between art and architecture.By intentionally leaving the interiors uninhabited by human figures, he invites the viewer to imagine himself in this balanced and harmonious space. Since 1975, when he completed his first editions of lithographs, he has enjoyed numerous one-man exhibitions and group shows in galleries around the world. Fanch’s artwork has been admired by collectors internationally from Japan and Australia to Europe and the United States. Below is a partial list of his collectors, publishers and some of the corporate commissions. Private Collection: Gloria Swanson, Baron BIC, Jack Nicholson, Armand Hammer, Prince de Polignac, John Williams. Corporate Commissions : Air France, U.S. Air, Nissan, Mitsubishi, Tokyo Dome, Yokohama, Esso Exxon, Guerlain Perfume, Havas Advertising. Publishers: Christie’s Contemporary Art, Brentano’s, Okuda Editions, Original Print Collector’s Group, Blinder Fine Arts, Parkwest Gallery, Hammer Graphic

Garden Flowers II - Stephan Whittle Original Etching  Original Etching, signed and certified. - Mounted and Framed 37x46cmStephan Whittle, 1953 – 2000. Born in England, Whittle studied etching at Chelsea School of Art and Brighton College of Art.He worked as an artist, teacher and graphic designer in Switzerland and England, exhibiting in galleries in Great Britain..“The transcendent, spiritual dimension of ‘vision’ allows me to interpret what I see on a feeling level. Many of my pieces begin as simple rhythmic shapes, moving to achieve a kind of fluid harmony. Then I begin to bend the natural world around this design.Color plays a crucial part, as if adding music to a world that was so far silent. Altogether I seek to create both a feast for the senses and an image that will resonate somewhere deep within the soul.” His view of nature as a place of harmony and balance was expressed in his early etchings. His sense of color and rhythmic, flowing composition creates remarkable miniature worlds on copper plates. Working with publishers such as London Contemporary Art and CCA Galleries, his florals and landscape scenes gained popularity in Japan, Australia and North America. He exhibited at art shows in Tokyo, New York, Paris and Frankfurt. Whittle moved to America with his wife and two children.His used brighter colors and larger pieces, and developed a method of embossing designs around the border of the etched images. He etched a series depicting vineyards and wine related themes.

Interior With Williams - Fanch Ledan Hand Signed Serigraph 241/495  Certificate. Image size 58x51 cm. test - Mounted and Framed 82x75cmFanch Ledan Born in France in 1949, self-taught artist François Ledan (Fanch Ledan as he signs himself) has a wide-established reputation with works that are appreciated by a growing number of international collectors.Using the rhythms and elements from today’s visual environment, Fanch gives us a distinct, original, contemporary vision of his work. In the past decade he has turned his talent to something he calls “Interiorscapes”, which have become his signature style. Using a playful and colorful technique he blends together interior and exterior settings to create a happy marriage between art and architecture.By intentionally leaving the interiors uninhabited by human figures, he invites the viewer to imagine himself in this balanced and harmonious space. Since 1975, when he completed his first editions of lithographs, he has enjoyed numerous one-man exhibitions and group shows in galleries around the world. Fanch’s artwork has been admired by collectors internationally from Japan and Australia to Europe and the United States.Below is a partial list of his collectors, publishers and some of the corporate commissions. Private Collection: Gloria Swanson, Baron BIC, Jack Nicholson, Armand Hammer, Prince de Polignac, John Williams. Corporate Commissions : Air France, U.S. Air, Nissan, Mitsubishi, Tokyo Dome, Yokohama, Esso Exxon, Guerlain Perfume, Havas Advertising. Publishers: Christie’s Contemporary Art, Brentano’s, Okuda Editions, Original Print Collector’s Group, Blinder Fine Arts, Parkwest Gallery, Hammer Graphic

Sailing 1 -Wilfred  ( Wilfred Lang)Original  Wilfred's for sale are extremely rare Wilfred original are normally priced near to £1,000. - Mounted 100x69cmArtist Wilfred was born into an artistic family in Shanghai in 1954.He began to paint watercolors at the age of seven and learned all the traditional painting techniques from his father, who was also a painter. Between 1972 and 1976 he attended art schools in Shanghai and Hong Kong where he developed his contemporary work. Since 1977 Wilfred has traveled extensively, living in Hawaii, Barcelona and Amsterdam.His work has been displayed throughout Europe, the United States and Asia. Best known for his abstracted cityscapes, artist Wilfred Lang works with acrylics layering color blocks in a bold strokes to create depth and movement. His other subjects include sailboats, florals and abstracts. His style is unique and whenever you see his work you recognize it instantly as a “Wilfred”. Wilfred Lang currently lives and works in Amsterdam.The work of Alfred Lang unique and immediately recognizable style is constantly growing and in high demand, reveals a clever use of color integration techniques and combined elements of Eastern and Western European culture. According to famous art critic F. Mayer, he manages to obtain "a sophisticated and original transition between realism and abstraction". Wilfred Lang exhibits his works at major contemporary art galleries in New York, Barcelona, Hong Kong, Hawaii and many European Capitals.He participates annually with the Palma Art Gallery at the most prestigious international contemporary art fairs in Europe and Great Britain. Wilfred Lang "exciting look at the urban metropolis" leads the observer to a careful intriguing three-dimensional reflection. Many collectors are discovering him and industry devoted magazines are giving more space to this incredible artist.

