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A contemporary glass table lamp in the Art Deco style, the stepped base with six shaped blocks leading to a chromed fitting, height 45cm (including fitting)

Contemporary coffee service in Art Deco style and an ice bucket

A Russian silver mounted and porcelain presentation flask together with six cups, the octagonal baluster flask by Popov, circa 1860/70, with applied Church Cyrillic inscribed silver mounts, the body decorated in blue chrysanthemums and scrolls, height 35.5 cm together with a set of six silver and enamel beakers, by Sazikov, Moscow 1879, 91 zolotniki, three with assay master Ivan Konstantinov, three by Andre Kovalsky, of tapering form, raised on a spreading foot, decorated with blue chrysanthemums and birds upon branches, height 6 cm, weight combined 14 oz, the whole on a folk art carved oak tray. Provenance; by descent from Fred Bramley (1874 - 1925) via his second wife to her daughter to her daughter. Bramley was the second General Secretary of the British Trade Union Congress. He visited Moscow as part of a delegation of ten men in November and December 1924 that travelled some 7000 miles around Russia attending various meetings culminating in addressing the 6th Soviet Trade Union Congress. He was not a great orator but was a formidable negotiator. He died due to poor health while attending an International Federation of Trade Unions meeting in Amsterdam in 1925. By family tradition this set was given to him or his wife on the visit to Russia. Alexi Popov, a Moscow merchant took over the established firm of Karl Milli in 1811 and gave his name to the factory, which, together with his son, Dmitri, he personally built up and directed until he died in the 1850's. A decade later it was sold by the Popov family, and passed rapidly from one new owner to another. In the 1870s it belonged to an Armenian, and finally to a Russian merchant who liquidated the whole enterprise in 1875. Sazikov (1793-1877) - started by Pavel Sazikov and continued by his son Ignaty, a contemporary of Fabergé, were one of Russia's most important firm of silversmiths initially they opened a retail shop on Silver Row in Moscow but began manufacturing in Moscow in 1836 and St Petersburg in 1842. In 1887, Sazikov was taken over by Ivan Khlebnikov.

Album of Contemporary Postcards and Framed Collection of Late Edwardian Greetings Cards. Small landscape orientation album with over 60 assorted modern postcards of various genres including fine art, erotic art, illustration etc. Also a small framed collection of 9 mixed greetings cards, various subject matter.

A contemporary ladies silver onyx adorned ring with large central opal in the Art Deco style. Size S / Weight 8.7g

* HARRY BAINES (ENGLISH 1910 - 1995),LOST SHEEPoil on board, signed and dated 1937145cm x 104cm (57 x 41 inches)FramedProvenance: Exhibited the Tate Gallery, London "Contemporary British Mural Painting" (1938). One of a pair of paintings commissioned by Timperley Methodist Church, Altrincham, South Manchester. The church was built in 1937 and this and the following lot were hung either side of the reredos. In June 2011 Tate Britain contacted Timperley Methodist Church regarding a research project of mural paintings in Britain between 1900 and 1940 with a view to including this and the following lot.Note: From 1930 to 1934 Frederick Harry Baines attended Manchester School of Art under R.A. Dawson, winning the Heywood Medal. Baines's speciality was in mural painting and during the next five years he completed numerous murals in the North of England. Examples at Timperley Church, Cheshire, and Longford Cinema, Manchester, were included in the Tate Gallery show "Contemporary British Mural Painting", in 1938. There was a brief period teaching at Bristol Art College before war intervened. The art critic John Berger praised his work as "an important contribution to the development of English Realism".

A SET OF FOUR ART NOUVEAU SILVER BUTTONS, IMPORT MARKED LONDON 1902 AND A SMALLER PAIR OF CONTEMPORARY SILVER AND ENAMEL BUTTONS, 22G

Peyre (Yves, and Fletcher, H. George). Art Deco Bookbindings, The Work of Pierrer Legrain and Rose Adler, New York, Princeton Architectural Press/New York Public Libary, 2004, numerous colour and some monochrome illustrations, original pale blue cloth gilt, large 8vo, VG, together with John Rylands Library. The Neale M. Albert Collection of Miniature Designer Bindings, Manchester, 2008, numerous colour illustrations, original red cloth gilt, with mounted illustration to upper cover, with matching slipcase, oblong 4to, plus Andrews (Martin J.), The Life and Work of Robert Gibbings, Bicester, Primrose Hill Press, 2003, some colour and numerous monochrome illustrations, inscribed to half title 'To John with best wishes Martin Andrews', original cloth in dust wrapper, 4to, VG, and others on 20th century and contemporary bookbinding and design, including The Bindings of Trevor Jones, Duval & Hamilton, 2015, The New Bookbinder, a slightly broken run, volumes 1-15, 17-27 & 29-35, 1981-1995, 1997-2007 & 2009-2015 (approx. 80)

Hutchinson (William). The History of the County of Cumberland, and some Places Adjacent, from the Earliest Accounts to the Present Time: Comprehending the Local History of the County; its Antiquities, the Origin, Genealogy, and Present State of the Principal Families, with Biographical Notes; its Mines, Minerals, and Plants, with other Curiosities, either of Nature or of Art. Particular Attention is paid to, and a just Account given of every Improvement in Agriculture, Manufactures, &c. &c., 2 volumes, published Carlisle by F. Jollie, 1794, additional decorative half titles with engraved vignette, forty-one uncoloured engraved plates (including one folding) and seven engraved maps and town plans (including four folding), tables at rear, occasional pencil marginalia, numerous vignette illustrations to text throughout, slight spotting and dust soiling, later ownership signatures to front pastedown, hinges and joints weak, contemporary sheep, rubbed and worn, 4to (2)

