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A pictorial printed map depicting the vineyards of England and Wales; and a mounted display of playing cards each depicting art work by noted contemporary artists (2)

The Art of Bobbin Lace by L and R Tebbs Chapman and Hall 1911, with 26 illustrations, two contemporary journals, 14 lace bobbins, 6 lace hankerchiefs, a pair of lace cuffs, two large lace collars, two small lace collars, a double large lace collar and a lace Bertha

CONTEMPORARY/MODAL/BOP - A terrific selection of 11 x collectable LPs. Artists/titles are Dodo Marmarosa - Dodo's Back (Argo LP 4012 - Ex/VG+), Art Blakey Quintet - A Night At Birdland, Volume 1 (1985 RE), Dollar Brand Duo - Good News From Africa, Stanley Crouch - Ain't No Ambulances For No Nigguhs Tonight (FDS 105 promo - very clean Ex/Ex copy), Kenny Davern - Unexpected, Urbie Green - Senor Blues, The Gary Burton Quintet - Ring, Clare Ficher (Revelation-15), Bud Powell - The Vintage Years, The Tenor Scene and Earl Hines - Spontaneous Explorations (SL 10116). Condition is generally VG to Ex.

CONTEMPORARY/MODAL/BOP - Another brilliant selection of this time 13 x LPs. Artists/titles are Booker Ervin - The Blues Book (PR 7340 - strong Ex vinyl/Ex), The Paul Desmond Quartet -Featuring Don Elliott (Vocalion LAE 561 - Ex/VG+), Alexander von Schlippenbach - Payan (Enja 2012 ST), Sergey Kuryokhin - The Ways Of Freedom (LR 107 Leo), Gil Evans Orchestra (Vogue LAE 12234, Eddie 'Lockjaw' Davis (PR 9000), Art Farmer (UAL 4007), Max Roach Plus Four - Quiet As It's Kept (MMC 14054), Gary Burton, 20th Street Sax Quartet, Larry Coryell - Spaces and Ron Carter - Yellow & Green. Condition is generally VG to Ex.

An early 20th Century stained mahogany bureau fall front enclosing pigeon holes above two long drawers, Art Deco inspired escutcheon and droplet handles, turned supports; a contemporary half veneered mahogany demi lune side table, slim tapering cabriole legs, bun feet (2)

Four pieces of Art Deco and contemporary style vases, to include Poole Pottery, Old Tupton, Debra Wood, vase etc.

•ANTONY FREEMAN (contemporary)"Grass Patch", signed and titled with artists address to New English Art Club label verso, further inscribed to reverse "Antony Freeman, Kingston School of Art, Knight Park, Kingston on Thames", oil on canvas

TOR EIGELAND (Contemporary) "Dutch Tulips", 1985, photograph fine art print, 21.75" x 19.25"

Geoffrey Key (b.1941) Excuse Me (2012) oil on canvas signed top left & dated '12, signed, titled & dated on reverse 51 x 41cm (20 x 16in) Acquired directly from the artist; Private Collection Geoffrey Key was born in Manchester, England, in 1941. His early education was at Manchester's High School of Art. In 1958 he commenced a degree and post graduate studies at the Manchester Regional College of Art, from where he gained the National Diploma of Design and the Diploma of Associateship of Manchester. His academic awards include the Heywood medal in Fine Art and the Guthrie Bond Travelling Scholarship. A central aspect of his work, and an integral theme from the beginning, is the human figure. His proud, powerful figure forms ooze sensuality and reveal Key's sensibility and appreciation of the independent contemporary woman. His work has been and is exhibited widely and features in important public, corporate and private art throughout the world. Northern collectors have long prized his work, but Key's oils are now to be found in international collections from Geneva to Beijing.

Michael Kane (b.1935) Self Portrait (1988) acrylic on canvas signed lower left & dated '88 53½ x 38½cm (21 x 15in) Private Collection Born in Dublin in 1935, Kane studied at the National College of Art & Design, and with Patrick Hickey at the Graphic Studio in Dublin. Kane is arguably best known for his involvement in the establishment of the Independent Artists' exhibitions alongside John Kelly, Brian Bourke and John Behan. This group gave artists a voice outside of the RHA and the IELA exhibitions. He also co-founded the Project Arts Centre in Dublin. Kane's work is held by the Contemporary Irish Art Society; Gulbenkian Foundation, Lisbon; Hugh Lane Municipal Gallery, Dublin; Irish Museum of Modern Art, Dublin; Municipal Gallery, Tampere, Finland.

Louis Le Brocquy HRHA (1916-2012) Torso oil on canvas signed lower right 30½ x 25½cm (12 x 10in) Purchased directly from the artist; Collection of Charles and Ann Wells, Nashville, Tennessee; Private CollectionA self taught artist, Louis le Brocquy is considered one of the most successful Irish artists of the twentieth century. At age 17, he began pursuing his art talent. Encouraged by his mother, he left Ireland in 1938 to study art collections in London, Paris, Venice and Geneva. He returned to Dublin and launched his career in contemporary art, although he also spent time in London, living there for periods of time. In addition to creating art, he was a teacher at the Central School of Arts and Crafts, a founder and board member of the Irish Museum of Modern Art in Dublin and a founding member of the Kilkenny Design Workshops.

