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Fine Quality Glazed Stoneware Art Pottery Contemporary Shaped Vase, Stamped To Base With Makers Initials J.A.S. The glaze in a brown bronzed finish. Slightly Iridescent. 10'' in diameter, 8'' in height.

A Gray Stan glass vase designed by Mrs Graydon-Stannus, flaring cylindrical form with shallow shoulder and rim, mottled orange glass cased in clear, and a Venini style handkerchief vase fine opaque stripes cased in clear with pale pink top rim etched Gray Stan 30cm. high (2) Literature Charles Hajdamach 20th Century British Glass, Antique Collectors Club, page 92 plates 176-177 for contemporary advertising sheets for Gray Stan Art Glass, circa 1925-26.

Bernard Meninsky (1891-1950)watercolour and ink on paper,Still life of fruit in a white bowl, c.1930,signed,14 x 16.5in.Provenance: Leigh Underhill Gallery, London HSBC Samuel MontaguThe artist painted a number of still life compositions in and around 1930 employing the same ornate white fruit bowl. A related example 'Still Life with Green Pears' - part of the Nora Meninsky Bequest held by the Contemporary Art Society - is illustrated in John Russell Taylor, Bernard Meninsky, (Bristol: Redcliffe, 1990), 117.

CONTEMPORARY CLEAR ART GLASS FIGURE OF A CRANE on a fixed square tapering base, the base signed 'Fouette', 44.5cm high

EMMA McCLURE. 'High Dive.' Gouache. Initialled & dated '87. Signed & dated 1987 to the mount & Contemporary Art Society label to the reverse. 44 x 35cm.

CATALOGUES: KEN SPOONER. Three Ken Spooner signed exhibition catalogues. Goldfish Contemporary Art, Penzance, 'Many Layers', 'Alchemy' & 'Journeys'.

CATALOGUES: KEN SPOONER. Three Ken Spooner signed exhibition catalogues. Two Millennium Gallery, St.Ives, 'Pulse' & 'Skin' also Cornwall Contemporary, Penzance 'Art Will Drown Your Eyes'

ALISON BRITTON (born 1948); a large slab built stoneware jug with blue and white brushed and trailed decoration, incised signature and dated 1987, height 30cm. Provenance: Purchased from The Contemporary Applied Arts Gallery, London, 1987. Literature: Illustrated on the front cover of Ceramic Review 107 (September-October 1987). Exhibited: National Museum of Modern Art, Kyoto and Museum of Modern Art, Tokyo, Contemporary British Crafts (organised by The British Council), 1988-89; Aberystwyth Arts Centre, touring to Newport, Aberdeen, Carlisle, Stoke-on-Trent, Cardiff, York and Rotterdam, Alison Britton: A Retrospective (organised by Aberystwyth Arts Centre), 1990-92; Barrett Marsden Gallery, London, Complexity and Ambiguity: The Ceramics of Alison Britton, 2000. Alan wrote: 'This seeming erratic yet balanced form was featured on the cover of Ceramic Review a short time before the exhibition opened. We decided that we should buy a piece and when I went to CAA for the opening found that the institutions had not purchased this piece. I decided to do just that. At about 4.50 pm I told the staff I was starting the queue and went and stood on the doorstep. The following two hours seemed like a fortnight'. Pat later wrote: 'When this pot came home, it had spent more time away than it had here'. CONDITION REPORT: Appears good with no obvious signs of damage, repair or restoration. Please see catalogue entry - "incised signature and dated 1987" to base. Very small bubble firing imperfections as expected to be seen and part of the texture.

ATTRIBUTED TO RICHARD BARNETT SPENCER (d.1874) THE BATTLE OF CAMPERDOWN, OCTOBER 11th 1797 Oil on canvas 72.5 x 123.5cm. * Very similar to a composition with an attribution to Clarkson Stanfield in the Dundee Art Galleries and Museums Collection. Spencer was principally a ship portraitist but also copied other artists' battle scenes from contemporary engravings. ++ Lined; some associated retouching and craquelure

