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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.

Artist: Paul Kostabi Artwork Title: Untitled Size: 35 x 28 cm Media: Mixed media on paper 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: Tano Festa Size: 48.5 x 68.5 cm Media: Mixed media on canvas Date: 1980 Artist Info: Tano Festa was an Italian visual artist who was born in 1938. Tano Festa has had several gallery and museum exhibitions, including at the Palazzo delle Esposizioni and at the MACRO - Museo d`Arte Contemporanea Roma. In 1980 he participates in the XL Biennial of Venice. Notes: Numerous works by the artist have been sold at auction, including 'Odalisca' sold at Christie's Milan 'Contemporary And Modern Art' in 2009 for $230,443. Date: 1980

Artist: Paul Kostabi Artwork Title: Untitled Size: 61 x 76 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.

Evelyn (Charles). The Lady's Recreation: or The Third and Last Part of the Art of Gardening Improv'd, 1st edition, 1717, engraved frontispiece, 200 pages of main text, frontispiece and preliminary leaves heavily browned, early ownership signatures at head of title and with red ink signature and monogram stamp of W. Musgrave to verso, bound with Collins (Samuel), Paradise Retriev'd: plainly and fully demonstrating the most beautiful, durable and beneficial method of managing and improving fruit-trees against walls, or in hedges, contrary to Mr Lawrence, and others upon gardening. Together with a treatise mellons and cucumbers, 1717, 2 folding engraved plates, 104 pages only (incomplete at end), some spotting and light browning, indistinct early signature of (?) Goddard partly erased from title upper margin, contemporary panelled calf, rubbed and some slight wear to extremities, 8vo, together with Marshall (Charles), An Introduction to the Knowledge and Practice of Gardening, 1st edition, printed for the author, 1796, subscribers list, some heavy spotting throughout, early ownership signature of Mary Collier to front free endpaper, contemporary speckled calf with later reback, corners bruised, plus McPhail (James), The Gardener's Remembrancer Throughout the Year, 1st edition, 1807, a little browning at front and rear, contemporary half calf gilt, with marbled boards, heavily rubbed, all 8vo, plus other similar 18th & 19th leather-bound gardening interest (8)

Sharrock (Robert). The History of the Propagation & Improvement of Vegetables, by the Concurrence of Art and Nature, 2nd edition, much enlarged, Oxford, 1672, engraved plate (trimmed with loss at foot), publisher's catalogue at end, lacking errata leaf, a little light soiling, previous owner inscription, contemporary sheep, rebacked, a little rubbed, 8vo, together with The Shepherd's Kalender: or, the Citizens & Country Man's Daily Companion, 2nd edition, with additions, [by J.S.], printed by C.A. Milbourn for Thomas Norris, circa 1715, woodcut frontispiece (reguarded, fore margin chipped), woodcut illustrations, 3 pp. publisher's catalogue at end, some browning and occasional water stains, small red ink stamp to frontispiece verso, modern calf, 12mo (ESTC N22645) Henrey 341; Wing S3011 for first work. (2)

Carter (Susannah). The Frugal Housewife, or Complete Woman Cook. Wherein the art of Dressing all sorts of Viands, with Cleanliness, Decency and Elegance, is explained in Five Hundred approved Receipts... And making of English Wines... With various Bills of Fare, printed for E. Newbery, circa 1800, 180 pp., two engraved plates, 12 woodcut illustrations of table settings, some light spotting, previous owner signatures, contemporary calf-backed boards, rubbed, 12mo, together with Cleland (Elizabeth), A New and Easy Method of Cookery... To which are added by way of Appendix, fifty-three new and useful Receipts and Directions for Carving, 2nd edition, Edinburgh, 1759, occasional light spotting and soiling, contemporary calf, rubbed, 8vo, plus The Queen's Closet Opened. Being Incomparable Secrets in Physick, Surgery, Preserving, Candying and Cookery, 11th edition, 1720, title supplied in facsimile, final two leaves misbound, bound with The Compleat Cook: Prescribing the most ready ways for dressing flesh, and fish, ordering sauces, pickles, jellies and making pastry after the newest manner, 1710, advertisement at end, some toning and water stains, modern cloth, 12mo, with two others: Cookery and Pastry. As taught and Practised by Mrs Maciver, Teacher of those Arts in Edinburgh, new edition, 1789 and The Honours of the Table, or, Rules for Behaviour During Meals... [by John Trusler], 2nd edition, 1791 (5)

Lemery (Louis). A Treatise of Foods, in General, 1st English edition, 1704, advertisement leaf at end, a few leaves trimmed at top margin shaving headlines, some spotting and toning, contemporary panelled calf, spine rubbed, 8vo, together with [King, William], The Art of Cookery, in Imitation of Horace's Art of Poetry. With some Letters to Dr. Lister, and Others: Occasion'd principally by the Title of a Book publish'd by the Doctor, being the Works of Apicius Coelius, Concerning the Soups and Sauces of the Ancients... Humbly inscrib'd to the Honourable Beef Steak Club, 2nd edition, [1712], engraved additional title (with early ownership signature at foot), engraved circular portrait, publisher's catalogue at end, light spotting, modern calf-backed boards, 8vo, with two others: Bryan Robinson's A Dissertation on the Food and Discharges of Human Bodies, 1748, and Poison Detected: Or Frightful Truths; And Alarming to the British Metropolis in a Treatise on Bread and the Abuses Practised in making that Food, 1757Bitting p.281; Cagle 821; Oxford 1704 for first work. (4)

Worlidge (John). Systema Horti-culture: Or, the Art of Gardening in Three Books, 3rd edition, 1688, additional engraved title, three engraved plates, advertisement leaf at end, B3 lower corner torn away, some marginal toning and a few spots, contemporary mottled calf, spine a little rubbed, 8vo Henrey pp. 205-206; Wing W2606. (1)

Conjuring & Magic. The personal scrap album of Major Lionel Hugh Branson, circa 1900s/1930s, comprising hundreds of ephemeral items pasted in, tipped in and loosely inserted into an album of over 50 leaves, including letters (and copy letters of his own), posters, programmes, advertising leaflets, menus, news cuttings and reviews, etc., all relating to his career as a conjuror under various stage names including 'The Major' and 'Lionel Cardac', specific items include autograph letters signed from Charles Bertram, Cunard White Star entertainment programme, ephemera relating to his run at the Palace Theatre in 1913, 6 black and white photo film stills from a film about Branson filmed by Hepworth Manufacturing Company, an Inner Magic Circle membership acceptance letter, a three of hearts playing card (loose) signed by Edward, Prince of Wales, 'Edward P', with a related typed letter signed from Maharaja Kishan Singh of Bharatpur thanking Branson for the conjuring entertainment at the state banquet in honour of the Prince of Wales that took place there in December 1921, a publisher's agreement from Routledge for Branson's book 'Indian Conjuring', a typed letter signed from Houdini on his own letterhead, New York, 13 October 1923, complimenting him on his book 'I consider it a most important item in the art of magic', and with a p.s. concerning Louis de Rougement, one page, somewhat toned, 4to, a photograph and related ephemera relating to the Cabinet of Conjuring Tricks which Branson suggested and was accepted for The Queen's Dolls' House in 1924, a typed letter signed from Harry Price, honorary director of the National Laboratory of Psychical Research, an autograph letter signed from Violet Astor, etc., contemporary half morocco with Branson's business card to upper cover (damaged), upper cover and spine detached, lower cover deficient, worn, 4to Major Lionel Hugh Branson (1879-1946) was an English officer who served with the Indian army from 1899 until 1923. He had learned magic from reading Hoffmann's 'Modern Magic' and had studied under Charles Bertram. He wrote two books under the pen name Elbiquet, and in his book 'Indian Conjuring' (1922) he devoted a whole chapter to debunking the Indian rope trick. He was also a debunker of spiritualism and wrote that it was all the result of conjuring tricks and fraudulent phenomena. (1)