Mark Francis (b.1962) Ventral (2003) oil on canvas signed & dated on reverse 86½ x 102cm (34 x 40in) Kerlin Gallery, Dublin (label verso); Private Collection Mark Francis was born in Northern Ireland in 1962 and studied painting at St. Martin's School of Art (1980-85) before going on to the Chelsea School of Art where he completed his Master of Arts in painting in 1986. Francis has exhibited internationally both individually and in group exhibitions. His work has had a strong association with science. Throughout his career his abstract paintings have continually been informed by the shapes, patterns and visual qualities found by his personal interest in mycology. It is through this abstract language that Francis initiated his platform in the early 1990s to become one of the UK's leading contemporary painters and maintains to be at the forefront of critical evaluation within art. Francis is often characterised by his wet-on-wet painting technique (a technique also used by Gerhard Richter in the 1960s) and his continuous use of grid formations that are present within his paintings. Francis' work is collected by numerous institutions and organisations that include the Irish Museum of Modern Art, the Tate and is represented by Kerlin Gallery.

Nathaniel Hone RHA (1831-1917) The Road to Bourron. Landscape with Cattle, Roadway and Tree oil on canvas signed 'N.Hone' lower left 40 x 62¾cm (16 x 24in) Important Irish Art, James Adams with Bonhams & Doyle, 9th December 1998 Lot 41; Oriel Gallery, Dublin 2006; Private Collection Possibly Royal Hibernian Academy, Dublin 1906, no.92 entitled Road to Bourron; Foundations 1850-2006; Oriel Gallery, Dublin: November - December 2006. J. Campbell: Nathaniel Hone The Younger, NGI 1991, p.84 illustrated, figure 48; Nathaniel Hone,The Road to Bourron; Important Irish Art, James Adams 1998 p.19; Foundations 1850-2006, Oriel Gallery, 2006 p.10-11. Born in Dublin in 1831, Nathaniel Hone studied Engineering at Trinity College Dublin, and worked as an engineer in the expansion of the railways to the West of Ireland. But, suddenly deciding upon a change of career in his early twenties, he went to Paris to study art, c.1853-1857. Much of the art student's time was spent in the studio, drawing and painting from the figure, and the Louvre, copying from Old Master paintings. However, Hone's real love was landscape, and he was soon drawn to the artist's colonies in the Forest of Fontainebleau, south of Paris, where French artists of the Barbizon School were painting farming and woodland scenes in a realistic manner. Bourron-Marlotte were two adjoining villages in the Seine-et-Marne region, on the southern edge of the Forest of Fontainebleau. In the mid-nineteenth Century they began to attract a community of artists and writers, including the writer Henri Murger (author of La View de la Boheme), the Goncourt brothers and the painters Theodore Rousseau, Jules Bretoin, Renoir and Sisley, the Bohemian painter Pinkas and the Romanian Grigorescu and Nathaniel Hone from Ireland. He resided here for much of the1860's, giving the village of Marlotte as his address in the Salon catalogues of 1865 and 1868. Hone seems to have visited Bourron-Marlotte as early as 1855, painting studies of the old church and of a shepherdess in an interior, 'A Girl in a White Shawl' 1857 (NGI cat. No. 1479) and he spent much of the period, c.1857 - 1870 here and in Barbizon painting small studies from Nature and larger canvases such as 'La Mare aux Fees' (The Fairy Marsh). He met some of the Barbizon masters and several of his Fontainebleau paintings were exhibited at the Paris Salon. There are three versions of the subject The Road to Bourron extant, featuring a diagonal farm track leading through the flat landscape from right to left, beneath a tree in full leaf, towards a farmhouse at the edge of the village of Bourron among trees. One quite dark-toned picture on board An Old Road with Trees (NGI cat. No. 1518) shows the scene with cattle grazing in the grass. A Second picture on board also shows the subject, but is much more verdant and freshly painted. The present painting, on canvas, initially appears quite sombre in tone, suggesting the influence of Seventeenth Century Dutch landscape painting, for example, Jacob Ruysdael with his atmospheric landscapes with dark trees, rural figures and animals on rutted tracks and dark skies. Yet Hone's painting also shows the contemporary naturalistic influence of Corot, with his moss green tones and broad brushstrokes. Hone includes three figures; those of a girl, tending her two cows and a woman and child upon the track. Compared to the more careful, detailed manner of landscape, as practiced in Ireland and England, Hone takes a more generalised approach, painting in a bold, even rough manner in places, using broad, sweeping brushstrokes in the foreground and cursive strokes in the tree to indicate a breezy day. He skilfully balances dark and light areas in the composition. For example a warm sunlight falls upon the pinkish track and upon the field, upon one of the cows and the gable end of the cottage. Most characteristic of Hone is the skilful treatment of the sky: gleaming white above the village, then overall a warm pinkish-mauve, with a bright white upper cloud and with patches of blue showing through. After his return to Ireland in c.1872 Hone painted the skies above his Irish Landscapes with particular breadth and sensitivity. Indeed, the present painting has much in common in colour and breadth with his later Co. Dublin landscapes. One of Hone's 'Road to Bourron' paintings was exhibited in the RHA in 1906. It is possible that the present picture was acquired by one of Hone's great patrons, Sir George Brooke. Julian Campbell, March 2017

* MARK HALSEY,REVERIE Imixed media, signed verso19cm x 24.5cmMounted, framed and under glassGallery label verso: Quantum Contemporary Art, 71-73 Warriner Gardens, London

A collection of photo frames to include an Art Nouveau mahogany and inlaid frame, an Epns frame and a contemporary hardwood frame, largest 34cm high (3)

GEORGE HOLT (1924 - 2005). Framed, signed, dated 1970 and titled 'Drift up the Dark' verso, additionally inscribed on 'International Amateur Art Exhibition' label verso, Contemporary collage on board, figure and boat on horizon, 59.5cm x 55cm.

GEORGE HOLT (1924 - 2005). Framed, signed, dated 1976 and titled 'Hot Dip Galvani' verso, Contemporary collage laid on board, Abstract composition, inscribed on Dudley Museums and Art Galleries Mid Art Annual Open Exhibition label verso, 52.5cm x 70cm.