Sailing 2 - Wilfred  ( Wilfred Lang) Original Original Wilfred's for sale are extremely rare and are normally priced near to £1,000. - Mounted 110x86cmArtist Wilfred was born into an artistic family in Shanghai in 1954.He began to paint watercolors at the age of seven and learned all the traditional painting techniques from his father, who was also a painter. Between 1972 and 1976 he attended art schools in Shanghai and Hong Kong where he developed his contemporary work. Since 1977 Wilfred has traveled extensively, living in Hawaii, Barcelona and Amsterdam.His work has been displayed throughout Europe, the United States and Asia. Best known for his abstracted cityscapes, artist Wilfred Lang works with acrylics layering color blocks in a bold strokes to create depth and movement. His other subjects include sailboats, florals and abstracts. His style is unique and whenever you see his work you recognize it instantly as a “Wilfred”. Wilfred Lang currently lives and works in Amsterdam.The work of Alfred Lang unique and immediately recognizable style is constantly growing and in high demand, reveals a clever use of color integration techniques and combined elements of Eastern and Western European culture. According to famous art critic F. Mayer, he manages to obtain "a sophisticated and original transition between realism and abstraction". Wilfred Lang exhibits his works at major contemporary art galleries in New York, Barcelona, Hong Kong, Hawaii and many European Capitals.He participates annually with the Palma Art Gallery at the most prestigious international contemporary art fairs in Europe and Great Britain. Wilfred Lang "exciting look at the urban metropolis" leads the observer to a careful intriguing three-dimensional reflection. Many collectors are discovering him and industry devoted magazines are giving more space to this incredible artist.

Jane Sercombe Lewis (British, b.1953), portrait of a lady wearing a theatrical mask, print signed in pencil, 9/100, 43cm x 25cm After studying at Hornsey College of Art and later The Slade, where she subsequently taught, Jane Lewis has exhibited at The National Portrait Gallery (London), The Institute of Contemporary Art (London), The Arnolfini Gallery (Bristol) and Whitechapel Art Gallery (London)..

Jane Sercombe Lewis (British, b.1953), 'Papageno' study of a boy playing a flute, signed print 98/235, 60cm x 38cm After studying at Hornsey College of Art and later The Slade, where she subsequently taught, Jane Lewis has exhibited at The National Portrait Gallery (London), The Institute of Contemporary Art (London), The Arnolfini Gallery (Bristol) and Whitechapel Art Gallery (London)..

A Collection Of Vintage And Contemporary Resin Jewellery Five items in total to include 1960's Pop Art chunky resin bangle in red an white stripe, 1960's square resin bangle, elasticated mother of pearl and seed bead bracelet, contemporary cocktail ring with large chartreuse cabochon, finally, a long eau de Nil faceted glass bead necklace. Please see accompanying image.

Richard Parkes Bonington (British 1802 - 1828) Original Oil On Board A historical scene depicting a Flemish townscape with figures to the foreground. Signed by the artist to bottom left, 'R.P. Bonington 1824', paper label to verso in black ink reads, 'by R.P. Bonington 15 1/2 x 12 1/2' Please see accompanying image. A Contemporary of Eugene Delacroix, Bonington was a celebrated English Romantic landscape painter, who moved to France at the age of 14, Bonington entered the École des Beaux-Arts, Paris (1819) He exhibited at the famous Paris Salon of 1824 with John Constable, Sir Thomas Lawrence, and others, where he won a gold medal. Bonington was one of the most important artists of the early nineteenth century, vital to the understanding of French and British art of the Romantic period. His range included history, landscape and subject paintings, He also painted small historical cabinet paintings and was an early exponent of lithography.

Thomas Kruger 1918 - 1984 Signed and Numbered by The Artist Ltd Edition Lithograph. Titled ' Sunscapes ' Blue Light. This Is Print Number 6 of 200 only. This Lithograph was Published by Christie's Contemporary Art. Printed by Atelier Gourdon Paris In 1984 on Arches Papers, Using Up To Ten Colours. Certificate of Authenticity and Letter to Back of Lithograph. Size Including Frame 17.5 x 22.5 Inches - 43.5 cm x 57 cm.

Thomas Kruger 1918 - 1984 Signed and Numbered By The Artist Ltd Edition Lithograph. Titled ' Sunscapes ' Half Light. This Is Number 144 of 200 Only. This Lithograph Was Published by Christie's Contemporary Art. Printed by Atelier Gourdon Paris 1981 on Arches Paper. Using up To Ten Colours. With Certificate of Authenticity and Letter to Back of Lithograph. Lithograph Size and Frame 17.5 x 22.5 Inches - 43.5 cm x 57 cm.