Peel (C.V.A.). Wild Sport in the Outer Hebrides, 1901, 35 black and white illustrations including frontispiece with tissue guards, bookplate to front pastedown, some minor toning, original gilt-decorated red cloth, spine slightly faded and rubbed to head and foot, 8vo, together with Chapman (Abel), First Lessons in the Art of Wildfowling, 1896, 40 black and white illustrations including folding frontispiece, bookplate to front pastedowns, some minor spotting, contemporary brown half morocco, spine lightly rubbed to head and foot, 8vo, plus Millais (John Guille), Game Birds and Shooting-Sketches..., 2nd edition, 1894, numerous black and white illustrations including detached portrait frontispiece, internal front hinges cracked, original decorated brown cloth, boards slightly rubbed, 8vo, plus 12 related titles including Fur Feather and Fin Series, 9 volumes, 1893-1905, all original cloth, 8vo (15)

Bindings. Masters in Art, A Series of Illustrated Monographs, Boston: Bates & Guild Company, 1900, black & white plates, top edge gilt, remainder untrimmed, contemporary green half morocco, gilt floral decoration to spine compartments with red onlays, 4to, together with The Comic History of England, by Gilbert Abbott A'Beckett, 2 volumes, 1847, hand-coloured etched plates by John Leech, illustrations, all edges gilt, contemporary red half morocco by Tout, gilt decorated spines, 8vo, with Arctic Explorations: The Second Grinnell Expedition in search of Sir John Franklin, 1853, 54, 55, by Wlisha Kent Kane, 1861, engraved portrait frontispiece, plates and illustrations, folding map with repaired closed tear, contemporary brown calf, gilt decorated spine, joints rubbed, 8vo, with The Indian Mutiny of 1857, by Colonel G.B. Malleson, 7th edition, 1898, contemporary blue calf by Truslove & Manson, gilt decorated spine, 8vo, plus other decorative leather bindings (23)

Sibly (Ebenezer). Culpeper's English Physician; and Complete Herbal. To which are now first added upwards of 100 additional herbs, with a display of their medicinal and occult properties, particularly applied to the cure of all disorders incident to mankind, 1st edition, printed for the author, and sold at the British Directory-Office..., [1798], 2 parts bound in one, 43 engraved plates, including frontispiece to each part, most with hand-colouring, bookplate of Sir Thomas Hesketh to front pastedown, together with A Complete Illustration of the Celestial Science of Astrology: or, The Art of Foretelling Future Events and Contingencies, by the aspects, positions, and influences of the heavenly bodies, printed for Green and Co., 2 volumes, 1788, engraved frontispiece and 29 engraved and printed plates, plus A Key to Physic and the Occult Sciences. Opening to Mental View, the system and order of the interior and exterior heavens; the analogy betwixt angels, and spirits of men; and the sympathy between celestial and terrestrial bodies, printed for the author and sold by Champande and Whitrow, circa 1795, hand-coloured engraved frontispiece, engraved portrait of the author, and 29 hand-coloured engraved plates, bookplate of Sir Thomas Hesketh to front pastedown of each volume, contemporary uniform full tree calf gilt, contrasting red and black morocco labels to spine, a little rubbed (generally in very good condition), 4to Attractive uniformly bound copy of Sibly's works with contemporary hand colouring. (4)

Sami-Azar (A. R.). The International Collection of the Tehran Museum of Contemporary Art, Tehran: Institute for Promotion of Visual Arts, numerous colour illustrations, original publisher's cloth in dust jacket, folio, plus Javaherian (Faryar), Gardens of Iran, Ancient Wisdom, New Visions, Tehran: Institute for Promotion of Visual Arts, numerous colour illustrations throughout, original publisher's printed wrappers, folio, plus other reference titles on Iranian art and contemporary art in Iran (23)

Waring (J.B.). Masterpieces of Industrial Art & Sculpture at the International Exhibition, 1862, volumes 1 & 2 (of 3) only, Day & Son, 1863, chromolithograph and printed titles to each volume, 200 chromolithographed plates, some spotting to second volume, all edges gilt, contemporary gilt-decorated non-matching full morocco, rubbed and a little scuffed and wear to extremities, together with an additional copy of volume 2, containing 100 chromolithographed plates, some waterstaining to outer blank margins throughout, bound in gilt-decorated red full morocco, folio (3)

Dylan (Bob). Lyrics 1962-1985, reprint edition, 1988, ex-library of Edward Matchett with a letter from 'Michael' pasted down to front endpaper and 5 separate inscriptions to Edward to the title page, numerous black and white illustrations, original gilt decorated blue half morocco in slipcase, 4to, together with Byron (George), Don Juan, The Campion Edition, 1924, book plate to front pastedown, original gilt decorated blue morocco, spine slightly faded and rubbed to head and foot, 8vo, plus Saavedra (Miguel de Cervantes), The History of the Ingenious Gentleman Don Quixote of La Mancha, volumes 1-4, 1884, black and white plates, some light spotting, uniform contemporary gilt decorated brown three quarter morocco, boards and spines slightly rubbed, hinges cracked, volume 4 front board detached, 8vo, and other 19th and 20th century literature and art reference, including The Poetical Works of Lord Byron, volumes 1-6, new edition, 1879, some leather bindings, mostly original cloth, many in dust jackets, G/VG, 8vo/folio (3 shelves)