Kettilby (Mary). A Collection of above Three Hundred Receipts in Cookery, Physick and Surgery; For the use of all Good Wives, Tender Mothers and Careful Nurses, by Several Hands... To which is Added a Second Part, Containing a great Number of Excellent Receipts, for Preserving and Conserving of Sweet-Meats, 2 parts in one, 5th & 4th editions, 1734, some spotting and toning, manuscript recipe for fruit salts pasted at front, contemporary calf, rebacked with original spine relaid, lower cover near detaching, 8vo, together with The Ladies' Assistant for Regulating and Supplying the Table, Being a Complete System of Cookery... Originally published from the manuscript collection of Mrs. Charlotte Mason, new edition, 1786, light spotting, endpapers renewed, clipped signature and bookplate, contemporary calf, rebacked, original spine relaid (darkened), 8vo, plus The Universal Housekeeper's Instructor; or, Universal Family Cook. Being an Ample and Clear Display of the Art of Cookery in all its Various Branches... To which is added the Complete Art of Carving... by William Augustus Henderson, 9th edition, circa 1803, engraved frontispiece, 11 engraved plates, light offsetting, contemporary calf, rebacked, 8vo, with two others: The Farmer's Wife; or complete Country Housewife, circa 1780 and The British Jewell or Complete Housewife's best Companion, new edition, 1781 (repaired) (5)

Sedgwick (James). A New Treatise on Liquors: Wherein the Use and Abuse of Wine, Malt-Drinks, Water &c. Are particularly consider'd, in many Diseases, Constitutions, and Ages. With the proper Manner of using them, Hot, or Cold, either as Physick, Diet, or Bath. Containing plain and easy rules for the Preservation of Health, and the Attainment of Long Life, 1st edition, 1725, closed tear at foot of title, some spotting, lacking endpapers, previous owner inscription, contemporary panelled calf, small chip at foot of spine, a little rubbed, 8vo, together with Graham (William), The Art of Making Wines from Fruits, Flowers, and Herbs, all the Native Growth of Great Britain... To which is now added, the Complete Method of Distilling, Pickling and Preserving, new edition, revised, corrected and greatly enlarged, 1776, 68 pp., title toned and repaired at gutter, a few spots, later paper-backed boards, manuscript title pasted to spine, 8vo, plus Carnell (P.P.), A Treatise on Family Wine Making: Calculated for Making Excellent Wines from the Various Fruits of this United Country; in Relation to Strength, Brilliancy, Health and Economy... Containing Sixty Different Sorts of Wine... To which is also subjoined the Description of part of a recent British Vintage inclusive of an interesting Experimental Lecture, 1st edition, 1814, publisher's catalogues, dated April 1823 bound at rear, scattered spotting, previous owner inscription of George Kirkpatrick, 1824 to title, his shoulder annotations, later cloth-backed boards, 8vo, with 8 others related including Oinos Krithinos. A Dissertation Concerning the Origin and Antiquity of Barley Wine, Oxford, 1750, George Smith's A Compleat Body of Distilling, 3rd edition, 1738, The London and Country Brewer, 5th edition, 1744, Samuel Child's Every Man his own Brewer, c. 1800 (bound with two others works), Peter Jonas's The Distiller's Guide, 3rd edition, 1818, and Remarks on the Art of Making Wine, 3rd edition, 1821 (11)

Ellis (William). The Modern Husbandman: or the Practice of Farming: as it is now carried on by the most Accurate Farmers in several Counties of England, 4 volumes, 1742-44, contemporary calf gilt, contrasting morocco title labels, joints and spines slightly cracked, 8vo, together with Trowell (Samuel & Ellis, William), The Farmer's Instructor; or, the Husbandman and Gardener's useful and Necessary Companion..., 2nd edition, 1750, engraved frontispiece and one other plate, occasional spotting, modern blind panelled calf, 8vo, with Vallemont, abb‚ de (Pierre Le Lorrain), Curiosities of Nature and Art in Husbandry and Gardening..., 1707, engraved frontispiece and plates, some spotting and browning, lower hinge crudely repaired, early 19th century red half morocco, lower joint cracked and upper board detached, 8vo, and Sylvan (Agricola), The Farmer's Magazine, and Useful Family Companion..., 5 volumes, 1776-1780, numerous engraved plates, some spotting, contemporary calf, rebacked, 8vo, plus other 18th & 19th century related (22)

Appert (Nicolaus). The Art of Preserving all kinds of Animal and Vegetable Substances for Several Years, Translated from the French, 1st English edition, 1811, folding engraved plate, a few leaves loosening, scattered light spotting, lacking front blank?, original boards, some soiling and edge wear, 8vo, together with The Practice of Cookery, Pastry and Confectionary; in three parts, by Mrs . Frazer, 4th edition, Edinburgh, 1804, two engraved plates, some toning and water stains, previous owner inscription to title, contemporary sheep, rebacked, some edge wear, 8vo, plus A New System of Vegetable Cookery: With an Introduction recommending Abstinence from Animal Food and Intoxicating Liquors, 2nd edition, Salford, 1821, a few spots, contemporary half calf, joints cracking, 8vo, with others related including A New System of Domestic Cookery; formed upon Principles of Economy, by A Lady, new edition, 1809, M. Radcliffe's A Modern System of Domestic Cookery, or the Housekeeper's Guide, Manchester, 1823, The Cook's Oracle; Containing Receipts for Plain Cookery, by William Kitchiner, new edition, 1827, Elizabeth Hammond's Modern Domestic Cookery and Useful Receipt Book, 4th edition, circa 1825, and a manuscript receipt book, circa 1792-1824, written from both ends in various hands, with approximately 50 pages of recipes for jellies, marmalades, wines, creams, soups, cakes, puddings, biscuits etc, the other half containing poems and verses, a few loose, original half morocco (rubbed) (20)