GRAHAM CLARKE (b. 1941) Framed, signed, numbered '319/250' and titled, 'Mullion Cove' in pencil to margin, etching on paper, Cornwall harbour scene, 31.5cm x 43cm. Provenance: Christie's Contemporary Art certificate of authenticity attached verso. (ARR).

GEORGE HOLT (1924 - 2005). Framed, signed and titled 'Automatic Drawing' verso, Contemporary mixed media with charcoal and acrylic on paper laid on board, Abstract composition, inscribed on Dudley Museums and Art Galleries Mid Art Annual Open Exhibition label verso, 74cm x 98.5cm.

George Cannon (Contemporary) Broken Light, large scale panoramic impressionist Lakeland landscape with heavy impasto, oil on board, in wooden frame, 74 x 124 cm George Cannon studied at the Polytechnic, Regent Street, London under Norman Blamey R.A and J.P. Millard. Whilst a student, he was awarded the Bronze Medal for painting. He became a member of the Lake Artists Society in 1962. Exhibitions include the New Art Centre, London; RBA Gallery, London; Walker Art Gallery, Liverpool; Abbot Hall, Kendal; Theatre in the Forest, Grizedale; St Martins College, Lancaster; Castlegate Gallery, Cockermouth.

George Cannon (Contemporary) Untitled, atmospheric Lakeland landscape with heavy impasto, oil on board, in wooden frame, 60 x 90 cm George Cannon studied at the Polytechnic, Regent Street, London under Norman Blamey R.A and J.P. Millard. Whilst a student, he was awarded the Bronze Medal for painting. He became a member of the Lake Artists Society in 1962. Exhibitions include the New Art Centre, London; RBA Gallery, London; Walker Art Gallery, Liverpool; Abbot Hall, Kendal; Theatre in the Forest, Grizedale; St Martins College, Lancaster; Castlegate Gallery, Cockermouth.

Thomas Tomkison London No 1329 c1821A grand piano the case veneered in rosewood inlaid with cut brass of a floral design raised on carved S-scroll legs with shell and foliate decoration; Length 245cm, Width 118cm, Depth of case 29cm, Height 68cm. The keyboard flanked by winged mythical beasts. The fascia bearing the inscription THOMAS TOMKISON, MAKER TO HIS MAJESTY. Stamped into the wrest plank T. Tomkison 1329. English Grand action. Compass 6 octaves CC to c4. This piano was made for George IV and located at Brighton Pavilion. A contemporary illustration showing the interior view of the entrance hall in the Brighton Pavilion illustrates this piano in situ.Literature The Early Piano by C.F. Colt with Antony Miall, Stainer & Bell 1981. p.77The British Art Piano and Piano Design Vol. 1 G.S. Gadd. Published the Very Yellow Press. p.181-184.

Mandeville (Bernard de). A Treatise of the Hypochondriack and Hysterick Passions, Vulgarly call'd the Hypo in Men and Vapours in Women; in which the Symptoms, Causes, and Cure of those Diseases are set forth after a method intirely new. The whole interspers'd, with instructive discourses on the Real Art of Physick it self; and Entertaining Remarks on the modern practice of Physicians and Apothecaries: Very useful to all, that have the Misfortune to stand in need of either. In three dialogues, 1st edition, 1711, some light spotting and browning, contemporary panelled calf, rebacked, a little rubbed, 8vo Hunter-Macalpine p. 296; Norman 1432: "Possibly the first psychiatric slef-help book. Hunter and Macalpine consider Mandeville's work "the first book on minor mental maladies 'writ by way of Information to Patients' rather than 'to teach other Practitioners'" (Hunter-Macalpine). Mandeville is best known for his The Fable of the Bees, a controversial satiric poem maintaining the essential vileness of human nature." (1)

Wildlife Artists.- Waters (David) Archibald Thorburn Artist and Illustrator…1889-1934, ONE OF 205 COPIES SIGNED BY THE AUTHOR half rexine over patterned boards, 2009; McIntosh (Michael) Robert Abbett, ONE OF 500 COPIES, contemporary calf over patterned boards, Camden SC, 1989, slip-cases; Frace (Charles) Nature's Window ONE OF 3600 COPIES SIGNED BY THE AUTHOR, rexine, 1992; .- The Animal Art of William Kuhnert , ONE OF 2300 COPIES, rexine, 1995; Wieland (Terry) Guy Coheleach, publisher's cloth, dust-jacket, Camden SC, n.d. [c.1990]; and 18 others similar, wildlife illustrators, v.s. (23).

Sharrock (Robert). The History of the Propagation & Improvement of Vegetables by the Concurrence of Art and Nature, 1st edition, 2nd issue, Oxford, 1660, 2nd issue with engraved plate and explanation leaf bound-in after page 70 ('Adde this at the 60th page' at foot of leaf overwritten with '70th page'), publisher's catalogue at end, lacking front and rear blanks, rear endpaper with small insect damage, some marginal toning and light soiling, contemporary sheep, a little rubbed with small wormtrack to rear cover, 8vo Henrey 340; Madan III, 2528; Wing S3010. (1)

Yorkshire. Greenwood (C.), Map of the County of York, made on the Basis of Triangles in the County, determined by Lieut. Col. Wm. Mudge, Royal Art. F.R.S. and Captn. Thos. Colby, Royal Eng. in the Trigonometrical Survey of England by order of the Honourable Board of Ordnance and Surveyed in the Years 1815, 1816 & 1817, published Robinson Son & Holdsworth, Leeds [and] John Hurst & C.Greenwood, Wakefield, June 4th 1817, large scale engraved map with bright contemporary hand colouring, sectionalised and laid on linen on nine sheets, calligraphic title and dedication, table of the altitudes of the principal mountains, compass rose and table of explanation, very slight dust soiling, each sheet approximately 615 x 720, all edged in green silk, contained in a modern calf book box with gilt decorated spine (1)