Thomas Kruger 1918 - 1984 Signed and Numbered By The Artist Ltd Edition Lithograph - Titled ' Sunscapes ' This Is Number 27 of 200. This Lithograph was Published by Christie's Contemporary Art, Printed by Atelier Gourdon Paris 1981 on Arches Paper. Using Up To Ten Colours. Lithograph and Frame Size 18.5 x 22.5 Inches - 46.5 cm x 57 cm.

Thomas Kruger 1918 - 1984 Signed and Numbered By The Artist, Ltd Edition Lithograph - Titled ' Sails ' Christie's Certificate to Back to Lithograph. This Is Number 178 of 200. This Lithograph was Published by Christie's Contemporary Art, Printed by Atelier Gourdon Paris 1981 on Arches Paper. Using Up To Ten Colours, Lithograph and Frame Size 17.25 x 24.5 Inches - 43 cm x 61.5 cm.

Pair Compton Potters Art Guild Celtic terracotta jardinieres with stands, designed by Mary Seton Watts, cast in low relief with scroll motif, impressed circular wheel stamp mark, Reg. No 409999 58cm. diam. Literature: Veronica Franklin Gould Archibald Knox and Mary Seton Watts, Modern Celtic Art Garden Pottery, page 29 for a contemporary photograph illustrating this design, circa 1899 (One with repair and loss to one side).

A SET OF FOUR CHINESE CLOISONNÉ ENAMEL BEAKERS, 6CM H, EARLY 20TH C AND A SMALL COLLECTION OF OTHER CONTEMPORARY EARLY 20TH C SOUTH EAST ASIAN WORKS OF ART, TO INCLUDE A JAPANESE CARVED BAMBOO PAPER KNIFE, A SATSUMA DRAGON DISH, ETC

Haberdashery - a contemporary silver shaped circular pin cushion pendant; an early 20th century scissor case with conforming scissors; an Art Nouveau silver plated needle case; a white coloured metal model of a hedgehog; a Millefiori trinket pots; etc.

Baldinucci (Filippo). Notizie de' professori del disegno da Cimabue, 1st edition, Florence: Santi Franchi, 1681, and: Notizie de professori del disegno da Cimabue in qua, parte seconda del secolo quarto che contiene tre decennali, dal 1550-1580, 1st edition, Florence: Piero Martini, 1688, volumes 1 and 4 (of 6), volume 1 with woodcut arms to title, tipped-in privilege leaf with woodcut arms of Charles II of Spain (see note), folding genealogical plate, closed tear in signature D3; volume 4 with engraved title arms, slip cancel pasted to signature F verso; both volumes with numerous historiated or floral woodcut initials, spotting and toning, a few other minor marks, uniform contemporary vellum, manuscript spine titles, yapp edges, 4to (27 x 20 cm), together with: Paciaudi (Paolo), Diatribe qua Graece anagylphi interpretatio traditur, 1st edition, Rome: ex typographia Palladis, 1751, half-title, engraved title vignette, woodcut and engraved vignettes to text, mild spotting to title page, modern half vellum, 4to; [Negri, Anton Maria], Solenni esequie nel duomo di Firenze per la morte dell' Augustissimo Imperatore Francesco Primo, Duca di Lorena, 1st edition, Florence: S. A. R, 1765, 2 parts in 1 volume, engraved headpiece and initial to each, contemporary patterned paper wrappers, section of loss to spine, 4to; Zabeo (Giovanni Prosdocimo), Elogio di Paolo Caliari, 1st edition, Venice: Parolari, 1813, 25 pp., mild spotting and soiling, edges untrimmed, sewn in original plain paper wrappers (held by top 2 cords only), 4to Cicognara 2195 (Baldinucci), 2690 (Paciaudi), 2407 (Zabeo). First editions of the first and fourth volumes in Baldinucci's six-volume biographical dictionary of Italian art and architecture; of the remaining volumes Baldinucci was himself only responsible for the second, as volumes three, five and six were completed by his son. This copy of the first volume is complete with the privilege leaf bearing the arms of Charles II of Spain, which is 'missing in a great many copies' (Cicognara). (5)

Weaver, John. An Essay Towards an History of Dancing, In which the Whole Art and its Various Excellencies are in some Measure Explain'd, Containing the Several Sorts of Dancing, Antique and Modern, Serious, Scenical, Grotesque, &c. with the Use of it as an Exercise, Qualification, Diversion, &c., 1st edition, printed for Jacob Tonson, 1712, woodcut initials and head-pieces, front endpaper detached, contemporary panelled calf, rebacked and with morocco title label to spine, 8vo (1)

Wotton (Sir Henry). Reliquiae Wottonianae. Or, a Collection of Lives, Letters, Poems; with Characters of Sundry Personages: and other Incomporable Pieces of Language and Art, 1st edition, printed by Thomas Maxey, for R. Marriot, G. Bedel, and T. Garthwait, 1651, 4 engraved portrait plates including frontispiece, title page dust-soiled and slightly damp-stained, occasional light soiling elsewhere, contemporary ownership inscription 'Wm Killigrew' to final leaf verso (see note), later calf, diamond panel gilt to sides, worn, joints split but firm, 12mo (14.1 x 7.5 cm) Lowndes (1864) p. 2997; Wing W3648. The owner of this copy appears to have been English courtier and playright Sir William Killigrew (1606-1695). (1)