Floyer (John). Medicina Gerocomia: Or, the Galenic Art of Preserving Old Men's Healths, Explain'd in Twenty Chapters... 1st edition, 1724, head of title repaired, a few small damp stains, modern calf-backed boards, 8vo, together with Stephens (William), Dolaeus, Upon the Cure of the Gout by Milk-Diet. To which is prefixed, an Essay upon Diet, 1st edition, Dublin, J.Smith and W. Bruce, 1732, advertisement and errata leaves at end, bookplate of the Earl of Roden, contemporary sprinkled calf, 8vo, plus Hoffman (Frederick), A Treatise of the Extraordinary Virtues and Effects of Asses Milk, in the cure of various diseases, Particularly the Gout, Scurvy and Nervous Disorders... Translated from the Latin, 1st English edition, 1754, 50 pp., a few spots, Wellcome Institute Library ink stamps to title verso, modern half morocco, 8vo, with 8 others including John Leake's A Dissertation on the Properties and Efficacy of the Lisbon Diet-Drink, 2nd edition, 1760 (disbound), John Theobald's Every Man his own Physician, 4th edition, 1764, William Cadogan's A Dissertation on the Gout, and all Chronic Diseases, 3rd edition, 1771, John Hill's The Old Man's Guide to Health and Longer Life, 6th edition, 1771 and Benjamin Moseley's A Treatise on Sugar, 2nd edition, 1800 (11)

[EUER, Samson.] A System of Pleading, including a Translation of the Doctrina Placitandi; or, the Art and Science of Pleading… by a Gentleman of the Middle Temple. London: William Owen, 1771. 4to (260 x 200mm.) (Light browning, occasional minor damp-staining, spotting or soiling.) Contemporary calf (extremities bumped and scuffed, lettering piece to spine rubbed with minor loss, slightly soiled). Provenance: T. Holt White (inscription dated '1792' to front-free endpaper); John Pearson (inscription dated '1802' to front-free endpaper).

BYRON, George Gordon Noel, Lord. Childe Harold's Pilgrimage. A Romaunt… second edition. London: John Murray, 1812. 8vo (212 x 127mm.) 1 folding facsimile. (Browning and spotting.) Contemporary calf, spine gilt in five compartments with raised bands (extremities bumped, upper- joint splitting). Provenance: Jessica Smythe (presentation inscription signed and dated 'July 1812 from her sister Charlotte Bayers' to title-page); Alex Bridge (bookplate and ink inscription dated '15.1.1947' to reverse of front-free endpaper). - And six other volumes relating to 'Childe Harold' (including, Lord BYRON. 'Childe Harold's Pilgrimage, A Romaunt: and Other Poems… third edition'. London: John Murray, 1812; and 'Thirty Illustrations of Childe Harold… for The Art-Union of London'. [N.p.:] 1855) (7).

TUPMAN, Henry (illustrator). - Frank HOWARD. Colour as a Means of Art being an adaptation of the experience of Professors to the practice of Amateurs. London: 1842. 8vo (200 x 116mm.) Manuscript facsimile with 18 watercolour illustrations. (Minor spotting and light browning.) Contemporary half-calf (worn, binding nearly detached).

***Roland Hilder (1905-1993) - Watercolour - "Shoreham Valley", 14ins x 20ins, signed, in gilt frame and glazed Provenance : Duncan Campbell, Contemporary Art, 15 Thackeray Street, Kensington Square, London W8 5ET

Contemporary Art Deco style table lamp.

A contemporary Art Glass vase of tapering form with mottled silver rim, 23cm high

A contemporary studio glass vase by Dial Art of footed ovoid form, cased in clear crystal over a mottled orange and green ground, together with a Royal Brierley Studio glass vase in tonal yellow and a further black vase of shouldered ovoid form with stylised leaf decoration, tallest 23cm. (3)

Ionia, Ephesos (?) EL Stater. Circa 575-560 BC. Forepart of bridled horse left, sunburst before; lotus flower on its back / Rectangular incuse punch between two square incuse punches, all with roughly patterned surfaces. Weidauer 138 (these dies); Mitchiner 135; ACGC 56. 14.31g, 20mm. Extremely Fine. Very Rare. The lotus flower that appears upon the horse's back is an element common to several electrum staters from uncertain mints attributed to Lydia or Ionia, all struck on the Milesian standard: the recumbent lion type (Rosen 245; NAC 72, 16 May 2013, 369), bull kneeling with its head reverted (Rosen 148), and two rampant lions upright on their hind legs with heads reverted and paws extended (Rosen 149). On all of these coins the lotus flower may initially appear incidental, though its commonality to all types indicates otherwise – it is evidently to be seen as the key element of the obverse type that links the different animal designs together. The lotus flower appears only sporadically in Greek mythology, though it had a deep rooted use in Egyptian art and legend, where it was taken as a symbolic representation of the sun on account of its physical behaviour: it closes at night time and descends into the water, rising and flowering again at dawn. In Egyptian creation myth, the lotus was the first thing to spontaneously form from chaos, and it was from the lotus that the sun itself was born on the first day. The eastern coastal areas of the Mediterranean in the sixth century BC had been for a long time familiar with Egyptian religious beliefs that spread as a consequence of trade and population dispersal; the lotus' insinuation in its Egyptian meaning into Greek culture is evident in the lotus-tipped sceptre carried by Zeus on the coinages of Karia, Mysia and Kilikia (among others), being a legacy of the assimilation of an attribute of the major Egyptian solar deity Ra with the principal god of the Greek pantheon Zeus. The lotus' appearance here as a polyvalent symbol can best be understood then in the context of assimilated Egyptian beliefs, representing at once both a solar and divine aspect, as well as a clear allusion to the minting city's location. Interestingly however, the lotus is not the only solar element present on this coin – immediately before the horse's chest we can discern the presence of a sunburst similar in depiction to those found on the contemporary coinage of Alyattes. This element may have been included on account of its being more universally familiar, being well understood to signify what we now refer to as Anatolia, which comes from the Greek Aνατολή (Anatolē) meaning the 'East' or more literally 'sunrise', used to refer to the Ionian colonies on the west coast of Asia Minor. Moreover the horse was itself considered a solar symbol, not only throughout the East, but also among Celtic and Germanic tribes, suggesting a common ancient root to this association. Such preponderance of solar symbology is indeed only fitting for this metal, and is in fact an overt statement of the coin's composition: ἤλεκτρον, the Greek word for electrum, is derived from the word ἠλέκτωρ (ēlektōr) - 'shining sun'.

'Contemporary Art Glass', 47cm x 47cm.