[Carter, John]. The Builder's Magazine: or, A Universal Dictionary for Architects, Carpenters, Masons, Bricklayers, &c. as well as for every gentleman who would wish to be a competent judge of the elegant and necessary art of building. Consisting of Designs in Architecture, in every stile and taste..., by a Society of Architects, new edition, printed for E. Newbery, 1788, [iv], 345, 8, 100 pp., with 185 copper engraved plates by Royce, W. Watts and G. Burder after John Carter, numbered in roman numerals, including many folding, a few marks and one or two minor tears without loss (generally in clean condition), contemporary full tree calf, slightly rubbed to extremities, 4to Eileen Harris, 69. First published in parts between 1774 and 1778, and here reissued with a new title page, and with an 8-page Correct List of the Prices allowed by the most eminent Surveyors in London to the several Artificers concerned in Building, by an experienced surveyor. A good copy. (1)

Chinese Art. A group of 3 photograph albums of exhibits from the International Exhibition of Chinese Art 1935-36 at the Royal Academy of Arts, London, containing approximately 250 professional gelatin silver print photographs mounted two to a page (rectos only), printed catalogue descriptions pasted beneath, related typed letter tipped in from Dennis Young, dated 1950, contemporary half morocco, slightly rubbed, oblong folio, together with 22 volumes of Transactions of the Oriental Ceramic Society, a broken run, 1940s/1990s, plus a few related publications (30)

Poggi (Mauro). Alfabeto di lettere iniziali inventate, e delineate da Mauro Poggi Scrittor Fiorentino, ed incise dall'Abate Lorenzo Lorenzi, Florence, circa 1730, title within a rococo border of stylised foliage supporting seven putti holding various tools of the writing-master's art, with twenty-four engraved plates (complete), one for each letter of the alphabet by Lorenzo Lorenzi after Poggi, slight spotting, contemporary ownership inscription 'ex libris horologiarii Bartolozzi' to verso of front blank endpaper, bookplate of John Adam Esquire, pastedowns cracked and worn, contemporary limp pastepaper boards, worn and a little frayed at extremities, oblong folio Belin Kat. 5295. Bonacini 1453. One of the most attractive 18th century alphabet books, produced in a high rococo style with large cursive letters embellished with scrolls and calligraphic flourishes serving as a framework for satyrs, mermaids, Medusa heads, birds, cats, dogs and snakes. The date of publication appears to be a matter for dispute. Bonacicni states 1730 while Guilmard suggests 1760. The calligrapher Poggi is known only for this work and the engraver Lorenzi is equally obscure with only a few engravings after Agostino Carraci and Manozzi to his credit. Only two copies in the UK (Oxford and V & A Library). (1)

Smith (John). The Art of Painting in Oyl, Fourth Impression with some alterations, and many matters added, which are not found in the three former editions. To which is now added, The Whole Art and Mystery of Colouring Maps, and other Prints, with Water Colours, printed for Samuel Crouch, 1705, [8] + 108 pages, with 4 pages of publishers advertisements at end (browned to edges, and with some loss to fore-margins), contemporary sheep, some marks and a little wear to edges, later reback with outer corners renewed, 12mo(1)NB: Please note revised description above for this lot - 3/4/17

Waring (J.B.). Masterpieces of Industrial Art & Sculpture at the International Exhibition, 1862, 3 volumes, published Day & Son, 1863, decorative chromolithographic and printed titles to each volume, 300 (complete) chromolithographic plates, occasional spotting, gutta percha perished with contents shaken and loose, all edges gilt, contemporary gilt-decorated full morocco, some boards detached, rubbed and worn, some fraying to head and foot of spines, folio (3)

Humphreys (H.N). Illuminated Illustrations of Froissart, 1845, 36 chromolithographic plates, plus half title, period inscription to front endpaper, bookplate to front pastedown, some minor spotting, rebound retaining original boards and spine, slightly rubbed, 4to, together with Marryat (Frederick), The Pirate, And The Three Cutters, new edition, circa 1870, 20 black and white plates, plus half title, period inscription to front pastedown, some light spotting, contemporary gilt decorated green half morocco, boards and spine slightly rubbed, 8vo, and Archdeacon (J., printed for J.), A Chronological Series of Engravers from the Invention of the Art to the Beginning of the Present Century, Cambridge, 1770, bookplate to front pastedown, some light spotting, new endpapers, later gilt decorated brown half calf, boards slightly rubbed, 8vo, plus 18th and 19th century literature and historical reference, mostly leather bindings, some gilt decorated, some odd volumes, condition is generally good/very good, 8vo/4to, (approximately 120 volumes) (6 shelves)

Rollin (Charles). The History of the Arts and Sciences of the Antients, under the following heads: Agriculture, Commerce, Architecture and Architects, Sculpture and Sculptors, Painting and Painters, Music and Musicians, The Art Military, 3 volumes, 2nd edition, 1768, folding copper engraved plates, contemporary full calf, a little rubbed and third volume partly split to spine, 8vo, together with The Antiquarian Itinerary, Comprising Specimens of Architecture, Monastic, Castellated, and Domestic, 4 volumes, 1815-16, numerous engraved plates, some scattered spotting, all edges gilt, contemporary straight-grained purple full morocco gilt, a little rubbed, 8vo, plus Marshall (William), The Rural Economy of Norfolk: comprising the management of landed estates, and the present practice of husbandry in that county, 2 volumes, 1787, The Rural Economy of the West of England: including Devonshire..., 2 volumes, 1796, & The Rural Economy of Glocestershire; including its dairy..., 2 volumes, 2nd edition, 1796, together 6 volumes, engraved plates, contemporary half calf, some wear and several covers near-detached, 8vo, plus other 18th and early 19th century history, topography and related, including The Beauties of Scotland, by Robert Forsyth, 5 volumes, 1805-08, Buffon's Natural History, edited by William Smellie, 9 volumes, 2nd edition, 1785, etc., all leather bound, (80 volumes) (3 shelves)