Kingdon (J.A.). Richard Grafton, Citizen and Grocer of London..., a sequel to Poyntz and Grafton, privately printed, Rixon & Arnold, 1901, numerous black and white facsimiles and illustrations, some minor toning, contemporary embossed maroon full morocco, boards slightly marked, folio, together with The Houghton Library 1942-1967, a selection of Books and Manuscripts in Harvard Collections, USA, 1968, numerous colour and black and white illustrations, some biro annotations, contemporary gilt decorated red full morocco, lightly rubbed, folio, and Hope (W.H. St. John), The Stall Plates of the Knights of the Order of the Garter 1348-1485, 1901, 89 colour chromolithograph plates, some minor toning, contemporary gilt decorated green quarter morocco, boards and spine lightly rubbed and marked, large 8vo, plus 9 related facsimiles and art reference, including The Art Journal, 1855-56, 1890, 1902, some leather bindings From the Library of Cecil H. Clough (1930-2017). (12)

Pugin (Augustus Charles, 1769-1832). Pugin's Gothic Ornaments, selected from Various Buildings in England and France, drawn on Stone by J. D. Harding, 1st edition, [1828-]1831, bound with: Ornamental Gables selected from Ancient Examples in England, drawn on Stone by his Pupil B. Ferrey, 1st edition, 1831; and Examples of Gothic Architecture, consisting of Plans, Sections, Elevations and Details, Vol. 1 [of 3], 1st edition, [1831], 3 works in 1 volume, first work with lithographic title page, 2 letterpress leaves, 98 lithographic plates of 99 (lacking number 84; plates numbered 1-100 as 1 plate double-page), second work with lithographic title, 21 lithographic plates (of 30), lacking text leaves, third work with engraved title and 53 engraved plates (of 73; 2 plates double-page; 1 coloured), lacking text leaves, spotting and soiling throughout, near-contemporary dark green half morocco, rubbed and worn, 4to, together with: Day & Son, publisher, Nature and Art, 2 volumes, 1st edition, 1866-7, 68 chromo- or photolithographic plates, mild spotting, contemporary half calf, rebacked and recornered, 4to; Street (George Edmund), Some Account of Gothic Architecture in Spain, 1st edition, 1865, engraved frontispiece, 50 similar plates, 25 lithographic plans (several folding), spotting to endpapers and preliminaries, ownership blind stamps to blanks, bookplate, later calf over bevelled boards by Nutt of Cambridge, 8vo Fowler 258-60 for the works in the Pugin sammelband, which has the bookplate of Laurence A. Turner (1864-1957), master mason and woodcarver, whose commissions included the tomb of William Morris in Kelmscott churchyard. (4)

Richardson (Jonathan, the elder). Two Discourses. I. An Essay on the Whole Art of Criticism as it relates to Painting ... II. An Argument in behalf of the Science of a Connoisseur ... 1st edition, W. Churchill, 1719, bound without advertisement leaf; from the library of the earls of Macclesfield at Shirburn Castle, with bookplate and blind stamps as usual, contemporary panelled calf, gilt spine (slightly rubbed), front joint split but firm, 8vo, together with Reresby (Sir John), The Memoirs, containing Several Private and Remarkable Transactions, from the Restoration to the Revolution inclusively, 1st edition, [no publisher], 1734, spotting to first and last few leaves, 20th-century half calf to style, 4to Provenance: both works ex libris Christopher Hogwood CBE (1941-2014); for Richardson's see The Library of the Earls of Macclesfield, removed from Shirburn Castle, Part VI, Sotheby's, London, 25 October 2005, lot 1745. 'Richardson was the most important and prolific English writer on art of the first half of the eighteenth century' (ODNB). (2)

Art Photo Akt (publisher). The Nude in Contemporary Photography, Erotica Portfolio, 3 volumes, 2014, numerous colour and monotone illustrations, uniform original black boards, large 4to, together with Blanca (Oscar Tusquets, et al), Staircases, the architecture of ascent, New York, 2013, numerous colour and black and white illustrations, original boards in dust jacket, large 8vo, and Delenda (Odile), Vel zquez, The Complete Works, 2014, numerous colour illustrations, original boards in dust jacket, covers lightly rubbed, folio, plus other modern art and architecture reference and related, mostly original cloth in dust jackets, G/VG, 8vo/folio (3 shelves)

Midon (F.). The History of the Rise and Fall of Masaniello, the Fisherman of Naples..., printed for C. Davis, 1729, black and white engraved frontispiece, some light toning with marks to the fore-edge, contemporary embossed full calf, boads and spine slightly rubbed, 8vo, together with M'Ure (John), A View of the City of Glasgow..., printed by James Duncan, Glasgow, 1736, black and white engraved frontispiece, later endpapers, some toning, repaired tear to the title page, later calf spine retaining contemporary calf boards, slightly rubbed to head and foot, 8vo, and Hoyt (E.), A Treatise on the Military Art; in four parts..., volume 1 only, printed by Benjamin Smead, Battlebrough, 1798, 8 black and white folding plates, loss to foot of the title page, some toning and marks, contemporary full tree calf, boards and spine lightly rubbed, hinges cracked, 8vo, plus other 18th century history and theological reference and related, all leather bindings, condition is generally good/very good, 8vo/4to (3 shelves)