Louis le Brocquy HRHA (1916-2012) TRAVELLERS, 1948 Aubusson tapestry, Atelier Tabard Frères et Soeurs, France; (from an edition of 9) signed in the weave lower right 70¼ x 39¼in. (178.44 x 99.70cm) 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.88 (full page illustration) In the years 1945-50, Louis le Brocquy was particularly drawn to the subject of Travellers, producing a substantial range of artworks - paintings, sketches and tapestries - exploring various aspects of the theme. As an artist, le Brocquy felt an affinity with the 'outsider' status of travellers, empathising with their exclusion from settled society, and admiring what he saw as their closeness to nature and lack of inhibition as well as their peripatetic, independent lifestyle. He was fascinated too by their rituals, and the symbolism like a secret language, conveyed through marks and arrangements of sticks. Le Brocquy had a special regard for strong female figures, and often spoke of how his mother Sybil set an important example for him, not least by bringing him as a child to witness the poverty of parts of the city. (1) Le Brocquy's admiration for maternal figures extended also to the women of the Traveller community, addressed in a number of his artworks, including the iconic painting Travelling Woman with Newspaper (1947-8), and the present tapestry Travellers (1948), which is understood to be the first of the tapestry series. (2) The artist explained that when he was based at Tullamore to carry out a private commission, he took the opportunity to observe and to sketch the travellers encamped nearby and noted in particular the role of women within the community. (3) In his tapestry designs of the 1940s and 50s, carried out by Atelier Tabard Frères et Souers at Aubusson, le Brocquy drew on his knowledge of classical mythology, and several examples involve the symbolism of the sun and the moon. Invoked in the writings of various philosophers who influenced Modernist thinking, the sun or Apollo, was associated with reason and logic, while the moon, typically personified by the huntress goddess Diana, could signify earthy nature and human emotion. As with many Modernist artists of the time, le Brocquy was interested in oppositions. In the Travellers tapestry, the crescent moon appears in the upper left of the image, and is reflected in the curls of the woman's hair and also in the patterning on her chemise. The woman is flanked on one side by the faun-like figure of a male, who clasps her arm, and on the other by a naked child clutched to her hip. This composition indicates something of the woman's prescribed role in the family at that time. She is presented as confined but also pivotal, providing the focal point of the image. Le Brocquy was aware of contemporary developments in art, and while the influence of Picasso and of Lurçat have been detected in the Travellers tapestry in terms of both aesthetic and design, this work is arguably as significant for demonstrating le Brocquy's interest in contemporary allegory, here relating Modernist philosophy and classical mythological symbolism to the rituals and way of life he observed as a local phenomenon in Ireland at the time.Dr. Yvonne ScottAugust 20161. Author in conversation with Louis le Brocquy, various dates.2. Dorothy Walker, 'Le Brocquy's Tapestries' in Louis le Brocquy, Aubusson Tapestries, London (2001), unpaginated.3. Yvonne Scott, 'Louis le Brocquy, Allegory and Legend' in Louis le Brocquy Allegory and Legend, Limerick (2006), pp.11-25. P

Louis le Brocquy HRHA (1916-2012) CHILD WITH DOLL, HOMMAGE À JANKEL ADLER, 1949 lithograph; (no. 6 from an edition of 20) signed and numbered lower left 30½ x 20½in. (77.47 x 52.07cm) Collection of George and Maura McClelland The original watercolour and carbon drawing, Child with Doll, sold at Whyte's, 28 April 2008, as lot 53. Child with Doll was made in London in January 1949, at a crucial point in the development of Louis le Brocquy's art. Created between his celebrated Traveller paintings and the Grey Period works, of which A Family, 1951 (National Gallery of Ireland), is the best-known example, Child with Doll includes elements of both series. In form, the ragged toddler who trots along while embracing a smiling doll is reminiscent of the Traveller children who hang on their mother's skirts in paintings such as Tinkers Enter the City, 1947, and Tinkers Break Whitethorn, 1947. Yet in setting and theme Child with Doll presages many of the Grey Period works. Like A Family, Child in a Yard, 1953 (Dublin City Gallery: The Hugh Lane), and several of the other paintings that le Brocquy exhibited at the Venice Biennale in 1956, this image features a child whose humanity is contrasted with its stark surroundings. Dating from the post-war period when atomic catastrophe seemed a very real threat, these works combine the existential angst that dominated the work of le Brocquy's friend, Francis Bacon, with a humanistic celebration of the innocence of youth. Writing in 1950, James White suggested that the toddler in Child with Doll was based on the figure of a girl hugging a doll in The Fair at Bray Head, 1949 (see Lot 146). White wrote that, "the child became ... charged with a meaning of its own as a symbol of the lost children of Europe, wandering through a cruel world with wonder and only half-understanding". When it was recreated as a separate work (Child with Doll), the doll remained with it, as a symbol of yet another future generation that these children carry with them. In short, the child with doll is a parable of recurrent life, springing up through the ruins as fireweed grows on the rubble of a bombed house". (1) Le Brocquy has recalled how he heard of the horrors of the Holocaust first hand from his friend, the French-Jewish art dealer Charles Gimpel. Both the Traveller series and the stark interiors of the Grey Period works have been related to the multitudes of refugees displaced during World War II and its aftermath. (2) The connections between Child with Doll and the horrors of war are strengthened by an inscription on the verso of the original work which reads Homage À Jankel Adler. Born in 1895 into an Orthodox Jewish community in Poland, Adler made his home in Germany until the rise of National Socialism forced him to flee, firstly to France, and then to London. Adler, whom le Brocquy met in London in 1947, soon became both a friend and an inspiration to the young Irish artist. Throughout his long and fruitful career, Louis le Brocquy often acknowledged his artistic influences by creating hommages to their work. While his last shows in Dublin and London included hommages to Velazquez, Goya, Manet and Cezanne, Child with Doll is both one of his earliest hommages and a transitional work that lies at an important crossroads between the Irish orbit of the Travellers and the international arena of the Grey Period.Dr Riann Coulter 1 James White, 'Contemporary Irish Artists (VI): Louis le Brocquy', Envoy, vol. 2, no. 6, Dublin, May 6, 1950, p. 59. 2 See for example Yvonne Scott, Louis le Brocquy Allegory and Legend, exhibition catalogue Hunt Museum, Limerick, 2006, p. 24 P

* EDWARD GAGE MBE RSW PSSA (1925 - 2000) FESTIVAL HANGOVER watercolour on paper, signed and dated '83 56cm x 75.5cm Mounted, framed and under glass. Note: Teddy Gage held the post of art master at Fettes College, Edinburgh. He at once found that he had a real love and gift for teaching, and spent 17 happy and successful years with the school. One former pupil has described how, as soon as he entered the art room, he was no longer a schoolboy subject to school masters, but one grown-up in full communication with another. His enthusiasm and inspiration have been spoken to by all who were taught by him, either at Fettes or at Napier College, where he was a senior lecturer from 1968 to 1986. Teddy also designed stage sets and did a great deal of illustration work, especially for the BBC in the Radio Times. Painting was, however, his continuing main love. He produced a steady flow of pictures, and had ten one-man exhibitions between 1964 and 1986, besides contributing paintings to group exhibitions in Edinburgh, London and elsewhere. Examples of his work can be seen in many public collections throughout Scotland and England. From 1960 to 1964, he was president of the Society of Scottish Artists. From 1966 till 1995, Teddy Gage was the art critic of The Scotsman, reviewing every exhibition of note in Edinburgh. He also found time to gather material for a book on contemporary Scottish painting, which was published in 1977, entitled The Eye in the Wind. Please see lots 92 & 114.

* GRAHAM H D MCKEAN, OOR WULLIE ON HOLIDAY DOON THE WATER oil on canvas, signed 57cm x 46cm Framed Note: The sister painting of lot 1357 from The Scottish Contemporary Art Auction of 12th May 2011 which sold for £4800 (hammer).

WANG LANG (Contemporary Chinese), 'Untitled 006', 2010, c-print in Art paper, edition 2/6, accompanied by certificate of origin signed by the artist, 150cm x 220cm.

A CONTEMPORARY ITALIAN ART GLASS BOWL WITH MOULDED RIM AND FLUTED SIDES.D.32cms TOGETHER WITH A PAIR OF AMETHYST TO CLEAR CUT GLASS FLARED FORM VASES. (3)

To Bee a Pig by Sophie Martin. Sponsored by Wild in Art. ‘To Bee a Pig’ challenges the use of traditional and contemporary methods with spray paint and acrylic. This design aims to highlight the incredibly important plight of the bee. Artist, Sophie Martin, makes the point that if bees don’t pollinate, we could be faced with serious agricultural problems.