Blanckley (Thomas Riley). A Naval Expositor, Shewing and Explaining the Words and Terms of Art Belonging to the Parts, Qualities, and Proportions of Building, Rigging, Furnishing, & Fitting a Ship for Sea..., 1st edition, 1750, engraved title (dust-soiled and offset to endpaper) and numerous small engraved illustrations in the margins, occasional spotting and finger marks, a few leaves with short closed tears to upper margins, small ink name stamp of J. Beard at foot of title and to endpapers at front and rear, contemporary gilt-decorated mottled calf, worn and upper cover detached, 4to (1)

***Felicks Topolski (1907-1989) - Three limited edition colour prints - "Royal Wedding" (No. 15 of edition of 275), 22ins x 15ins, and two others of London buildings, 24ins x 16ins and 20ins x 13.75ins, all signed, framed and glazed Provenance: The first with Christie's Contemporary Art Galleries, London, with Certificate of Authentication.

Marius-Ernest Sabino (Italian, 1878-1961) L’IDOLE (PAIR) c.1928 opalescent glass; (2) each titled at base lower centre; with 'Sabino France' atbase on reverse 6½ x 5 x 4in. (16.51 x 12.70 x 10.16cm) Collection of George and Maura McClelland The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.145 (one of pair, illustrated) Ernest-Marius Sabino was born in Sicily in 1878 and moved to France with his family when he was young. He attended the Ecole Nationale des Arts Decoratifs and the Ecole des Beaux-Arts in Paris. After World War I, Sabino founded a factory that manufactured traditional light fixtures of wood or bronze, and later switched to glass fixtures. A contemporary of Rene Lalique, Sabino designed his glassware and lighting himself until 1930, when he hired a production manager named Grivois, whose objective was to make lighting transcend banality. Sabino used pressed and moulded pattern glass in bas-relief. His commissions included lighting for hotels and restaurants, as well as for the 1935 oceanliner Normandie. Sabino's work was shown at the 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes, as well as at the 1925 Salon d'Automne, for which he had designed the general illumination of the halls, passageways, and antechambers.

Percy Wyndham Lewis (1882-1957) THE ENEMY. A REVIEW OF ART AND LITERATURE [VOL. I] JANUARY 1927 first edition in red leather boards signed by British artist Helen Kapp and dated [1927] in blue ink on first (advertisement )page 11¼ x 7½in. (28.58 x 19.05cm) Collection of George and Maura McClelland Wyndham Lewis founded, edited and published The Enemy. He was a contemporary of T.S. Eliot and Ezra Pund and author of novels such as The Revenge for Love, The Apes of God, and Tarr as well as a visual artist. His portrait of Eliot can be found in the Durban Art Gallery in South Africa. Helen Kapp (1901-1978) - whose signature appears on this copy - was a British painter, illustrator, wood engraver and curator. She studied at the Slade School of Fine Art, the Central School of Arts and Crafts and also in Paris and exhibited at the Royal Academy among other institutions. Also with this lot is a Carte du Jour designed by Wyndham Lewis for the Restaurant de la Tour Eiffel, 1. Percy Street, Tottenham Court Road, London W.

Byron, 4th Baron Byron, (William, 1669-1736) Tree struck by lightning, watercolour over graphite, inscribed and dated '1718' lower left, on laid paper with partial watermark of fleur-de-lis, sheet inset onto early, possibly contemporary, paper mount with gold heightening, 200 x 265 mm. (7 7/8 x 10 1/2 in), light spotting and minor browning Provenance: Prue Heathcote-Williams (label on reverse); Gifted to Sir John Clement Witt by his wife (inscription on reverse of frame with collector's stamp [L.2228b]); Thence by descent ⁂ A very similar drawing by the artist William Byron is held in the Yale Center for British Art, Paul Mellon Collection, and is on a matching mount to the present work (see acc. no.: B2001.2.697). The artwork of William Byron rarely appears on the market and there is little known about the artist; yet another watercolour by Byron is held in the British Museum (see acc. no.: 1881,0611.134), and an enlightening description of Byron can be found in Kim Sloan's 'A Noble Art: Amateur Artists and Drawing Masters c.1600-1800', 2000, no. 55.