ALBIN ROBERTS BURT (BRITISH, 1783-1842), Portrait of Lord Nelson circa 1802, Signed 'A R Burt' (lower right on shoulder), Pencil on silk framed within contemporary gilt brass and wood frame, Image -- 1¾in. (4.5cm.) diameter, Provenance: UK Private Collection. This attractive and unrecorded portrait is highly distinctive for being executed on silk, a very rare medium for any artist to choose and, indeed, no other example is recorded for this artist suggesting this was an image done from life on a napkin or handkerchief. A. R. Burt would have been uniquely placed to do this as his brother, Henry Frederick Burt was secretary to Lord Nelson, his mother was a close friend of Emma Hamilton, and Albin himself was a friend of Sir William Hamilton. Burt began his life as an engraver, training under Robert Threw and Benjamin Smith but branched out and an advert he applied to the back of some of his pictures states he had New invented a machine by which the most accurate likenesses can be taken. Can with confidence recommend his portraits to the public, especially as the practice of many Thousands has give his Pencil a facility that enables him to afford the coloured Profiles at / Half-a-Guinea each / and more finished at 1 Guinea. This image - in any format - is not recorded in the late Richard Walker's seminal 1998 volume The Nelson Portraits and, perhaps not surprisingly, is not recorded in the same author's 1985 volume Regency Portraits. It must therefore be considered an important discovery. Charles Miller Ltd would like to thank Claudia Hill of Ellison Fine Art for her invaluable assistance with this lot.

Four contemporary hallmarked silver photograph frames Various sizes and deigns to include two Edinburgh examples each having cast beaded edge, an Art Nouveau style example, largest example 24x19cm CONDITION REPORT: Light wear and minor scratches and dents to bodies of frame but nothing serious

A fine silver-plated metal relief plaque awarded as 1st prize in the Gentlemen's Doubles tournament at Ulm, (Württemberg, Germany) lawn tennis tournament in 1914,the plaque (20 by 16 cm.) is stamped “(KARL) KORSCHANN - Kunstanstalt, N.M.F., Geisslingen ST”., the contemporary black frame bears an engraved brass metal plaque, frame dimensions 33 by 29cm.)A fine example of tennis Art-Deco by the Czech sculptor, Karl or Karel Korschann (1872-1943).

Art & Design Miscellany : Contemporary Art of Excellence, Vol.II. 2016 ( 3 copies ); Filmrage Vol. 2 No.12, 2015; D & AD Annual, 2015 ( 2 copies ) CONDITION REPORT: Vg / nf.

DE PILES, The Art of Painting and the Lives of the Painters. 1706 Contemporary panelled calf gilt.

Four large contemporary original fabric art works, 80 x 100cm.

Australian contemporary art, Elodie Barker, Ceramic Artist, a conical green glazed Model of a Dog, 24.5cm high, impressed marks to underside, ex. Gannon House Gallery, New South Wales

Australian contemporary art, Elodie Barker, Ceramic Artist, a conical orange and black striped glazed Model of a Dog, 17cm high, impressed marks to underside, ex. Gannon House Gallery, New South Wales

Contemporary small mahogany mantel clock timepiece, the 3.5" square silvered dial inscribed Bull Bedford, An Elliott clock within a stepped case, 7"; also a walnut mantel clock timepiece, the 3.5" gilt metal square dial inscribed An Elliott clock, Carrington & Company Limited, 130, Regent Street W1, within an Art Deco style case, 6" high (2)

A folio of etchings by David Scott, R.S.A., Art Union of Glasgow 1866-67; The History & Antiquities of the Chapel In Leighton Park, by H. Shaw; unframed topographical prints; a contemporary colour etching - still-life group; together with a pair of Artist's proof etchings - "The Ploughman" and "Bunker Fence", by Michael Athey.

Tully Crook (b.1938), Christies Contemporary Art, New York, poster, 71cm x 59cm, framed

John Brunsdon (1913-2014), Country Walk, lithograph, signed and dated 1977, numbered 83 of 150, 61cm x 44cm, framed Note: Christies Contemporary Art label verso

Ottley, William Young"Engraving of the Most Noble the Marquis of Stafford's Collection of Pictures in London..." Bensley & Son 1818, vol 3 only, The Schools of Germany, Flanders and Holland, elephant folio, plates with tissue guards, contemporary bds, library bookplates and other folio books relating to art and antiquities (1 box)

Gotch, J Alfred "Architecture of the Renaissance in England" two vols, Batsford 1894, large folio, text loose, bds detached in both vols, original bds with gilt titles and decoration, half leather Fritsch, K E O"Denkmaler Deutscher Renaissance" Berlin 1884, photographic plates, vols 4, 2, 7, 5, 6 and 3, original card covers, large folioCarter, John"Specimens of the Ancient Sculpture and Painting now remaining in England..." Henry G Bohn 1887, numerous colour and black and white plates, some library blindstamps, elephant folio, contemporary marbled bds, half leather gilt rules, gilt decorations to spine, raised bands, black pastedown, library number to spine, library bookplate, name inscribed ffepLord Leighton"Drawings and Studies in Pencil, Chalk and other Mediums" The Fine Art Society McMillan & Co 1898, plates, large folio, original quarter velum, gilt titles and crest on front board, large folio and other books on art (1 box)