A contemporary figure of a bronzed nude lady seated on an amethyst geode base, in the Art Deco style

Keralouve Lalouviere Belgium - A contemporary pottery vase decorated in the Art Deco Style in the manner of Boch Keranis enamelled in blue and pale green with seated cats with curled tails within Greek key borders 28.5 cms high

Raphael Ferrer (Puerto Rican, b 1933), gold intaglio and black relief inking on etching plate, Oro, 1976, pencil signed lower right, edition 150/200, 15" x 11" sheet, unframed, Institute of Contemporary Art (Philadelphia) label included , Property from the Estate of Daniel Dietrich, II

(2) Eleanor Hubbard (American, 20th Century), serigraph, King of Targets and Queen of Targets, each pencil signed and dated '78 lower right, edition 115/175, each 15" x 11" sheet, accompanied by Institute of Contemporary Art (Philadelphia) label , Property from the Estate of Daniel Dietrich, II

* EDWARD GAGE MBE RSW PSSA (1925 - 2000)FESTIVAL HANGOVERwatercolour on paper, signed and dated '8356cm x 75.5cmMounted, framed and under glass.Note: Teddy Gage held the post of art master at Fettes College, Edinburgh. He at once found that he had a real love and gift for teaching, and spent 17 happy and successful years with the school. One former pupil has described how, as soon as he entered the art room, he was no longer a schoolboy subject to school masters, but one grown-up in full communication with another. His enthusiasm and inspiration have been spoken to by all who were taught by him, either at Fettes or at Napier College, where he was a senior lecturer from 1968 to 1986.Teddy also designed stage sets and did a great deal of illustration work, especially for the BBC in the Radio Times. Painting was, however, his continuing main love. He produced a steady flow of pictures, and had ten one-man exhibitions between 1964 and 1986, besides contributing paintings to group exhibitions in Edinburgh, London and elsewhere. Examples of his work can be seen in many public collections throughout Scotland and England. From 1960 to 1964, he was president of the Society of Scottish Artists. From 1966 till 1995, Teddy Gage was the art critic of The Scotsman, reviewing every exhibition of note in Edinburgh. He also found time to gather material for a book on contemporary Scottish painting, which was published in 1977, entitled The Eye in the Wind. Please see lots 92 & 114.

* GRAHAM H D MCKEAN, OOR WULLIE ON HOLIDAY DOON THE WATERoil on canvas, signed57cm x 46cmFramedNote: The sister painting of lot 1357 from The Scottish Contemporary Art Auction of 12th May 2011 which sold for £4800 (hammer).

A CONTEMPORARY ETCHED GLASS VASE signed Grefors Lindstrand decorated with birds in flight to one side, the other with a kneeling saint. 19cm high; together with an art deco marine vase signed with initials H.A and dated 1839. 13cm high and small collection. (5)

A PAIR OF CHILDRENS COLLAGES FROM THE FUTURIST EXHIBITION MISHEN [THE TARGET] ORGANIZED BY LARIONOV, 1912, PROVENANCEFrom the collection of architect Nikolay Vinogradov (1885-1980)EXHIBITEDFuturist exhibition MISHEN (The Target) organized by Mikhail Larionov (Moscow, 1913).LITERATUREReproduced in Goncharova, The Art and Design of Natalia Goncharova, Anthony Parton, p. 168, 235comprising:a) Children`s Winter Landscape, circa 1912, collage and pencil on paper, 11.5 x 19.5 cm (4 5/8 x 7 3/4 in.) b) Children`s Art Flower, circa 1912, collage and pencil on paper, 18 x 11.5 cm (7 x 4 1/2 in.) LOT NOTESWith The Target exhibition, Mikhail Larionov and Natalia Goncharova introduced Rayonism, a style of abstract art that developed in Russia. In their literature Larionov and Goncharova described Rayonism as naturally encompassing all existing styles and forms of the art of the past, as they, like life, are simply points of departure for a Rayonist perception and construction of a picture. The Target exhibition featured the latest work of the Donkey`s Tail group. Larionov had already unfurled the plans for this exhibition to the critic of Moskovskaya gazeta in January 1913. He explained:This year we are calling ourselves `The Target`. Last year`s name, `The Donkey`s Tail`, was a challenge to the public. `The Target` is also a challenge. The name symbolizes the public`s attitude to us. The gibes and abuse of those who can`t keep up with us and can`t perceive the aims of art with our eyes fly into us like arrows into a target. Artists, participating in the exhibition included Larionov, Goncharova, Anisimov, Bart, Bobrov, Chagall, Ivan Larionov, Le Dantiu, Malevich, Rogovin, Sagaydachny, Shevchenko, Skuie, Yastrzhembsky and Zdanevich. One of the aims of the exhibition was to present the work of artists not associated with any definite trend or group, and so young students such as Vyacheslav Levkievsky and Sergei Romanovich together with ordinary house painters with artistic aspirations were invited to participate. Majority of the works on view at The Target were executed in a Neo-Primitive style, the sources of which could be traced back to Russian icon painting and lubki. To emphasize the correspondence between their own work and popular art forms, Larionov included in The Target a selection of contemporary primitive art. Works by Niko Pirosmani (1862-1918), the Georgian “naive” painter, were exhibited here for the first time, alongside paintings of Russian life and landscape by Pavlyuchenko, a former miner, and pictures by Timofei Bogomazov, a sergeant-major and amateur painter whom Larionov had befriended in the army. Children`s drawings from the collections of Aleksandr Shevchenko and I. D. Vinogradov were exhibited as well as a score of anonymous drawings.THIS LOT IS BEING SOLD WITHOUT RESERVE.

JAZEH TABATABAI (IRANIAN 1931-2008)Seated Figure, gouache on paper34.2 x 23.8 cm (13 1/2 x 9 3/8 in.)signed lower rightLOT NOTESFounder of the Iran Modern Art Gallery in Tehran, Jazeh Tabatabai is considered to be one of the most important Iranian artists of the 20th Century, and pioneer of the Saghaneh School of painting. In addition to his artwork and sculpture, Tabatabai is known as a major contemporary Iranian poet as well.