Norah McGuinness HRHA (1901-1980)The Startled Bird (1961) Oil on canvas, 68.5 x 81.25cm (27 x 32'') Signed and dated 1961 Provenance: Acquired directly from the artist in 1961 by a friend (as it was his daughter depicted in the woods); and thence by descent to the current owner. The location of the wood is the south side of Carrickgollogan, Co. Dublin, near the artist's home. Exhibited: RHA Annual Exhibition 1961, Dublin, Cat. No. 41 (NFS); Exposition de la Peinture Contemporaine Irlandaise, Monaco, February/March 1962; Twelve Irish Painters - An Exhibition of Irish Modern Art, New York, 1963, Cat. No. 32; Norah McGuinness Retrospective, Trinity College Dublin, 1968, Cat. No. 63.Norah McGuinness's work went through a great resurgence in the early 1960s when she produced some of her most accomplished paintings. In 1961 she had a very successful show at the Dawson Gallery. James White reviewing it in the Irish Times described it as 'undoubtedly her finest exhibition'. (1). The Startled Bird, exhibited that year at the RHA, can clearly be related to the works in this show. Its inclusion in international exhibitions of modern Irish art organised by the Arts Council indicate the regard in which it was held by the art establishment at the time. Inspired by her frequent sojourns in the countryside, the work evokes through its patterning of rich colours and stark forms, the physical sensation of woodland. The figure of the young girl and the blackbird in the foreground add a note of drama to the painting while celebrating the poetic aspects of nature. Both suggest the simplicity of rural life. McGuinness makes these familiar motifs contemporary through the strong flattened patterning of the forms which is ultimately derived from cubism, a style which she had learnt in Paris in the studio of André Lhote at the end of 1920s and which continued to resonate in her work into the 1960s. Cubism enabled her to simplify the subject and to create decorative and almost abstract responses to the subject. The subtle delineation of foliage, berries and branches and the use of strong blocks of colour are typical of the artist's unmistakable style. They reveal an acute awareness of the natural world, the product of a passionate interest in gardening and more significantly a long career spent developing a keen appreciation of landscape. She avoids any of the clichés of traditional touristic imagery in her representation of Ireland. This made McGuinness's work attractive to the Arts Council and to collectors in the 1960s. The Startled Bird is an excellent example of her late work at its most expressive. 1. James White, Irish Times, 10 November 1961Dr Roisin Kennedy

Auguste Herbin Maisons au Quai Vert, Bruges, signed, oil on canvas, 53cm x 64cm. LIVE INTERNET BIDDING WILL NOT BE AVAILABLE ON THIS LOT. PLEASE REGISTER DIRECTLY WITH US IF YOU WOULD LIKE TO BID. Provenance: With Ernest Brown & Phillips, The Leicester Galleries, Leicester Square, London. The authenticity of this work has kindly been confirmed by Madame Geneviève Claisse. There is an Art Loss Register Certificate for this painting. Herbin stayed in Bruges during part of 1906. This work compares with three paintings of that year illustrated by Geneviève Claisse (Herbin: Catalogue Raisonne de L'Oeuvre Pent, Paris 1993, p.292), titled Quai de la Poterie, a Bruges; Le Canal, Bruges, and Maisons du Quai de la Poterie (Catalogue number 74-76). At this point Herbin adopted a Post-Impressionist style and vibrant colour palette which compares with contemporary works by the Fauvist painters. The Leicester Gallery held a solo exhibition of the work of Auguste Herbin in 1923, although we have been unable to establish if this painting was included in that show. Artist's Resale Rights will be applicable on this lot. http://www.gildings.co.uk/blog/fine-french-fauvism/

A small free blown organic bowl by Andre Thuret circa 1930 of oval section with integral loop handles to the heavy cased clear crystal body, internally decorated with powder pink and silver mica around the bowl, engraved signature, width 16cm. Andre Thuret was one of the first modern French studio glass artists and a contemporary of Maurice Marinot. He was born on November 3, 1898 in Paris. He worked in a traditional glass blowing technique exhibiting at the Salon d'Automne in 1928 and 1932 and obtained his first plate of the Company of Encouragement to Art. He was invited to exhibit in the United States in 1929-1930. Andre Thuret received his Chevalier of the Legion of Honor in 1947.

'Tag Row', limited edition etching no.96/200 after George Guest signed, numbered and titled in pencil with blind stamp pub. Christies Contemporary Art 36cm x 48cm Condition Report Click here for further images, condition, auction times & delivery costs

'Monumental Landscape', limited edition etching no.96/200 after George Guest signed, numbered and titled in pencil with blind stamp pub. Christies Contemporary Art 36cm x 48cm Condition Report Click here for further images, condition, auction times & delivery costs

Contemporary Large Gilt Framed Mirror Art deco style modern mirror in bevelled glass with graduated panels, pale gilt frame and gilt chequerboard effect interior banding.

GYORGY GORDON (1924-2005), "Jozset Utca 45", oil on canvas, initialled and dated (19)85, Yorkshire Contemporary Art Group Exhibition label verso, 15 1/4" x 28", together with another, 15 1/4" x 18 3/4", both framed (2) (subject to Artists Resale Right) (Est. plus 18% premium inc. VAT)

THE COLLECTION OF POSTCARDS OF BERTIE BECHER OF ALLOA, SCOTLAND, 1906-11 including chromo sets of bathers, birds, football, embossed greetings and others, the Scottish National Exhibition 1908, art, royalty including Royal Volunteer Review Edinburgh 1905, comical cats in highland dress or at sea, dogs, battle ships, undivided back Art Nouveau children, Irish life, fishing, arms and Reg Carter, Donald McGill and other comic, postally used ++In exceptionally fine condition an original period collection in contemporary album (261)

δ Julian Trevelyan (1910-1988) Camel Corps (Turner 253) Etching with aquatint printed in colours, 1972, signed, titled and numbered from the edition of 250, on T.H. Saunders wove paper, printed by Studio Prints, London, published by Christies Contemporary Art, London, with full margins, 520 x 658mm (20 1/2 x 25 7/8in) (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Julian Trevelyan (1910-1988) Ischia (Turner 352) Etching with aquatint printed in colours, 1979, signed, titled and numbered from the edition of 150 in pencil, on wove paper, published by Christies Contemporary Art, London, with full margins, 525 x 658mm (20 5/8 x 25 7/8in) (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

§ Barbara Rae (1943-)mixed media on boardFarm, Koo Valleysigned, Art First Contemporary Art label verso dated 199738.5 x 49in.