* GWEN HARDIE (SCOTTISH), FACE 06.22.04 oil on canvas, inscribed veros65cm x 59cm, Framed Note: Hardie is the youngest artist ever to be awarded a solo show at The Scottish National Gallery of Modern Art in Edinburgh, Scotland (1990).Gwen Hardie is represented in many private and public art collections in Britain, Europe and America including two major works in The Scottish National Gallery Of Modern Art. Since moving to New York in 2000, she has shown with The Lennon Weinberg Gallery, Dinter Fine Art and has been awarded Residencies at Yaddo in 2004, 2005 and 2006 in a Bogliasco Fellowship at The Liguria Study Center in Italy. She lived in London between 1990 and 2000 and had 6 solo shows with galleries such as Annely Juda Fine Art, Beaux Arts and Fischer fine Art. In 1997 her painting was awarded a prize at the John Moores biennial, Liverpool and was included in the New British Painting'' which toured America in 1986. Hardie left her native Scotland in 1984 when she was awarded a DAAD Scholarship to study with Georg Baselitz in Berlin. A documentary was broadcast on Scottish Television about her in Berlin in 1987. At Edinburgh College of art she was awarded the Richard Ford Award to study the paintings of Velasquez at the Prado Museum and received a first class honours degree in 1983. Three of Gwen Hardie's paintings were included in ''REALITY; Modern and Contemporary British Painting'' at The Walker Art Gallery (ended 29th November 2015) alongside the work of Walter Sickert, Lucien Freud, Francis Bacon, L S Lowry, Jenny Saville, Ken Currie, George Shaw, David Hockney, Alison Watt, Paula Rego and other important 20th century and contemporary artists.

After Peter Wylie Davidson - A 1970s Scottish silver pendant cast with three swallows in flight circling around a brilliant cut cairngorm and suspended from pendant loop, diameter 4.4cm, Edinburgh 1977, makers mark CA.The swallows in flight design is distinctive of Davidson, who studied at the Glasgow School of Art. He was a contemporary and friend of Charles Renee Mackintosh who often commissioned his work. Davidson designed and created five 'swallows in flight' brooches for the women in his family and it is believed an example was exhibited in the Turin Exhibition in 1902.Literature: Gerald and Celia Larner The Glasgow Style, Astragal Books, plate 188 for similar example.

John Opie (British 1761-1807) A young boy playing with a cat, oil on canvas, unframed, 76 x 64cmProvenanceColognaghi, Faulkner, 1930BiographyOpie, John (1761-1807), portrait and history painter, was born in May 1761 at Blowing House, Mithian, St Agnes, near Truro, Cornwall. When he was fourteen or fifteen, Opie was 'discovered' by Dr John Wolcot, an amateur artist and critic who was both a pupil and a friend of Richard Wilson, and who had valuable acquaintances in the artistic world (a portrait of him by Opie is in the National Portrait Gallery, London). Wolcot proved to possess something of genius as a publicist and he and Opie went into partnership in the promotion of Opie's career. Wolcot introduced Opie to Sir Joshua Reynolds, who was very much impressed and rather crushed his former pupil James Northcote, who was then trying once again to establish himself in London: 'You have no chance here', Northcote recorded Reynolds as saying to him, 'There is such a young man come out of Cornwall … Like Caravaggio, but finer' (Leslie and Taylor, 2.341-2). Northcote nevertheless became a lifelong friend of Opie, for whom he retained the highest regard, remarking to Hazlitt, 'He was a true genius' (Earland, 31), and Opie's portrait of Northcote dates from about 1799.On 4 December 1782, at St Martin-in-the-Fields, Opie married, unhappily as it turned out, Mary, daughter of Benjamin Bunn. Her father was described as 'a Jew broker to whom Opie used to sell his pictures' (Earland, 46). Alfred Bunn, the tyrannical theatre manager, was apparently a relation of his wife's with whom Opie stayed in touch.The marriage led to Opie's parting from Wolcot. Opie was earning more than Wolcot, but now had a wife to support. Wolcot, on his side, was later wont to point out that he had given up his medical practice and £300 or £400 a year in order to promote Opie. While they were in partnership Wolcot earned some money with his Peter Pindar satires, which also provided a useful vehicle for favourable publicity on Opie's behalf as, for example, with one of two portraits of the organist and composer William Jackson, exhibited at the Royal Academy in 1783. The break with Wolcot was not final at this stage: Opie and his wife together with Wolcot visited Wales in 1783 or 1784, and Wolcot and he toured the south-west in 1783-4. Opie's particular gift for child portraiture was demonstrated at this time (c.1784), with paintings of the children of the fifth duke of Argyll and his famously beautiful duchess, the former Elizabeth Gunning (priv. coll.). One of Opie's finest fancy pictures, A Peasant's Family (Tate collection) is also of children and was painted c.1783-5, while Opie further demonstrated his range in a groundbreaking genre group showing a schoolmistress and her varied pupils (priv. coll.). It was exhibited at the Royal Academy in 1784 under the title A School and drew Walpole's approving note, 'Great nature, the best of his works yet' (Earland, 54). At the same time in his more original portraits, for example, Thomas Daniell and Captain Morcom, with Polperro Mine, St. Agnes, in the Background (1786; Truro, County Museum and Art Gallery; another version ex Sothebys, London, 13 July 1994, no. 66), Opie developed this same rare seam of realistic genre, of a kind which seems to reach back to John Riley's portraits in the preceding century.Opie was also attracted, however, by that chimera of the British school, history painting on a large scale. By the winter of 1786 he was signed up to create a substantial number of canvases for Alderman John Boydell's Shakspeare Gallery. This commission followed close upon Opie's dramatic success with his first large history picture, The Assassination of James I of Scotland, when it was exhibited at the Royal Academy that year. Caravaggio, not only in the lighting but also in the gestures, although contemporary reference was more often made to the influence of Lo Spagnoletto (Jusepe Ribera).One can only speculate about how these influences came to bear upon Opie, since the tracks of his artistic education were so carefully covered by Wolcot, but prints after Caravaggio were certainly in circulation in eighteenth-century Britain. At the time, however, Opie was even more widely talked of as an 'English Rembrandt' and Caravaggio's influence would have been mediated through the many works of Rembrandt which Opie could have come across in English collections. The success of Opie's history pictures assisted his election as associate of the Royal Academy in 1786 and as Royal Academician in 1787.Like many another English artist, Opie was frustrated by having to paint portraits for a living rather than grander history paintings, and his income was also augmented by a few pupils: Henry Thomson RA; Theophilus Clarke ARA; Thomas William Stewardson; Jane Beetham; William Chamberlain; John Cawse; and the amateurs Elizabeth Mary Booth and the Revd John Owen (both referred to above) and Katherine St Aubyn. However, despite his yearning for fancy pictures and histories, and his skill at them, Opie exhibited his last historical painting at the academy in 1804, a scene from Gil Blas, and thereafter painted only portraits. The focus and freshness of his vision in portraiture gave way in his last years to imitative eclecticism, picking up a hint of Gainsborough here or a touch of Hoppner there.Opie's further ambition to become professor of painting at the Royal Academy began unpromisingly with a course of lectures at the British Institution in 1804-5 which he failed to finish. Nevertheless, when, on his becoming keeper, Henry Fuseli resigned the professorship at the academy in 1805, Opie was elected to the post, and the four lectures he managed to deliver in February and March 1807 were both better written and better presented than his earlier series. They were published as Lectures on Painting (1809). The last lecture was given on 9 March and, after a visit to Henry Tresham a few days later, Opie caught cold and subsequently a fever. He died in London on Thursday 9 April 1807. Opie enjoyed a remarkable reputation in his lifetime, although his own high estimation of his achievement has not lasted. He had genuine, if often sarcastic, wit and real talent and produced a handful of striking and original images. He struck a distinctive note among his contemporaries which can still be recognized. Technical shortcomings in drawing and in creating coherent figures, of a kind not unknown among his peers, made him inconsistent as a portraitist, but his fancy pictures and portraits of children can be better than those of almost any British artist of his time. He was not congenial and was liked and disliked in almost equal measure, not always for the right reasons in either case. It was noticeable at the time, for instance, that he was reluctant to stay long with his second wife's relations on visits to Norwich, and it may be that they did not heartily approve of him. A story told of Amelia's cousin Robert Alderson after the funeral on 20 April (a lavish affair at St Paul's Cathedral, where Opie was interred in the same vault as Reynolds) suggests this family mistrust, and also Opie's idiosyncratic character. The undertaker apologized to Alderson for putting the coffin the wrong way round (with Opie's feet towards the west rather than the east). 'Shall we change it?' he asked. 'Oh, Lord, no!' replied Alderson. 'Leave him alone! If I meet him in the next world walking about on his head, I shall know him' (Earland, 234).