Elizabeth Butterworth (Contemporary), a portfolio of twenty artist's proofs, Parrots and Cockatoos, signed, dated 78 and inscribed A/P in pencil, etchings, 52cm x 38.5cm, published by Fischer Fine Art, London [1978], black cloth portfolio as issued

AN IRISH ARTS & CRAFTS REPOUSSE BRASS FENDER, FIVEMILETOWN ART METALWORK CLASS, DESIGNED BY JOHN WILLIAMS, C1900 26cm h, 37 x 127cm The Fivemiletown Art Metalwork Class was established in 1892 by Mary Montgomery at Fivemiletown, County Tyrone. The design sources would originally be the Home Arts & Industries Association and Mary Montomery's husband Hugh de Fellenberg Montgomery and work was exhibited at the Home Arts & Industries Association Exhibition at the Albert Hall, London in 1893. The range of metalwork shown won high praise. It was here that it came to the attention of John Williams, one of the earliest members of Ashby's Guild of Handicraft and an experienced repoussé metalworker. According to Larmour* some of the most distinctive pieces of Fivemiletown work feature pairs of peacocks. A fender very similar to the present example was shown in the 1899 exhibition and caused a contemporary critic to observe "There is an expression of mystery and blending in the design, and a making much of the ornamental parts of the peacocks, which is excellent; concentration of interests in breadth of effect in the design being fully achieved." *Larmour (Paul), The Arts & Crafts Movement in Ireland, Belfast 1992, pp 39-44 (the fender referred to illustrated at the foot of page 41). ++Fine original condition, no damage or repair

Howard (Maria Matilda ). Ocean Flowers and their Teachings, Bath, circa 1845, 38 mounted specimens plus frontispiece, some spotting throughout, original gilt-decorated red morocco, spine lightly rubbed to head and foot, 8vo, together with Walsh (J.), The Greyhound. A Treatise on the Art of Breeding, Rearing and Training Greyhounds for Public Running, by Stonehenge, new edition, 1875, 25 black and white illustrations plus frontispiece with tissue guard, some minor spotting, contemporary gilt-decorated blue half calf, spine slightly faded and rubbed, 8vo, plus Mudie (Robert), The Feathered Tribes of the British Islands, volumes 1 & 2, 3rd edition, 1841, 57 hand-coloured plates, volume 1 front endpapers and title partially detached, some slight toning, uniform contemporary gilt-decorated calf, spines slightly rubbed, 8vo, plus other 19th and early 20th-century natural history reference, some decorative leather bindings, some original cloth, including Florist's Magazine, 3 volumes, condition is generally good/very good, 8vo (24)

Philips (John). Poems Attempted in the Style of Milton, printed for J. and R. Tonson, 1762, black and white portrait frontispiece, period inscription to front endpaper, some light marks, evidence of slight worming, contemporary full calf, boards marked and rubbed, 8vo, together with Scott (Jonathan), Tales, Anecdotes, and Letters. Translated from the Arabic and Persian, 1800, period inscription to front endpaper, some minor spotting, contemporary half calf, boards and spine rubbed with some minor loss, 8vo, plus Green (Matthew), The Spleen, and Other Poems, with a Prefatory Essay by J. Aikin, M.D., 1796, near-contemporary inscription to front endpaper, front board and endpapers detached, contemporary gilt-decorated calf, boards and spine rubbed, 8vo, plus other 18th and 19th-century poetry, including The Art of English Poetry..., volumes 1 & 2, by Edward Bysshe, 7th edition, 1725, A Collection of Poems by Several Hands, volumes 1-6, 1751-66, printed by J. Hughs for J. Dodsley, all leather bindings, condition is generally good, 8vo (a carton)

[Allestree, Richard]. The Gentleman's Calling, printed for R. Norton for T. Garthwait, 1668, two engraved plates, each with early manuscript caption at head, early signatures to title and at end, occasional light water stains, contemporary sheep, spine rubbed, 8vo (Wing A1120), together with The Causes of the Decay of Christian Piety. Or an Impartial Survey of the Ruines of Christian Religion, Undermin'd by Unchristian Practice. Written by the Author of the Whole Duty of Man, [Richard Allestree], 1st edition, 1667, imprimatur leaf (laid down with small loss), title with engraved vignette of a burning ship, two engraved portraits (with closed tears), a little light spotting, previous owner inscription of J. Scott. Coll. Univ. Oxon, 1769 to recto of imprimatur leaf, endpapers renewed, contemporary calf, rebacked, 8vo (Wing A1097), with two others attributed to Allestree: The Ladies Calling in two parts, 5th impression, 1677 and The Art of Contentment, Oxford, 1700 (4)

Lassels (Richard). The Voyage of Italy, or a Compleat Journey through Italy..., 2 parts in 1 volume, 1st edition, 1st impression, Paris [London], 1670, lacks additional engraved title, blank at end of part 1 and both blanks at end of part 2, Downside Abbey inkstamp to first title and stamped number upper right, contemporary panelled calf with Signet Library gilt stamp to both covers, neatly rebacked, 12mo First issue with Starkey imprint on general title. Considered the most influential English guidebook of the period, this work paid great attention to art and architecture and so helping foster the phenomenon of the eighteenth-century 'Grand Tour', a term coined by Lassels. Wing L465. (1)

Landseer (Sir Edwin). Landseer's Works, volume 1 only (of 2), circa 1870s, 38 steel engravings (including frontispiece and vignette title), some minor scattered spotting, mainly to margins, all edges gilt, contemporary red half morocco, gilt decorated spine, rubbed and scuffed, together with Landseer's Works, divisions 1-4 only, circa 1870s, numerous steel engravings, all edges gilt, original gilt decorated cloth, a little rubbed, folio, and others, mostly art reference (a carton)

Chatelain (Jean Baptiste Claude). [Fifty Views of Villages &c. Drawn by the celebrated M. Chatelaine, from the most agreeable Prospects near London], published Robert Sayer, circa 1775, lacking title, fifty uncoloured engraved views, a few leaves trimmed within lower platemark, stab sewn to inner margin, contemporary blue paper wrappers, neatly rebacked paper spine, binding measures 95 x 160 mm Rare. The work consists of small views of churches and villages that surrounded early Georgian London; these include, among others, Chelsea, Battersea, Highgate, Hampstead, Barnes, Kew, and St Pancras. The views were the work of the topographical draughtsman Jean Chatelain (1710-1758), and engraved by James Roberts (1725-1799), most probably Henry's brother. The set was first published by Henry Roberts in around 1750 under the title: 'Fifty small original, and elegant views of the most splendid churches, villages, rural prospects. and masterly pieces of architecture, adjacent to London'. The present example can be dated to around 1775 as eight of the views bear the imprint of Robert Sayer. Sayer and his business partner John Bennett had acquired the plates sometime before 1775, as they appear in their sales catalogue of that year under the title: 'Fifty Views of Villages, &c. from the most agreeable Prospects near London,drawn by the celebrated M. Chatelain, may be had in the following Numbers, for the Amusement of Youth in drawing after Nature. Priced 6d. each'. The catalogue divides the views into eight numbered sections: the first three containing views of villages to the south and west; numbers 4 and 5 villages to the west and north; 6 and 7 north and east; and 8 the south; with the view at the beginning of each section bearing the imprint of Robert Sayer. We are only able to trace four complete examples, which bear the Sayer imprint: The New York Historical Society; the Folger Shakespeare Library; and the Yale Institute of British Art. The present example, without the title page - which would appear to never have been bound in with the present set -conforms to the example in the British Library; both the Folger, and N.Y.H.S. example bear a printed title page; with the Yale example bearing a title in manuscript. Collation:- 1. The South East View of Chelsea Church (imprint of R. Sayer - Fleet Street). 2. The North East View of Chelsea Hospital. 3. The North View of Battersea. 4. The South West View of Battersea Church. 5. The East View of Wandsworth. 6. The South West View of Wandsworth Church. 7. The South View of Chiswick. (imprint of R. Sayer - near Serjeants Inn Fleet Street). 8. A View of Fulham-Bridge and Putney. 9. A View of St. Pauls Chappel Hammersmith. 10. A View of Fulham Church from the Bridge. 11. The North View of Chiswick Church. 12. The South View of Barnes. 13. The West View of Barnes Church. (imprint - R. Sayer - Fleet Street). 14. The North View of Row Hampton. 15. The East View of Mortlake. 16. The North View of Mortlake Church. 17. The East View of Kew and Strand Green. 18. The South West View of Isleworth Church. 19. A View of Ealing. (imprint - R. Sayer - Fleet Street). 20. A View of the Village of Oackington. 21. The View of Kingsbury. 22. The South View of Willsden. 23. The South West View of Willsden Church. 24. The South View of Kensington. 25. The North West View of Paddington Church. (imprint of R. Sayer - near Serjeants Inn Fleet Street). 26. A View of Paddington Church from the Green. 27. The South East View of Kensington Church. 28. A View of St Mary le Bone Church. 29. The South East View of Pancrass Church. 30. The South West View of Pamcras Church and the Wells. 31. The South East View of Hampstead Church. (imprint - R. Sayer - Fleet Street). 32. The South View of the Spaniards near Hampstead. 33. The South East View of Highgate Chappel. 34. The South West View of Highgate Chappel. 35. The North West View of Hornsey Church. 36. The North View of Islington. 37. A View of St Mary's Church Islington. (imprint - R. Sayer - Fleet Street). 38. The South East View of Cambray House. 39. The South West View of Newington Church. 40. The North West View of Newington. 41. The South East View of Tottenham Church. 42. The North West View of Tottenham Church. 43. The South East View of Camberwel Church. (imprint of R. Sayer - near Serjeants Inn Fleet Street. 44. The North West View of Hackney Church. 45. The South West View of Hummerton Church. 46. The South East View of Brook House. 47. The North East View of Newington Church. 48. The South West View of Newington Church. 49. The South East View of Hackney Church. 50. The North East View of Camberwel Church. (1)