A contemporary art glass bowl in white decorated in grey, blue and red

Artist: Emma McClureTitle: Oyster CatchersSize: 25 x 40 x 2cmMedium: AcrylicEmma McClureEmma was born in London in 1962 and grew up in Oxfordshire and Cornwall.She studied at Falmouth School of Art (Foundation), Winchester School of Art (BA Hons Fine Art) and Chelsea School of Art (MA Painting), graduating in 1985.Emma has shown regularly with Cadogan Contemporary in London and with Thompsons gallery and Cornwall Contemporary. Her paintings are in Private collections in the UK, Hong Kong, USA and Europe. Her work has been reproduced on greetings cards. The Cornish landscape and the artistic tradition of the area is a continual source of inspiration, in particular the artists associated with St Ives. DISCLAIMER: The Porthleven baulk/harbour defence wood is made (on the whole) of Douglas Fir Pine. The actual date of the wood is unknown, the wood broke on the 5th February 2014 and after that was stored outdoors in the harbour yard. Wood is a natural product that responds to temperature and humidity variations by expanding and contracting. You are purchasing a natural product as seen and the Charity the Fishermen's Mission cannot be held responsible for any changes in the wood after the auction on the 18th March 2017.

Arst: Julia MillsTitle: Cornish HeadlandSize: 44 x 21 x 2cmMedium: Baulk & GlassJulia MillsAs a glass artist, I first found inspiration in Cornwall and have lived and worked in the far west since 1999, where I find inspiration in the ephemeral light of the coast. I love walking along the seashore - this constantly shifting interface between land and sea fuels my imagination and is a recurring theme in my work.Using the highest quality handmade glass sourced from around the world and enlivened by natural lines, tiny bubbles and intricate textures, I create contemporary glass art full of colour and movement. I enjoy working with the techniques of acid-etching and sand-blasting to manipulate and craft light as it falls onto the glass, experimenting with translucence, colour combinations and organic forms. Each piece transforms its surroundings with multi-faceted, colourful highlights and mesmerising reflections. DISCLAIMER: The Porthleven baulk/harbour defence wood is made (on the whole) of Douglas Fir Pine. The actual date of the wood is unknown, the wood broke on the 5th February 2014 and after that was stored outdoors in the harbour yard. Wood is a natural product that responds to temperature and humidity variations by expanding and contracting. You are purchasing a natural product as seen and the Charity the Fishermen's Mission cannot be held responsible for any changes in the wood after the auction on the 18th March 2017.

Artist: Lucy SteinTitle: Red Moon CircleSize: 35.5 x 29 x 2.5cmMedium: Acrylic & GaucheLucy SteinLucy Stein, born 1979, was a resident at Porthmeor Studio 5, from January - June 2015 as part of the Tate St Ives Artist Programme. Her work builds on an engagement with British modernist painting, feminist theory and women's literature, and ranges from painting to performance and film.Lucy describes her painterly language as less a postmodern play with visual codes than an extrapolation of a contemporary female painter's relationship to painterly traditions. Personal history and art history are given equal significance and the mimetic relationship between the female artists and the landscape bind ideas together. DISCLAIMER: The Porthleven baulk/harbour defence wood is made (on the whole) of Douglas Fir Pine. The actual date of the wood is unknown, the wood broke on the 5th February 2014 and after that was stored outdoors in the harbour yard. Wood is a natural product that responds to temperature and humidity variations by expanding and contracting. You are purchasing a natural product as seen and the Charity the Fishermen's Mission cannot be held responsible for any changes in the wood after the auction on the 18th March 2017.

Artist: Sarah LeanTitle: More Tranquil TimesSize: 28.5 x 30.5 x 2cmMedium: AcrylicSarah LeanSarah Lean is a contemporary artist living and working in Shropshire, England.Her work is predominantly acrylic on canvas and explores bright and colourful, figurative and abstract, landscapes. A popular new theme has been taking on the challenge of painting cows, sheep and occasionally people, which have been well received.Sarah has a BA Hons in Fine Art, graduating in 2003 from Bristol UWE. After some extensive travels, gaining influences from far and wide, she returned to work and exhibits in and around her hometown of Shrewsbury. DISCLAIMER: The Porthleven baulk/harbour defence wood is made (on the whole) of Douglas Fir Pine. The actual date of the wood is unknown, the wood broke on the 5th February 2014 and after that was stored outdoors in the harbour yard. Wood is a natural product that responds to temperature and humidity variations by expanding and contracting. You are purchasing a natural product as seen and the Charity the Fishermen's Mission cannot be held responsible for any changes in the wood after the auction on the 18th March 2017.

Artist: Roxanne JacksonTitle: CrabSize: 30 x 36 x 2.5cmMedium: AcrylicRoxanne JacksonRoxanne Jackson is currently a Phd research student at Bath Spa University and was a winner of the Bath Spa Porthleven Prize in 2016. The prize was a fully funded residency in Porthleven, supported by the Trevor Osbourne Property Group. Her time exploring and researching the Porthleven area inspired work that was exhibited in Oxford and Bath. Roxanne has had films shortlisted three times for the Wells Art Contemporary Prize. She has worked as a designer in advertising and publishing, taught art in secondary schools and continues to teach drawing and painting to adults. DISCLAIMER: The Porthleven baulk/harbour defence wood is made (on the whole) of Douglas Fir Pine. The actual date of the wood is unknown, the wood broke on the 5th February 2014 and after that was stored outdoors in the harbour yard. Wood is a natural product that responds to temperature and humidity variations by expanding and contracting. You are purchasing a natural product as seen and the Charity the Fishermen's Mission cannot be held responsible for any changes in the wood after the auction on the 18th March 2017.