Hamish MacDonald (British) (1935-2008), 'Land Formations', abstract watercolour in colours, signed and titled on the mount below, Royal Scottish Academy 1968 Exhibition label verso, Cat No.434, framed, 33cm by 35cm Note: Artist Resale Rights apply Notes: Hamish MacDonald wad born in Glasgow and studied at The Glasgow School of Art between 1963 and 1968. Much of his work is inspired by the Scottish Colourist Movement but preserve an individuality which marks him out as a vibrant and important artist. He is now regarded as one of Scotland's most successful contemporary artists.

A contemporary Art Deco design marginal plate square wall mirror, H. 110cm.

A contemporary Art Deco style wall mirror, the rectangular stepped and moulded frame enclosing five partially graduated bevelled edge plates, 130 x 80 cm approx

A contemporary folk art mannekin, female torso with basket work and twig dress raised on a rustic twig/branch stand and square cut platform base

Meg McCarthy (British, Contemporary): Three framed oils and watercolours of floral still life subjects, each signed, the largest 45 x 42 cm. Note: Meg McCarthy trained at Harrow Art School & worked for Liberty as a designer

Meg McCarthy (British, Contemporary): a quantity of unframed oils and watercolours of floral still life subjects, the largest 76 x 60 cm. Note: Meg McCarthy trained at Harrow Art School & worked for Liberty as a designer

TWOMBLY CY: (1928-2011) American painter of large-scale and graffiti works. Signed postcard photograph by the American Painter, the image depicting an intense red colour work of Twombly entitled Bacchus to the safety curtain at the Vienna Opera Theatre. Signed in dark black ink with his name alone at the head of the image. Together with GERHARD RICHTER (1932- ) German Painter and visual Artist. Signed oblong slim 8vo card, being an invitation to a gallery exhibition of Richter´s works. EX, 2 £100-150 The exhibition series "Safety Curtain" is a project of Museum in Progress in cooperation with the Vienna State Opera, which transforms the safety curtain into a temporary exhibition space for contemporary art. The CY Twombly work Bacchus was exhibited in 2010-11.

Contemporary Villeroy and Boch art glass vase 26cm high approx

IRON AND BRASS DRESSING TABLE MIRROR - PETER PARKINSON an interesting contemporary mirror by Peter Parkinson, the frame made in forged iron and brass. 25 1/4ins (64cms) high *Peter Parkinson is an designer, blacksmith and writer, and has worked extensively as an Art College lecturer. His work includes small gallery pieces and architectural metalwork.

Kyu-Baik Hwang, 'Weathervane,' signed, titled and numbered in pencil 1/100, Mezzotint, 17.5cm x 27.5, with original certificate from 'Christies Contemporary Art Galleries.