WYNFORD DEWHURST (1864-1941) VALLEY OF THE CREUSE Signed, bears title upon a label on the stretcher, oil on canvas (stamped for L. Besnard) 59 x 72cm. * Despite studying in the studio of Jean Leon Gerome and being subjected to the master's rigorously classical methods, Dewhurst became a fervent champion of Impressionism and extolled the skill of Claude Monet in particular. In his divisive work, `Impressionist Painting: Its Genesis and Development` (London,1904), Dewhurst posited the heretical idea of Impressionism being essentially English in origin as Turner and Constable had been the first artists to explore the true potential of light and colour in landscape. Nonetheless, Dewhurst's reverence for Monet was absolute and he adopted much the same palette and technique in his own intensely lit mature landscapes. In What is Impressionism, published in Contemporary Review in 1911, the artist recalled his own Damascene moment upon seeing the revelatory quality of the light on the Seine between Paris and Rouen: "I remember distinctly, during the summer of 1901, at Les Andelys-on-Seine, that upon two days and for two hours in the afternoons of those days all Nature, animate and inanimate, bore the aspect of things seen under a strong glare of violet light, exactly as though a tinted glass were suspended between the sun's rays and the earth. The effect was most curious and disturbing. Nature appears to be toneless and flat. Highlights and shadows are attenuated almost to extinction, whilst in this dull purple glare the heat became more intense than ever, possibly through lack of wind, for all was still." At first, the choice of violet hues seems counter intuitive in a rural landscape lush with green hills and blue water, but Dewhurst shared the Impressionists' wonder for the interpretation of light upon objects. The fractal and prismatic qualities of light enchanted the Impressionists and, foremost among them, Monet saw the potential for creating a preternatural atmosphere in his work by the use of an intense blueish light that bordered on purple. Monet's `Valley of the Creuse` (Boston, Museum of Fine Arts) dates from 1889 whilst Dewhurst's `Sunrise Effect: Valley of the Creuse` was exhibited at the Royal Academy in 1916. The idyllic, unpeopled majesty of these subjects may be seen as a calming counterpoint to the ravages of the Great War taking place just a little further north at the Western Front. A similar subject entitled `The Blue Valley`, c.1908, 81.3 x 100.3cm, is in the Manchester City Art Gallery (the gift of E. A. Knight of Knutsford, Cheshire) ++ A few small flaked losses, most notably in the sky upper right

New Street Flyer New Street Flyer celebrates the exciting launch of the brand-new, iconic New Street Station. This eye-catching owl reflects the stunning, contemporary architecture and design features of this significant new building. A stunningly dynamic piece that marks the latest chapter in our city’s history.   Artist: Mik Richardson Sponsor: Network Rail About the artist: Mik Richardson is a Norfolk based artist who has run his own mural design and graffiti tutoring business since leaving the Royal Air Force in 2006. As well as producing over 400 murals to date, he has also been involved in many of the Wild in Art sculpture trails around the country

Under the Glow of Moonlight Under the Glow of Moonlight focuses on the owl’s striking eyes. In this case, they serve as a looking glass into its nocturnal journey - underneath the glow of the moon, across endless night sky and over undiscovered seas. The human figure symbolises the sense of awe generated from looking up into a star-studded sky.   Artist: Kristina Butigan Sponsor: Catalyst Corporate Finance About the artist: After gaining a first class Fine Art Degree at Birmingham Institute of Art and Design, Kristina Butigan launched her own practice, specialising in painterly depictions that bring to life the beauty of classical mythology, infused with contemporary fashion photography influences. Her work has been shown in galleries around the UK and Germany.  

Bluey Beautiful Bluey was inspired by the diversity of Birmingham’s culture. Blue and white patterns feature in many different cultures - including Chinese porcelain, Asian temples, Delftware, Moroccan tiles and Staffordshire pottery. The timeless appeal of blue and white china ensures that Bluey will be a perfect addition to a traditional or contemporary setting.   Artist: Natalie Guy Sponsor: Harrow Green About the artist: Natalie Guy is an accomplished mosaic artist and is passionate about creating 3D works of art that have character and tell a story. Her work has been sold nationally and internationally. Natalie enjoys using unique and classical materials for her mosaic work – from traditional Italian Vitreous tiles, to hex nuts.  

Serenity Serenity is a beautiful contemporary depiction of an oak tree and birds flying heavenwards. This elegant owl has been created by artist Neil Morris to symbolise peace, hope, tranquility and liberty. Simply stunning.   Artist: Neil Morris Sponsor: Dignity Funeral Services About the artist: Neil Morris is an artist who works in street art, often using stencils and a monotone collection of spray paints. Most of his projects and artworks have been part of skate parks, paint jams and events in the north of England.  

Greenhill (Thomas) - Nekrckedeia [ graece ]: or, the art of Embalming , first edition, folding engraved frontispiece, with 'Explanation of the Frontispiece', folding map, 13 plates, 1 folding, title, frontispiece, map & text f. N2 torn and repaired, little marking, contemporary panelled calf, spine gilt, rebaacked, preserving old backstrip, corners repaired, 4to, For the Author, 1705.