Aldam (W.H.). A Quaint Treatise on "Flees, and the Art a Artyfichall Flee Making," by An Old Man well known on the Derbyshire Streams as a First-Class Fly-Fisher a Century Ago. Printed from an Old Ms. Never Before Published... with Editorial Notes and Patterns of Flies, and Samples of the Materials for Making Each Fly, 1st edition, John B. Day, 1876, half title, two mounted chromolithograhed plates by James Poole, twenty-two recessed oval mounts (on six thick leaves) with mounted flies and materials (most captioned in neat contemporary manuscript) printed in red and black throughout, lacking front endpaper, some light spotting, all edges gilt, original green cloth gilt, small light dampstain to lower cover, edges a little rubbed, 4to Westwood & Satchell, page 3. It is believed around 220 copies were printed. (1)

Hall (Herbert Byng). Highland Sports, and Highland Quarters, 2 volumes, 1st edition, [1847], engraved frontispiece to each, a little spotting, top edges gilt, contemporary green half morocco gilt by Worsfold, slight edge wear, 8vo, together with [Apperley, Charles James], The Life of John Mytton... by Nimrod, with numerous illustrations by H. Alken and T.J. Rawlins, 4th edition, 1870, 18 hand-coloured plates, some spotting, top edge gilt, modern red crushed morocco gilt by Bayntun, large 8vo, plus Scrope (William), The Art of Deer Stalking..., 1st edition, 1838, engraved frontispiece and additional vignette title-page, eight tinted lithographic plates, some spotting and light browning, armorial bookplate of William Agnew, top edge gilt, contemporary morocco gilt, rubbed and slightly faded, 8vo, plus others related, all leather-bound (10)

A George III eight-day, hour repeat bracket clock by John Ellicott, London, the brass arched dial with gilt metal rococo spandrels, silvered metal chapter rings and calendar aperture, the movement with crown wheel escapement and bob pendulum and engraved and signed backplate, contained in a fine burr walnut case with pierced fret and glazed panel sides, 40.5cm high/Exhibited at the Art Treasures Exhibition in Bath 1958 no 141/see illustration Condition Report: There is no repeat strike to this clock. The movement is complete with original bob pendulum and contemporary spandrel, chapter ring and name plate, the case has later seat board and signs of restoration to the case.

Five boxes of assorted largely hardback volumes, to include erotic art, contemporary art, and cinema related etc Condition Report / Extra Information Titles to include; Elmer Batters - From the tip of the toes to the top of the hose.Tony Crawley - The films of Sophia Loren.Alexander Liberman - Marlene, An intimate photographic memoir.John Hedges - Nude photography.Sean French - Bardot.Michael Colmer - Calendar Girls.Richard Wortley - Erotic Movies.Maurizio Ponzi - The films of Gina Lollobrigida.Nik Douglas & Penny Slinger - Sexual secrets.Tom & Mary Anne Evans - Shunga, the art of love in Japan.An illustrated anthology of Erotica.Richard Bentley - Erotic art.Jacques Sternberg - Kitsch.Serge Jacques - Folies de Paris et de Hollywood etc.

A box of miscellaneous metal wares to include a pair of large contemporary trumpet shaped vases, a large Indian Art Nouveau style lacquered EPNS table centrepiece etc

Smith, John (b. 1648?) The Art of Painting. London: Printed for Samuel Crouch, at the Corner Shop of Pope's Head Ally, on the right hand next Cornhill, 1676. First edition, octavo, rare, three U.S. copies in ESTC, bound in very good contemporary or slightly later marbled sheepskin, 5 1/2 x 3 1/4 in. Smith's work was written to assist other makers of sundials in painting the faces of their devices. He describes grinding colors with oil, the tools of painting, gold leafing, recommends color choices, gives recipes for glue, provides a reading list "for him that would be a Compleat Dialist," describes how to paint sun dials, painting interiors ("wainscot, doors, windows, posts, rayles, pales, gates, and the like), and makes suggestions with an eye to the preservation painted surfaces "to resist weather, and preserve Timber or woodden works from rotting." A2-8 (lacking license leaf, A1), B-F8, G2. http://estc.bl.uk/R37566 Estimate $6,000-8,000 The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.

Thévenot, Melchisédech (1620-1692) The Art of Swimming. Illustrated by Proper Figures. With Advice for Bathing. London: Printed for Dan. Brown at the Swan without Temple-Bar; D. Midwinter and T. Leigh at the Rose and Crown, and Robert Knaplock at the Angel, in St. Pauls Church-Yard, 1699. First edition in English, variant, 12mo, half-title present, illustrated with forty engraved plates, bound in very good contemporary speckled tan calf, boards gilt-ruled, spine label, contents good, joints cracking slightly, 6 1/2 x 3 3/4 in. This is Thévenot's most famous work, and was a popular guide to swimming techniques in the 18th century, including the breaststroke. Ben Franklin was a fan of The Art of Swimming; he mentions it in his autobiography. A-C12, D6. http://estc.bl.uk/R2501 Estimate $2,500-3,500 The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.