AIMÉ-JULES DALOU (1838 - 1902)La Brodeuse (The Embroiderer)Bronze, 29cm high, dark brown PatinaSigned and numbered 12/12; stamped with foundry mark'CIRE/C.VALSUANI/PERDUE'Aimé-Jules Dalou was a French sculptor working in the mid-19th century amidst the country’s revolutionary politics and a rising realist style in art. In hindsight there is a tendency to overly equate the art of this period with the contemporary political climate. However, Dalou readily eschewed the recognition of the academy by repeatedly refusing the Prix de Rome - a highly sought after accolade for artists at the time - despite the fact that it guaranteed commissions. Like most nineteenth-century French artists he began his training in the École des Beaux-Arts, where he studied for three years. His earliest works reveal the mastery of craft and design with highly detailed anatomy that would go on to characterize his entire oeuvre. La Brodeuse was made a year before he was exiled from Paris. Similar to many other artists and avant-gardes, Dalou was affected by the fall of the Second French Empire in 1871. He relocated to London, returning to Paris in 1879 following the end of a long period of political unrest within the Third Republic. Dalou’s career continued to grow during his exile, spending his time as a portrait sculptor, unlike other contemporary artists such as Courbet whose reputation was destroyed following his association with revolutionary politics. Completed in 1870 La Brodeuse was the sculptor’s first public success and lauded by critics when exhibited at the Salon in the same year. This present example is an interesting insight into the work - stylistic and thematically - that Dalou would go on to produce for the following decade. The smaller sculptural works such as the La Brodeuse express an increasing interest in the simple tasks of modern life. The main focus of the work centres on the woman’s hands, a sense of tension which seems to imply a taught thread. Dalou’s modelling of the seated seamstress with her head bent forward reflects an almost silent reverie at her task. Dalou’s representation of working class society always contains an element of dignity captured with beautifully observed detail. Dalou was a consummate draughtsman preparing preliminary sketches for his sculptural works, with this work cast after one of these large groups of esquisses. The bronze medium cast in the lost wax process requires an incredibly high-level of skill and craftsmanship. It is also immensely labour intensive requiring multiple individuals to create an exact replica of the original plaster cast made by the sculptor. This work was produced by the Valsuani Foundry as indicated by their mark on the base. The company was established in 1899 by brothers Claude and Attilio Valsuani who had learned their trade while employed at the Hebard foundry. The workshop was located in the southwestern suburbs of Paris in commune of Chatillon, casting mostly small works for various artists primarily using the lost wax technique of casting, ‘cire perdue ’. In 1905 they relocated to a more central location on the Rue des Plantes . They cast works for artists including Renoir, Paul Troubetzkoy, Matisse, and Gaugin. Claude Valsuani died in 1923 in his native Italy but his son, Marcele took over the running of the foundry and continued to produce extremely fine detailed bronzes until the 1970's.

Original vintage poster advertising a Roy Lichtenstein exhibition at the Leo Castelli Gallery in New York, 1-22 November 1975. Great image of The Red Horseman (1974) painting by one of the leading 20th century American pop artists, Roy Lichtenstein (1923-1997). Leo Castelli (1907-1999) was an Italian-American art dealer who opened his gallery in 1957, exhibiting contemporary art. Horizontal. Excellent condition, faint fold on left and bottom margin. 1975, design by Roy Lichtenstein, USA, size 56.5x70.5cm

Charles Rennie Mackintosh (1868-1928), an oak dining chair from the Argyle Street Tea Rooms, Glasgow, 1898-99, stained oak, with slat-back and eliptical handle, re-upholstered drop-in seat 103 x 54 x 48cm (40 x 21 x 19in) Literature: Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs, Roger Billcliffe, Lutterworth Press 1979 (1st Edition), pp 48, no 1897.26. Taking Tea with Mackintosh: The Story of Miss Cranstons Tea Room, Perilla Kinchin 1998, published Pomegranate Communications Inc, plate 9, page 30. The Studio 1906 XXXIX pp31-36 Other Notes: Charles Rennie Mackintosh (1868-1928), the famous Scottish architect, designer and artist is best known particularly for his work in and around Glasgow. From 1897-1912 he was commissioned by Miss Catherine (Kate) Cranston to design four different teas room in Glasgow. Miss Cranston was the daughter of a tea merchant and strong believer in temperance. She developed the idea of "art tearooms" where people could meet to drink non- alcoholic drinks in buildings designed with a strong modern aesthetic. They quickly caught on as a place to go: Edwin Lutyens described his visit in 1898, going straight from the train to "these queer funny rooms", for a breakfast "of tea, butter, jam, toasts, baps and buns - 2 sausages, 2 eggs - all for 1/1d - so clean. Most beautiful peonies on the breakfast table". He described Miss Cranston as "a dark, busy, fat, wee body with black sparky luminous eyes". Mackintosh, together with George Walton, was commissioned by Miss Cranston to design and re-style the tearooms creating a number of different rooms within each building. Mackintosh designed the furniture in the Argyle Tearooms and it was here his trademark high back chairs were first seen. This chair, with its curved top rail was used at the tables at the end of the Luncheon Room. The bold, sturdy functionality of these chairs date them to c1897-1899. There are no existing drawings of the furniture designed for the ground floor rooms but the chairs can be seen in the contemporary photos taken in April 1897 and illustrated in the The Studio 1906 and reproduced in Roger Billcliffe Charles Rennie Mackintosh: The Complete Furniture. The cross-bar design was re-used in his more famous oval back chairs which were also placed in the Argyle Luncheon Room. A similar design to this chair was subsequently used in his famous Ingram Street Tea Room with two slats rather than the three used here. Variations to this chair exist with a different shaped hand-hole; some kidney shaped and others, such as this chair, elliptical. It is thought some were commissioned by Miss Cranston as replacements for damaged chairs and not made to Mackintosh's supervision. See Christie's Important 20th Century Decorative Art & Design, 15 December 2010, Lot 320, Sold for $12,500 including premium (approx £9,500).