Book-binding.- [Hanneet (John)], "J.A. Arnett". - Bibliopegia: or the Art of Bookbinding, 'The Second Edition with Considerable Additions', wood-engraved frontispiece and 9 plates, small ink stain to lower corner of frontispiece, all plates oxidised and spotted, occasional spotting elsewhere, contemporary morocco, rubbed and scuffed, 1836 § Blades (William) The Enemies of Books, second edition, half-title, portrait frontispiece, 6 plates, original decorative wrappers bound in, modern green crushed morocco, g.e., 1880; and 3 others, Bibliography, including 2 vol. of bound 19th century book catalogues, v.s. (5)

Angling.- - Ronalds The Fly-Fisher’s Entomology. Illustrated by coloured... Ronalds (Alfred) The Fly-Fisher s Entomology. Illustrated by coloured representations of the natural and artificial insect, 19 hand-coloured plates of flies, all but the last tissue guards, half-title, slightly foxed and browned, original blind-stamped cloth gilt, rubbed, joints splitting, [W p. 178], 1836 § Bowlker (Charles) The Art of Angling, new edition, engraved frontispiece, frontispiece and some ff. at head stained, browned, contemporary boards, worn, [W p. 137], Ludlow, 1806; and 3 others, Angling, 8vo & 12mo (5).

A Modern metal wall art, a contemporary silvered glass vase and a collection of assorted modern vases , bowls and effects.

A VICTORIAN SILVER ROYAL GOLDEN JUBILEE COMMEMORATIVE BROOCH WITH PORTRAIT OF QUEEN VICTORIA, BIRMINGHAM 1886 AND MISCELLANEOUS OTHER CONTEMPORARY SILVER BROOCHES AND OTHER ITEMS, INCLUDING A TRENCH ART BRASS PEONY CIGARETTE LIGHTER

Alessandro Mendini for Venini, an Arado glass vase Alessandro Mendini for Venini, an Arado glass vase, the tapering waisted body with multi-coloured canes, incised mark and dated ˆ, 38.7cm high Alessandro Mendini, born in Milan in 1931 played a central role in the development of contemporary Italian design. As publisher of various design Magazines including Casabella (1970-76), Mod and Domus (1979-85), the Italian designer was for many years considered the theoretician of Italian avant-garde design and an important trend setter. His work is exemplary of the cross over between art, architecture and design. Mendini started a collaboration with Venini & Co, one of the leading figures in the production of Murano glass and important contributors to twentieth century design, in 1987. The vase above was one of his first designs with the world renowned glass manufacture.

[TRUSLER (John)] The Honours of the Table, or, Rules for Behaviour During Meals, with the Whole Art of Carving, second edition, London: for the author, at the Literary-Press, 1791, 12mo, wood-engraved arms of Trusler to verso of title, illustrations by John Bewick, without adverts at end, light sporadic foxing or very small stains, contemporary calf backed boards (worn)

Robert E. Costelloe (Ireland 1943-1974) Oil on canvas, 50 x 70 inches. Signed verso. Robert Costelloe was a Dublin born painter and sculptor. His work was shown as part of the Contemporary Irish Art (Art Irlandais Actuel) exhibition at the Musée d'Art Moderne de la Ville de Paris in 1973. He has also exhibited in Dublin, Rome, New York and Paris. He died after a short career in a road accident. His brother Paul is the distinguished fashion designer.

Frank Shenton (20th century) - '21st Studio 40A', depicting abstract forms, oil/acrylic on board, signed, approx. 120x91cm, inset contemporary frame NB Frank Shenton exhibited at the Royal Academy, London. Shenton taught art at Tameside College, and sadly passed away at the age of 79 on April 30th 1999, after thirty years of teaching night classes at the college. Shenton's watercolour of Ashton War Memorial was adopted by Manchester Museum in 1991

'Male Nude', pencil and watercolour, signed and dated '89 by Priscella Van Groeningen (Dutch contemporary) 29cm x 20cm Provenance: James Starkey Fine Art Beverley label verso

'Boys 3', mixed media, signed and dated '85 by Priscella Van Groeningen (Dutch contemporary) 25cm x 26cm Provenance: James Starkey Fine Art Beverley label verso

A mixed lot to include a Victorian cranberry glass polka dot vase, five contemporary art glass vases and a studio pottery Jack in the Pulpit vase (7)

Contemporary Art - Limited Edition bronzed bust of a Zulu Woman by James Tandi, others (3)

Five assorted contemporary and 20th century wall mirrors to include an Art Deco wall mirror with hand painted woodland scenes, the largest measures 61 x 88cm (5).

A set of five Spanish contemporary art abstract panels, four 20 x 20cm, one 17 x 40cm, framed and glazed (5).

JACK SHORE RCA (1922-2008); a portfolio containing artwork by Jack Shore to include still life, scenic, life drawings all in various mediums to include pen and ink, pastels, acrylics and four pine picture frames. Head of art at Cheadle Hulme School Cheshire, taught at Blackpool School of Art, an Associate of The Royal Cambrian Academy and also a contemporary and colleague of L.S. Lowry, Sir Kyffin William and Terry Frost. He has exhibited widely.