Crouch, Nathaniel (1632-1725) The Surprizing Miracles of Nature and Art. London: Printed for Nath. Crouch, at the Bell next Kemp's Coffee-House in Exchange-Alley, 1683. Second edition, 12mo; engraved frontispiece, illustrated with five additional full-page engravings of the natural and occult disasters, and wonders of the world; rare at auction, no sales since 1966; bound in contemporary speckled calf boards, rebacked, 5 5/8 x 3 1/4 in. In this populist work, Crouch describes comets, prodigious plagues of various birds and animals, and other strange appearances in the heavens on and the seas. Two engravings depict the seven wonders of the world. A-K12. http://estc.bl.uk/R11001 Estimate $2,000-3,000 The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.

Haudicquer de Blancourt, Jean (b. 1650) The Art of Glass. London: Printed for Dan. Brown at the Black Swan without Temple-Bar; Tho. Bennet at the Half-Moon, D. Midwinter and Tho. Leigh at the Rose and Crown, and R. Wilkin at the King's-Head in St. Paul's Church-yard, 1699. First edition, octavo, half-title present, illustrated with nine full-page engravings, extraneous to collation, contents in good contemporary condition, bound in full tan speckled calf, ruled in blind, gilt spine, red label, front board nearly detached, 7 1/4 x 4 1/2 in. Blancourt's meticulously illustrated text contains much detailed information on the fabrication of glass, crystal, enamel, false stones, pearls, and mirrors. He also describes the enameling process and how adding minerals, metals, herbs, and flowers to glass will change its color and qualities. The final section is about making glass eyes. A-Z8, Aa8. http://estc.bl.uk/R16918 Estimate $2,500-3,500 The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.

•Terence Michael Ffyffe (b.1957) - 'The Model', blue nude, signed and inscribed verso, also dated '98, oil on canvas, 36" x 30" **Provenance: The Lamont Gallery, 67 Roman Road, London, E2 0QN, sold together with the original receipt and various exhibition catalogues and other literature, the original cost price in 1999 being £1,850 **The artist was born in Australia but has resided in England for many years, he came to prominence in 1991 at the International Contemporary Art fair and was recognised by the art critics Dan Farson and Edward Lucie-Smith, the artist has won numerous competitions and has been shown in numerous exhibitions

A contemporary plaster figure in Art Deco style, holding a bevelled glass mirror

Contemporary Art Deco style picture, bust mirror, plaque etc (1 box)

Mao Wen Biao (Chinese b.1952) Italian landscape Oil on canvas 179 x 362cm (70 1/2 x 142 1/2in.) Mao Wen Biao was born in Beijing and in 1984 he moved to London to study at the Royal College of Art. Already recognized as one of China's foremost military painters of the '70s and '80s, Mao’s arrival in England exposed him to ‘Western’ art history which inspired more creative social works. More specifically, there are two areas in which Mao has defined his career over the past 30 years. Firstly, by his extraordinary ability in capturing the dynamism of the racehorse, Mao has firmly established himself as a world leader in Sporting Art and secondly, Mao has gained an international reputation for his monumental paintings and murals. In London, he has notable murals at The Ritz (2005-06), The RAC Club (1997) and Orangery Arcade in Holland Park (1994-95). His most monumental however is in the State Museum of China. The Battle of Lugou Bridge, completed by Mao and five other contemporary artists, was commissioned by the Chinese Government in 1990 and tells the story of a key battle in the War of Resistance Against Japanese Aggression (1937-45). The vast composition and size of the present lot, coupled with the beautifully refined light and colour are all prominent features which distinguish Mao’s large-scale work.

Local Interest - Derbyshire - Glover (Stephen), The History, Gazetteer, and Directory of the County of Derby [...], edited by Thomas Noble, Henry Mozley and Son, Derby 1829, 20th century black buckram, 8vo; Glover (Stephen), The Peak Guide [...], edited by Thomas Noble, Henry Mozley and Son, Derby 1830, contemporary buckram, front board with original printed paper title label, 8vo; Derby Illustrated: Its Art, Trade and Commerce, Robinson, Son & Pike, Publishers, London [c. 1890], early 20th century boards and spine, 4to; Chantrey's Peak Scenery; or Views in Derbyshire Engraved by W.B. and George Cooke After Drawings by Sir Francis L. Chantrey, R.A., With Historical and Topographical Descriptions by James Croston, F.S.A., Re-Issue edition, Stanesby & Co., London 1889, original boards (disbound, lettered spine strip detached but present), small folio; Pilkington (James), A View of the Present State of Derbyshire [...], two-volume set, J. Drewry, Derby 1789, 8vo, (disbound, faults); Bagshaw (Samuel), History, Gazetteer and Directory of Derbyshire, with the Town of Burton-upon-Trent [...], Printed for the Author, By William Saxton, Sheffield 1846, later 19th century full leather binding, marbled endpapers, 8vo; Adam (W.), The Gem of the Peak [...], fourth edition, Longman & Co., London 1845, fold-out map to title-page, full page sepia lithographs, contemporary grey buckram, 12mo; Croston (James), On Foot Through The Peak, or A Summer Saunter Among the Hills and Dales of Derbyshire, Whittaker & Co., London 1862, fold-put map of the county, green buckram as issued, 12mo; Memorials of Old Derbyushire, edited by Rev. J. Charles Cox, Bemrose and Sons Limited, London 1907; Hackett (Richard R.), Wirksworth and Five Miles Round: An Historical Sketch of the Principal Events of Interest Connected with the District, with Brief Notices of its Remarkable Personages, J. Buckley, Wirksworth [1899], floppy terracotta buckram, 12mo; Lock guides (3); Haddon Hall guide; Journal of the Derbyshire Archaeological and Natural History Society, Volume XVII, January 1895, 20th century blue buckram, Norwich Castle Museum book label; etc