§ Hans Richter (German, 1888-1976) Boat (Embrace) inscribed on the reverse in the artist's hand "9 = Boat (Embrace) 1965" oil and gouache on artist's board, 1965 26 x 43cm (10 x 17in) Provenance: Hans Richter Private Collection no. 129 Exhibited: Byron Gallery, 1018 Madison Avenue, New York; Contemporary Study Wing, Finch College Museum of Art (original labels included verso, which were removed when previously reframed)

Phipps (Captain Ramsay Weston, R.A.). A complete album of 120 window-mounted albumen cartes de visite, some later pencil captions throughout and with a note indicating that these relate to Phipps's time in Canada, circa 1865-66, including shipping and railway scenes, timber clearing, waterfalls and views (some by Notman), scenes in Montreal, Kingston, Toronto, Ottawa, etc., and including 12 hand-coloured photos (3 of Native North American figures), some spotting and soiling to mounts throughout, contemporary morocco, worn, spine damaged and clasps defective, 4to, together with a related album containing 26 mounted albumen prints, early 1860s, mostly English houses and Royal Artillery scenes, carte-de-visite sizes and larger, interspersed with pen and ink or pencil drawings, some copied from Art Journal, etc. and several initialled by Phipps, contemporary morocco, covers detached and spine deficient, folio (2)

A box of Bloomsbury and Bonhams auction catalogues relating to recent sales from 2007 and 8 for 20th century prints and contemporary works of art

‘Always find Peace and Love’ (38 x 74cm) Mixed Media on Reclaimed Wood – by Tony Bishop - 1 of 3 lots Tony believes that art is for everyone and thinks we all have the ability to create a piece of artwork. He likes to create art using old, decaying, found, nostaligic inspiring materials. The give the artwork soul, passion, vibrancy, texture and intensity. He likes to work on wood or canvas but most of all use imagination and passion to give the finished piece a unique, tactile, urban quality. Lending its style to today’s funky and cool living spaces. Art is his passion and passion is his art. Art without soul is mere decoration. His art is abstract art for contemporary minds.

“Skull” (24x18cm) Oil on board by Peter Driver – painted at Slade School of Fine Art 2010 Peter Driver uses printmaking, drawing and performative action to explore his interests in environment, language and uses of power. He has an MA in Fine Art from Winchester School of Art, exhibits widely in the UK and currently has a solo show at the Jam Factory in Oxford (29 September - 4 November 2015). He is part of the OpenHand OpenSpace contemporary art collective in Reading and an associate artist at Chapel Arts Studios, Andover. website: www.peterdriver.info

Artist: Mark Kostabi Artwork Title: Untitled Size: 47 x 52 cm Media: Oil on canvas Artist Info: Mark Kostabi was born in Los Angeles on November 27, 1960, to Estonian immigrants Kaljo and Rita Kostabi. He was raised in Whittier, California and studied drawing and painting at California State University, Fullerton. In 1982 he moved to New York and by 1984 he became a prominent figure of the East Village art scene winning the "Proliferation Prize" from the East Village Eye for being in more art exhibitions than any other New York artist. Retrospective exhibitions of Kostabi's paintings have been held at the Mitsukoshi Museum in Tokyo and the Art Museum of Estonia in Tallinn. Kostabi's work is in the permanent collections of the Museum of Modern Art, the Metropolitan Museum of Art, the Guggenheim Museum, the Brooklyn Museum, the National Gallery in Washington D.C., the Museum of Contemporary Art, Los Angeles the Corcoran Gallery of Art, the Yale University Art Gallery the National Gallery of Modern Art in Rome and the Groninger Museum in the Netherlands. His work was published on the cover of the book East Village '85 published by Pelham Press and his paintings were included prominently in numerous East Village shows in museums and galleries internationally. Matteo Editore published a book on Kostabi titled Mark Kostabi and the East Village scene 1983–1987 written by Baird Jones. During the mid-1980s he developed a media persona by publishing self-interviews which commented on the commodification of contemporary art. In 1986 Kostabi designed the Bloomingdales shopping bag. By 1987 his works were widely exhibited in New York galleries and throughout the United States, in Japan, Germany and Australia. His permanent public works include a mural in Palazzo dei Priori in Arezzo, Italy, a large bronze sculpture in the central square of San Benedetto del Tronto, Italy, and a bronze portrait of Pope John Paul II in Velletri, Italy.

Artist: Michael Warren Artwork Title:Looking through to the Boat House Size: 61 x 51 cm Media: Oil on canvas Artist Info: Michael Warren is a modern, English, London-based artist who has been drawing and painting contemporary London life for the past twenty years. Exhibitions: He has had a number of solo shows and has contributed to many collaborative exhibitions including: The Royal Academy; The Jubilee Collection; The Business Art Gallery; The Mall Galleries; The Laing Collection; The Singer and Freidlander (The Sunday Times Water Colour Exhibition); The Royal Water-Colour Society Exhibition.

Artist: Jincheng Liu Artwork Title: Untitled Size: 66 x 86 cm Media: Oil on canvas Artist Info: Jincheng Liu graduated from the Fine Art Department of the Capital Normal University, Beijing in 1982. He studied at the Slade School of Art in London, 1989. His style is unique, combining elements of both the East and West in his painting. His work can be found in numerous public and private collections all over the world. Exhibitions: Bruton Street Gallery, London; Gagliardi Gallery, London; Aosta Exhibition Centre, Italy; B.P. Award, The National Portrait Gallery, London; Figures From Realism To Abstraction, The Victoria & Albert Museum, London; Royal Academy Summer Show, London; Millennium exhibition London, Albermarle Gallery; British Landscape Society; One man show and art talk, Westminster; Royal Institute of Oil Painters, Mall Galleries, prize winner; Chianciano Art Museum Exhibition, Italy; Diamond Art Museum, China; Chinese Contemporary Art Show, Formans Smokehouse Gallery, England.