Artist: Sarah LeanTitle: LowennaSize: 30 x 27 x 2cmMedium: AcrylicSarah LeanSarah Lean is a contemporary artist living and working in Shropshire, England.Her work is predominantly acrylic on canvas and explores bright and colourful, figurative and abstract, landscapes. A popular new theme has been taking on the challenge of painting cows, sheep and occasionally people, which have been well received.Sarah has a BA Hons in Fine Art, graduating in 2003 from Bristol UWE. After some extensive travels, gaining influences from far and wide, she returned to work and exhibits in and around her hometown of Shrewsbury. DISCLAIMER: The Porthleven baulk/harbour defence wood is made (on the whole) of Douglas Fir Pine. The actual date of the wood is unknown, the wood broke on the 5th February 2014 and after that was stored outdoors in the harbour yard. Wood is a natural product that responds to temperature and humidity variations by expanding and contracting. You are purchasing a natural product as seen and the Charity the Fishermen's Mission cannot be held responsible for any changes in the wood after the auction on the 18th March 2017.

Artist: Daphne McClureTitle PZ12Size 29.5 x39 x 3.5cmMedium: OilDaphne McClureDaphne was born in Helston, Cornwall, in 1930. She attended the Hornsey College of Art and the Central School of Art before working at the Royal Opera House in 1976. After a brief spell there she returned home to Cornwall where she now paints full time from her studio.In 1995 she was commissioned by the Tate Gallery in St Ives, to design a piece of work to exhibit for its first exhibition. Her work is now widely recognised and has become extremely desirable and found in many private collections worldwide. Daphne's paintings display an expressive handling of the subject and its emotional intensity. Her work draws on the rich artistic heritage of Cornwall whilst still maintaining a contemporary and painterly feel. Her current home is in Penzance and provides the inspiration behind her latest and, in many ways, her most quintessential work. DISCLAIMER: The Porthleven baulk/harbour defence wood is made (on the whole) of Douglas Fir Pine. The actual date of the wood is unknown, the wood broke on the 5th February 2014 and after that was stored outdoors in the harbour yard. Wood is a natural product that responds to temperature and humidity variations by expanding and contracting. You are purchasing a natural product as seen and the Charity the Fishermen's Mission cannot be held responsible for any changes in the wood after the auction on the 18th March 2017.

Artist: Nicola BealingTitle: Small Baulk ShoalSize: 20.5 x 30.5 x 1.5cmMedium: OilNicola BealingNicola is a Cornwall-based British artist who works in both painting and printmaking and her work is said to be unique for its imaginative nature. She was educated in England and Malaysia and participated in the Foundation Course at Herts College of Art and Design before continuing her studies at the Byam Shaw School of Art in London.Since her first solo exhibition at Christie's Education in London in 1991, Nicola's work has been featured in solo and group exhibitions throughout England, Denmark, and Luxembourg. In the last few years, she has had numerous solo exhibitions at Cadogan Contemporary in London, Beaux Arts in Bath, Campden Gallery in Chipping Campden, and the Cath Alexandrine Danneskiold-Samsoe Gallery in Copenhagen.Her works are highly imaginative and address psychological concerns. Even when painting aquatic, Cornish scenes that are "bold and painterly in their handling, the abstracting qualities of light and colour are not the override preoccupations of her work." DISCLAIMER: The Porthleven baulk/harbour defence wood is made (on the whole) of Douglas Fir Pine. The actual date of the wood is unknown, the wood broke on the 5th February 2014 and after that was stored outdoors in the harbour yard. Wood is a natural product that responds to temperature and humidity variations by expanding and contracting. You are purchasing a natural product as seen and the Charity the Fishermen's Mission cannot be held responsible for any changes in the wood after the auction on the 18th March 2017.

Artist: Caroline CleaveTitle: Boy's CatchSize: 28.5 x 34 x 2cmMedium: Acrylic & VarnishCaroline CleaveCaroline has lived in the village of Port Isaac on the North Cornish Coast for nearly thirty years and is passionate about design. As well as teaching and having a degree in Art she is also involved in Cornish cultural arts events and wider International Arts Festivals and she brings this experience to the pieces she creates.The contemporary nature of her designs encapsulates both coast and countryside and the challenging issues currently associated by those living and working in a rural environment. Sustainable fishing, lobsters, crabs, stonewalls, hedgerows, wildflowers are a feature of her work and although her illustrative style makes these images appealing, the colours she uses and her subject matter touch on deeper considerations. DISCLAIMER: The Porthleven baulk/harbour defence wood is made (on the whole) of Douglas Fir Pine. The actual date of the wood is unknown, the wood broke on the 5th February 2014 and after that was stored outdoors in the harbour yard. Wood is a natural product that responds to temperature and humidity variations by expanding and contracting. You are purchasing a natural product as seen and the Charity the Fishermen's Mission cannot be held responsible for any changes in the wood after the auction on the 18th March 2017.

XU YANZHOU (CHINESE B. 1961)Seated Nude, 1988oil on canvas79 x 58.5 cm (31 1/8 x 23 in.)signed and dated lower rightPROVENANCEThe Estate of Milton Gelfand, Pound Ridge, New York LOT NOTESBorn in Qingdao, Xu Yanzhou is a visual artist and master of contemporary realism who became well known as a professional artist at his early twenties, establishing himself within the Chinese National Society of Artists and the National Society of Artists in Beijing. Xu Yanzhou is considered a major figure in the school of rural realistic painting in China, although, the topics of his paintings are very diverse, ranging from rural scenes and captivating female portraits to imaginative paintings which are close to science fiction. The present lot is one of the artist`s early works, created, most likely, at the time he was conducting research in oil painting at the Beijing Central Academy of Fine Arts. The work comes from the estate of Milton Gelfand, a successful businessman, who traveled extensively around communist China during the Sino-U.S. rapprochement in the 1970-90s and built an impressive art collection mainly comprised of contemporary Chinese paintings and sculpture.