Miscellaneous - The New, Complete, and Universal History, Description, and Survey of The Cities of London and Weftminfter (sic), The Borough of Southwark, And the Parts adjacent, Including Not only all the Parishes within the Bills of Mortality, But Likewise the Towns, Villages, Palaces, Seats, and Country, To the Extent of above Twenty Miles round; With all the late Improvements and Alterations, Written and Complied from Authentic Records and other genuine Information, By a Society of Gentlemen, The Whole Revised, Corrected, and Improved, by William Thornton, Esq [...], Alex. Hogg, London [n.d., 1784], lacking plates, 19th century boards and calf spine (disbound), crown folio; An Essay on Ornamental Art; containing A Historical Sketch of the Decorative Arts, with Some Inquiry into the Theory of Ornament, Illustrated with Twenty-One Figures, [presumably London, c. 1845], full-page lithographic plates, contemporary buckram boards (disbound), crown folio, [2], (both catalogued with faults)

The Imperial Family Bible, Containing the Old and New Testaments [...], Illustrated by a Superb Series of Engravings from the Most Admired Productions of Ancient and Modern Art, Blackie and Son, Glasgow 1847, full-page engraved plates, full contemporary gilt-embossed leather binding, titled and dated to spine, raised bands with foliate compartments, all edges gilt, marbled endpapers, thick crown folio

*AR Piper (John, 1903-1992). Courthouse, Long Crendon, Buckinghamshire, 1978, colour lithograph on T.H. Saunders waterleaf paper, printed by Curwen Studio for Christie's Contemporary Art, and The National Trust in an edition of 120, signed and numbered 24/120 in pencil, with publisher's blindstamp lower right, very light spotting to lower blank margin and minor waterstain to extreme lower left edge (generally in very good condition), image size 42.2 x 58 cm (16.5 x 22.75 ins), sheet size 57.3 x 77.3 cm (22.5 x 30.5 ins), framed and glazed, with Gold Mark Gallery labels to verso Levinson 285. (1) 