[Pope, Alexander]. An Essay on Man. In Epistles to a Friend, Corrected by the Author, Epistles I-IV, 1st edition, printed for J. Wilford, [1733], half titles for Epistles II & III only (Rothschild 1615, Epistle I 3rd variant printing), bound with 11 other works: Of the Use of Riches, and Epistle to the Right Honourable Allen Lord Bathurst, 2nd edition, 1733 (Rothschild 1605 for the first edition); An Epistle from Mr. Pope to Dr. Arbuthnot, 1st edition, 1734 (Rothschild 1623); An Epistle to the Right Honourable Richard Lord Vict. Cobham, 1st edition, 1733 (Rothschild 1611); Of the Characters of Women: An Epistle to a Lady, 1st edition, 1st issue, 1735 (Rothschild 1624); The First Satire of the Second Book of Horace, Imitated in a Dialogue between Alexander Pope, of Twickenham in Com. Midd. Esq; on the one Part, and his Learned Council on the other, 1st edition, 1733 (Rothschild 1608); The Sixth Epistle of the First Book of Horace Imitated, 1st edition, 1737 (Rothschild 1638); One Thousand Seven Hundred and Thirty Eight. A Dialogue Something like Horace, 1st edition, 1st issue, [1738] (Rothschild 1642); On Poetry: A Rapsody. Printed at Dublin, and Re-printed at London [by Jonathan Swift], 1733; An Essay on Reason [by Walter Harte], 1st edition, 1735; The Man of Taste. Occasion'd by an Epistle of Mr. Pope's on that Subject. By the Author of the Art of Politicks [by James Bramston], 1st edition, 1733; Bellus Homo et Academicus. Recitarunt in Theatro Sheldoniano apud Comitia Oxoniensia MDCCXXXIII... [by William Hasledine], 1733 some occasional light soiling and toning, one or two closed tears, previous owner signatures, manuscript list at front, bookplates, contemporary vellum, a little soiled, folio (1)

Bernd and Hilla Becher (1931-2007 & 1934-2015), 5 Ansichten Eines Kalksilos in Duisburg-Ruthrort, a set of five offset lithographs, number 18/85, image 30cm x 40cm, sheet 35cm x 51cm each, signed in pencil. Provenance lot 50 Sotheby's Contemporary Art 25th June 2003.

STYLE OF RIZA-I ABBASI, PERSIA 17TH CENTURYTwo galloping hunters in a landscape, their backs turned to shoot arrows at a leopard behind themPen and ink, 10 x 16.7cmA Nasta'liq inscription, top right handside, gives a date of AH1052/AD1642Provenance: from the H. Kovorkian Collection; With Spink & Son, London from whom purchased by Dr Alton in 1979. Literature: cf. The Brush of the Masters: Drawings from Iran and India by Esin Atil (The Freer Gallery of Art) Nos.27-60, in particular No.43. Riza-I Abbasi (1565 - 1635) was the leading Persian miniaturist of the Isfahan School working for the ruler Shah Abbas I during the Safavid dynasty (1500-1736). He is considered to be the last great master of the Persian miniature, revolutionising the medium with his inventive calligraphic style and colour palette. Details of Riza’s birth and early life are uncertain, he was most likely born in Mashad, where his father, the miniature artist Ali Asghar, is recorded working with the atelier of the governor, Prince Ibrahim Mirza. Riza probably received his training from his father and joined the workshop of Shah Abbas I at a young age. Apprenticeship at this time meant the imitation of an earlier master’s style or incorporating elements of their subject matter into newer compositions. However, unlike earlier Persian artists, Riza-I typically signed his work, with his first dated painting appearing in 1601. The majority of his work was single miniatures for the albums or muraqqas of private collectors. These works usually showed one or two figures executed with a strong air of naturalism in terms of pose and gesture. The background of the images were not overly detailed with often very simply drawn outlines used to describe the scene, although at times they were rendered in gold, a more ornate style formerly used for border paintings. Riza-I used pen and ink for his drawings often with a varied palette of monochrome to full colour. Idealized figures of stylishly dressed and beautiful young men proliferate his work suggesting their popularity amongst his patrons and the larger Persian art market. The treatment of line was crucial to his calligraphic drawings in which it had to convey form, gesture and the character of the individual represented. It did not function in the traditional manner to simply outline the figure, as often there was no further description or embellishment, but rather to encapsulate the entire aesthetic content of the work. Riza-I’s signatures have caused much confusion amongst art historians as he used numerous different names over the course of his career. There is also a general lack of chronological order to his use of different signatures. For the most part his earlier works were signed Aka Risa, which, confusingly, is also the name of a contemporary Persian artist who worked for the Mughal Emperor Jahangir in India. Later he adopted Riza-Abbasi in homage to his patron, Shah Abbas I. In the early 20th century, there was much debate, as to whether the two were the same figure. It is now accepted that they were, although there is a marked shift in style in his mid-career towards a darker palette and more densely drawn line. Riza-I Abbasi temporarily left the Shah’s employment apparently seeking greater independence and freedom to associate with Isfahan’s lower social class. In 1610, he returned to the court, most likely due to a shortage of income, and continued in the employ of the Shah until his death.The style he pioneered remained influential for subsequent generations of Persian painters; several pupils were prominent artists, including Mu’in, who painted his portrait many decades later as well as Riza’s son, Muhammed Shafi Abbasi.His work is housed in many museums and libraries across the world. He is well represented in Russian collections with thirteen known works by him, including a book dating from 1601-2 which is in the National Library of Russia. He may also have worked on the ambitious, but incomplete Iranian national epic, Shahnameh (Book of Kings), now in the Chester Beatty Library in Dublin.