Artist: Gelindo Baron Artwork Title: Untitled Size: 156 x 106 cm Media: Oil on canvas Artist Info: Gelindo Baron was born in 1948 and he studied under Maestro Wollembourg in Venice. Museums and Public Collections: His work can be found in numerous public art collections and museums including: Diocesano Museum; Venice, Comunal Art Gallery, Piove di Sacco, Padova; Gallery of Modern Art, Cavarzerre, Venice; Rovanjemi Statsmuseum, Finland; Museum of Art, Chianciano Terme, Tuscany; Pinoteca d'Arte Moderna, Piacenza; Museum of Science and Work, Milan; Villa Cipriani Collection, Asolo; Villa Palma Collection, Vicenza; Filippin Institute Collection, Vicenza; Museum Diocesanum of Sacred Arts, Capua, Naples; Mercatello Contemporary Art Museum, Urbino, Italy; F. Lamborghini Museum.

Artist: Gelindo Baron Artwork Title: Untitled Size: 106 x 156 cm Media: Oil on canvas Artist Info: Gelindo Baron was born in 1948 and he studied under Maestro Wollembourg in Venice. Museums and Public Collections: His work can be found in numerous public art collections and museums including: Diocesano Museum; Venice, Comunal Art Gallery, Piove di Sacco, Padova; Gallery of Modern Art, Cavarzerre, Venice; Rovanjemi Statsmuseum, Finland; Museum of Art, Chianciano Terme, Tuscany; Pinoteca d'Arte Moderna, Piacenza; Museum of Science and Work, Milan; Villa Cipriani Collection, Asolo; Villa Palma Collection, Vicenza; Filippin Institute Collection, Vicenza; Museum Diocesanum of Sacred Arts, Capua, Naples; Mercatello Contemporary Art Museum, Urbino, Italy; F. Lamborghini Museum.

Artist: Paul Kostabi Artwork Title: Stupidly smart 2005 Size: 76 x 56 cm Media:Mixed media on board Artist Info: Paul Kostabi was born 1962 in Whittier, California. American artist, musician, music producer and audio engineer, Kostabi has exhibited steadily since 1983 throughout the U.S. and aboard including the UK, France and Germany. He is the brother of Mark Kostabi. Selected Public Collections: Solomon R. Guggenheim Museum of Art, New York; Paterson Museum, Paterson, New Jersey; New England for Contemporary Art, Brooklyn, Connecticut; Whitney Museum of American Art, video, Paper Tiger Sessions; Nassau County Museum of Art, New York; Museion - Museum of modern and contemporary art, Bolzano Italy.

Artist: Michael Warren Artwork Title: Life Guard, The Serpentine Size: 61 x 51 cm Media: Oil on canvas Artist Info: Michael Warren is a modern, English, London-based artist who has been drawing and painting contemporary London life for the past twenty years. Exhibitions: He has had a number of solo shows and has contributed to many collaborative exhibitions including: The Royal Academy; The Jubilee Collection; The Business Art Gallery; The Mall Galleries; The Laing Collection; The Singer and Freidlander (The Sunday Times Water Colour Exhibition); The Royal Water-Colour Society Exhibition.

Artist: Michael Warren Artwork Title: St. Paul from the South Bank Size: 61 x 51 cm Media: Oil on canvas Artist Info: Michael Warren is a modern, English, London-based artist who has been drawing and painting contemporary London life for the past twenty years. Exhibitions: He has had a number of solo shows and has contributed to many collaborative exhibitions including: The Royal Academy; The Jubilee Collection; The Business Art Gallery; The Mall Galleries; The Laing Collection; The Singer and Freidlander (The Sunday Times Water Colour Exhibition); The Royal Water-Colour Society Exhibition.

Artist: Jincheng Liu Artwork Title: Untitled Size: 118 x 98 cm Media: Oil on canvas Artist Info: Jincheng Liu graduated from the Fine Art Department of the Capital Normal University, Beijing in 1982. He studied at the Slade School of Art in London, 1989. His style is unique, combining elements of both the East and West in his painting. His work can be found in numerous public and private collections all over the world. Exhibitions: Bruton Street Gallery, London; Gagliardi Gallery, London; Aosta Exhibition Centre, Italy; B.P. Award, The National Portrait Gallery, London; Figures From Realism To Abstraction, The Victoria & Albert Museum, London; Royal Academy Summer Show, London; Millennium exhibition London, Albermarle Gallery; British Landscape Society; One man show and art talk, Westminster; Royal Institute of Oil Painters, Mall Galleries, prize winner; Chianciano Art Museum Exhibition, Italy; Diamond Art Museum, China; Chinese Contemporary Art Show, Formans Smokehouse Gallery, England.

Artist: Gelindo Baron Artwork Title: Untitled Size: 156 x 106 cm Media: Oil on canvas Artist Info: Gelindo Baron was born in 1948 and he studied under Maestro Wollembourg in Venice. Museums and Public Collections: His work can be found in numerous public art collections and museums including: Diocesano Museum; Venice, Comunal Art Gallery, Piove di Sacco, Padova; Gallery of Modern Art, Cavarzerre, Venice; Rovanjemi Statsmuseum, Finland; Museum of Art, Chianciano Terme, Tuscany; Pinoteca d'Arte Moderna, Piacenza; Museum of Science and Work, Milan; Villa Cipriani Collection, Asolo; Villa Palma Collection, Vicenza; Filippin Institute Collection, Vicenza; Museum Diocesanum of Sacred Arts, Capua, Naples; Mercatello Contemporary Art Museum, Urbino, Italy; F. Lamborghini Museum.