Bibliotheca Smithiana. Pasquali Giovan Battista. Bibliotheca Smithiana, seu Catalogus librorum d. Josephi Smithii Angli per cognomina authorum dispositus... Venetiis: typis Jo. Baptistae Pasquali, 1755. Due parti in un volume in-4° (mm 259x185). Pagine [8], xliii, [1], CCCLXV, CCCLXVIII-DXIX, [1]; CCCXLVIII [i.e. 352], [4]. Frontespizio in rosso e nero, con armi incise del Console Smith; altro stemma all'interno della testatina incisa alla carta A1r. Marca tipografica alla fine della prima parte. Numerosi finalini xilografici. Esemplare in barbe. Pallide gore marginali, brunito il margine superiore di alcune carte; qualche fioritura, piccoli aloni, e tracce di polvere, più evidenti al frontespizio. Mancanza all'angolo inferiore esterno bianco della carta di occhietto, senza alcuna perdita di testo; alcuni falli di carta. Legatura coeva in pergamena su piatti in cartone. Dorso liscio con titolo in oro su tassello in marocchino nocciola chiaro (parziale distacco). Piccola mancanza al piatto anteriore. Abrasioni e spellature ai labbri dei piatti e agli angoli; alcune fessure alle cerniere, fori di tarlo al dorso, e mancanza in corrispondenza della cuffia di piede.Il catalogo, allestito dal libraio veneziano Giovan Battista Pasquali, della celeberrima biblioteca raccolta da Joseph Smith (1682-1770). Personalità poliedrica e console britannico nella città lagunare dal 1744, Smith è noto per essere stato l'agente di Canaletto, e fu attivo anche come mercante arte, tanto da essere definito da Horace Walpole 'the merchant of Venice'. Un primo catalogo della sua raccolta - limitato a 227 incunaboli, e curato già da Pasquali - era stato dato alle stampe nel 1724, per essere poi ristampato nel 1737. Il catalogo del 1755 è il più completo, e comprende la registrazione dei volumi acquisiti da Smith fino al 1751, includendo anche una serie di manoscritti. Di grande interesse l'appendice, che presenta una ampia selezione di Praefationes, et Epistolae, tratte dagli incunaboli conservati nella Smithiana, alcuni di eccezionale rarità. Gran parte della splendida raccolta di Smith fu acquisita nel 1762 da Giorgio III di Gran Bretagna per la somma di 10.000 sterline, costituendo il nucleo più importante della King's Library, oggi in British Library. Una affascinante testimonianza del collezionismo settecentesco, presentato in un esemplare in legatura coeva. De Ricci, pp. 54-55. Taylor, Book Catalogues, pp. 261-262.Two parts in one volume 4° (259x185 mm). [8], xliii, [1], CCCLXV, CCCLXVIII-DXIX, [1]; CCCXLVIII [i.e. 352], [4] pages. Title-page in red and black, with engraved coat of arms of Consul Smith; his arms repeated inside the engraved headpiece on fol. A1r. Printer's device at the end of the first Part. Numerous woodcut tailpieces. Uncut copy. Pale marginal waterstains, the upper margin of some leaves browned; a few foxing, small spots, dusted in places, especially to the title-page. Loss to the outer lower blank corner of the half-title, not affecting the text; some paper flaws. Contemporary vellum over pasteboards. Smooth spine con gilt on light hazel morocco lettering-piece (partially detached). Minor loss to upper cover. Board edges and corners worn; joints slightly cracked, lower headcap somewhat damaged. The catalogue, compiled by the Venetian bookseller Giovan Battista Pasqual and offered here in its contemporary binding, of the celebrated library ammassed by Joseph Smith (1682-1770). In 1744 Smith was appointed British Consul at Venice, and was an established collector, patron and art dealer (Horace Walpone called him 'the merchant of Venice'), and had an active role supporting the publishing firm of Giambattista Pasquali, as well as the career of the great Venetian artist Canaletto. A first catalogue of his library - listing only the 227 incunables in Smith's possession, and edited by Pasquali - appeared in 1724, and was reprinted in 1737. The catalogue of 1755 is the most complete, and contains the entries relating to volumes acquired by Consul Smith until 1751, including a group of notable manuscripts. Noteworthy the appendix, which presents a selection of Praefationes, et Epistolae, taken from the incunables preserved in the Smithiana, some of them of the greatest rarity. Smith's collection was sold to George III in 1762 for the sum of £10,000, becoming the nucleus of the 'King's Library,' now in the British Library.De Ricci, pp. 54-55. Taylor, Book Catalogues, pp. 261-262.

MARTIN DECENT (BRITISH CONTEMPORARY) 'Waiting for the Sun' a mixed media work of art presented in a box canvas format, signed lower left with additional signature and title verso, approximate size 76cm x 76cm (condition: as new)

Mike Bernard RI (b 1957) - 'The red ship after the storm, Portsmouth', mixed media on board, signed lower right, 44 x 60 cm, Rowley Contemporary Art gallery label to reverse ARR may be applicable

A contemporary Art Deco style rectangular mirror, with silvered floral finial and bevelled glass plate, H.54 W.120cm

Medicine.- Samson (William, surgeon) Rational Physic; or, The Art of Healing..., to which is added, A Family Dispensary..., first Dublin edition, Dublin, for J. Exshaw and Tho. Ewing, 1765 bound with Godfrey (Boyle) A Treasure of Useful Discoveries, [ESTC cites the Library of Congress copy only; not in National Library of Ireland], Dublin, James Hunter, 1761 bound with Theobald (John) Every Man his Own Physician, half-title, B11 & 12 corners torn away not affecting text, [ESTC cites the BL and New York Academy of Medicine copies only], Dublin, Peter Wilson, 1764 bound with 2 other medical works, together 5 works in 1 vol., slightly browned throughout, small stain affecting last work, some soiling, contemporary patterned calf, 8vo.

Arithmetic.- [Recorde (Robert)] [The Grounde of Artes: teaching the perfecte vvorke and practise of arithmetike, both in whole nu[m]bers and fractions, after a more easie and exact sort, than hitherto hath bene set forth...augmented by M. Iohn Dee. And now lately diligently corrected...By Iohn Mellis of Southwark, scholemaster], black letter, lacking A1 & 2, 7 & 8, D6, Yy1-3 & 6-8, with woodcut initials, diagrams and tables, with 17th & 18th century manuscript names and extensive notes & remarks to margins throughout (some relating to a constable), rather soiled and stained, some worming to inner margin towards end, leaves at beginning and end a little creased/frayed at edges, contemporary limp vellum, lacking ties, worn and stained, [STC 20802], 8vo, [Imprinted by I. Harison, and H. Bynneman], [1582]; sold not subject to return⁂ Very rare; one of the first English textbooks on arithmetic, first published in 1543 and running to many editions in the late 16th and early 17th centuries. This edition is the first edited by John Mellis and contains a third part by him with a separate divisional title and, at the end, comparisons of values, weights and measures in London and continental commercial centres such as Antwerp, Nuremberg, Venice etc. The work also contains a full-page woodcut of the art of numbering by the hand.ESTC lists only 4 UK copies (Birmingham, BL, Cambridge University, & St. John's Oxford) and one in America (Folger).