AN ABSTRACT PRINT of a scene in pastel dated 1966 possibly from a Christies Contemporary Art Sale numbered 188/280, 74cm x 58cm

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

After Sir William Orpen (1878-1931) - Oil on canvas - The Refugee (B), unsigned, 76.5cm x 63.5cm, unframed This portrait is a contemporary copy of 'The Refugee (B)' of 1917-18, which is in the collection of the Imperial War Museum (IWM ART 3005). The original is one of two portraits Orpen painted of his French mistress, Yvonne Aubicq, when he was serving as an official war artist on the Western Front. The other portrait known as The Refugee (A) is a larger half length and is also in the Imperial War Museum collection (IWM ART 2964). Aubicq was the daughter of the mayor of Lille and not a refugee, this is the misleading title Orpen gave to the work. Worse, he had originally called it 'A Spy' which upset the official censor and resulted in a reprimand for Orpen. In May 1918 a large exhibition of Orpen's war paintings and drawings, including the two 'Refugee' portraits, were exhibited at Agnew's gallery in London. It was very well attended. Correspondence now in the IWM's large Orpen archive includes a letter dated 12 July 1918 from Colin Agnew, on behalf of his business partner Charles Romer Williams, requesting permission for the 'most excellent copyist' working at Agnew's to copy both portraits of 'the pretty refugee woman'. (Imperial War Museum, First World War Artists Archive, File number: 78A/3.) The copyist is not named, but permission was evidently given because A. Yockney at the Ministry of Information saw one of these copies and reported in a letter to Orpen on 22 July 'it seems to be remarkably good'. It is very likely that the present painting is this copy, as there was hardly time for the larger Refugee (A) to have been copied yet. As Orpen's official war portraits were presented to the nation he was regularly asked for copies. The IWM archives show he often used another artist, Alfred Hayward (1875-1971), to lay them in for him. Orpen 'particularly' used Hayward to help make copies, which suggests he employed other artists for the work. However, the copyist of The Refugee (B) seems to be the unnamed 'excellent copyist' working at Agnew's. Research by Sheena Stoddard BA, M.Litt Condition: Some very slight wear to the extreme edges where the picture was once in a frame, would benefit from a light clean, the picture is not framed - **General condition consistent with age

Tang Dynasty, 618-907 AD. A ceramic figure of a horse with painted details to the face and body; foreign rider with painted details, possibly an Armenian, wearing Persian cap, tunic, trousers and boots, with shaggy beard and playing a tambourine. 4.73 kg, 46cm (18"). Acquired on the London art market prior to 1980. Supplied with a copy of the item's Thermoluminescence test result, undertaken by Oxford Authentication, certificate number C115f62. The Tang dynasty represents a high point for China in terms of its military might, conquest and establishment of vassals and tributaries, foreign trade, and its central political position and pre-eminent cultural status in East Asia. Chinese trade relations during the Tang dynasty was extended further west to the Arabian Peninsula, East Africa, and Egypt. Many contemporary writers from foreign countries described Chinese ships, Chinese goods brought to foreign ports, as well as Chinese seaports. Amongst the Chinese authors, the writer Duan Chengshi described trade in Somalia and between 785 and 805 AD the Chinese geographer Jia Dan described lighthouses that were erected in the Persian Gulf, confirmed later by Muslim writers al-Mas'udi and al-Muqaddasi. The introduction of Islam to China began during the reign of Emperor Gaozong, with missionaries such as Sa'd ibn Abi Waqqas, a maternal uncle to the Prophet Muhammad. The seaport at Guangzhou in southern China became one of the largest seaports in the world, hosting foreign travellers throughout maritime Asia. The Tang capital city of Chang'an became well known as a multicultural metropolis filled with foreign travellers, dignitaries, merchants, emissaries, and missionaries. Finely modelled.

Heading: Author: Silvestre, ArmandTitle: The Gallery of Contemporary Art - Limited Imperial Edition.Place Published: PhiladelphiaPublisher: Gebbie & CoDate Published: [1884]Description: 6 portfolios. 88 pp. + 60 photogravures and 94 wood engravings, each plate followed by unpaged leaf with descriptive letterpress. (Folio) 47x34 cm (18½x13½"), blue cloth portfolios with gilt stamp, cloth ties, with pages and plates laid loose in printed wrappers, as issued. No. 9 of 1000 limited copies, unbound on India paper. Featuring plates after works by Bouguereau, Corot, Fromentin, Meissonier, Millais and Puvis de Chavannes among many others.Due to the size and/or weight of this lot extra charges may apply. Wear, soiling, and rubbing to portfolios, toning and offsetting to wrappers with some split and others splitting; toning and wear to plate edges; overall very good.

MID 19th TO EARLY 20th CENTURY SCRAP ALBUM circa 1847 to 1905, containing original admission pass for "Funeral of the late Field Marshall The Duke of Wellington, KG", St Paul's Cathedral 18th November 1852 admitting "Capt Eyre" to "centre area under the dome, south side" with Earl Marshall of England blind stamp together with accompanying printed notice regarding funeral of Duke of Wellington "Funeral of the late Duke of Wellington 18th November 1852, notices to persons going in the procession, or holding tickets of admission to St Paul's" with instructions to those attending, approx size 34 x 21cm, printed on both sides, folded, in original envelope addressed to Capt Eyre + William Botwood (died 1896), autographed letter signed to Harry Bullard (1841-1903) of Norwich, brewer, Conservative politician, MP for Norwich etc dated November 18th 1885 on W Botwood, the Ipswich Carriage Works, Woodbridge Road, Ipswich headed paper + original silk ribbon "relief of Ladysmith, March 1, 1900, Buller, White" with manuscript caption beneath, ribbon of Ladysmith relief worn by the people in Natal, approx size 32cm x 3 1/2 cm, lightly tipped in + good quantity Victorian paper lace Valentine cards + good quantity Victorian advertising puzzles for Norwich Stores including Hepworth's, Magdalen Street, Stead & Simpson, Magdalen Street, Josiah Tyler Ltd, St Stephen's Street and Dove Street and Davey Place, Charles Kelf's Boots, St Benedict's Street, Norwich etc, mainly postcard sized, several printed by Petty & Sons, approx 40 in total + original pen, ink and watercolour sketch of Bishopbridge Norwich, approx size 9 x 11 1/2 cm, with another similar depicting Whitlingham + W Shalders, Norwich, Patentee "The true art of raising fluids or perfect hydrostatics", original document with illustration of "double motion gravitating expressing fountain", circa 1830s + THE RILEY MANUFACTURING COMPANY..., EFRA WORKS, LANGLEY LANE, VAUXHALL, printed booklet promoting their patent bottling machine "for filling, syruping and corking every description of aerated drinks" with engraved illustration to top wrap and original tipped in photograph depicting machine being operated by a lady in the factory + quantity of other items of assorted ephemera, some East Anglia interest, folio, contemporary half crimson morocco, worn, rebacked, original backstrip retained