Various ceramics to include studio and art pottery pieces and figurines, some signed by Jack Shore, born 1922 he taught art at Cheadle Hulme School Cheshire, Blackpool School of Art and was an associate of the Royal Cambrian Academy, he was also a contemporary and friend of L.S. Lowry and exhibited widely.

A contemporary Art Nouveau style hallmarked silver brooch. L7.5cm

David Humphreys (Contemporary British school), impressionist study of a nude reclining before an ocean vista, oil on board, circa 1968, Royal College of Art label to verso. H.66cm W.97cm

* Claude Flight [1881-1955]- River estuary, dwellings alongside the river bank:- signed Claude Flight in pencil bottom right watercolour 34.5 x 48cm * Biography. A British artist who pioneered and popularised the linoleum cut technique. He also painted, illustrated and made wood cuts. He studied at Heatherley School of Fine Art, exhibiting at the R.A, Paris, the R.B.A. and the Redfern Gallery. He was a member of the Seven and Five Society, whose members included Henry Moore, Ben Nicholson and Barbara Hepworth. He was influenced by many contemporary art movements, particularly Cubism, Futurism and Vorticism.

Untitled (76x91cm) by Anna Di Scala – acrylic on canvas – 1 of 2 lots Anna Di Scala was conceived in Italy and born in Liverpool, just like her work. Her nudes and portraits have the passion and sensuality of the masters that have inspired her. The work of Mogdiliani, Mattisse and Piccaso are prevelant in her painting. However, these styles aree given a new vibrancy and freshness as Anna fuses together to form art that is both contemporary and timeless.

"Experience Jimi Hendrix" by Anthony Brown (30x42cm) Signed print, mounted & framed 1 of 6 lots EST 80 Anthony was born in Liverpool. He is an artist, designer, illustrator, musician & composer. He studied Graphic Design and Illustration at the Wirral Metropolitan School of Art and at the Liverpool School of Printing. His work moves freely between contemporary (specialising in portraiture) and abstract art in any medium – to graphic design, photography and illustration – creating company identities/brands and involvement within the book and magazine publishing industry. His work is on display from Liverpool to New York. http://www.100heads.co.uk/index.php

Enid Lillian Bloom (British, 1924-1996): Figure studies, coloured chalks, signed lower right, 37 x 56 cm. Highly regarded British sculptor. Born in London, she lived and worked in Hampstead. After training at St. Martin’s School of Art, she became a commercial artist and later studied sculpture with the well known sculptress, Karin Jonzen. Inspired by the human form, her classical bronze and terra cotta figures were modelled in the contemporary fashion. She was influenced by many, Rodin to Dalou and her studio walls were hung with many of Mary Cassatt’s exquisite pictures of mothers and children, Bloom's own favourite theme. A regular exhibitor at the Royal Scottish Academy, the Royal West of England Academy, the Glasgow Fine Arts Society and the Paris Salon, where she was awarded the Bronze Medal for Sculpture. She was an elected member of the Royal Society of Miniature Painters Sculptors and Gravers, and exhibited regularly at the Mall Galleries in London.

Fine Quality Glazed Stoneware Art Pottery Contemporary Shaped Vase, Stamped To Base With Makers Initials J.A.S. The glaze in a brown bronzed finish. Slightly Iridescent. 10'' in diameter, 8'' in height.

Good quality contemporary brass wall-mounted three-light lantern by Lamp Art, Mod. Dep. Italy in the form of a bisected tradition hall lantern, with facetted bevelled glass below scroll pendant and ring finial, 53cm high

*Norman Stevens RA (1937 - 1988), pair of signed, limited edition etchings - First and Second Lily, dated 1979 and numbered 150 / 200, with Christie's Contemporary Art blindstamp, in glazed frames, image 24cm x 20cm

A pair of contemporary craftsman made Capstans, possibly beech, having circular tops on tapering stems with moulded edge bases, fitted Art Nouveau design brass lamps, each bearing three branches, supporting three opaque glass moulded shades with flut ed rims, the arms with acanthus leaf decoration, to the tops pineapple finials, overall 1.63m high

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. 14.30g, 21mm. 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'.

TWO VOLUMES ON THE PENINSULAR WAR BY FRANZ XAVER RIGEL FROM THE PAVLOVSK PALACE LIBRARYRIGEL, Franz Xaver (German, 1783-1852) Der siebenjahrige Kampf auf der Pyrenaischen Halbinsel vom Jahre 1807 bis 1814; besonders meine eigenen Erfahrungen in diesem Kriege nebst Bemerkungen uber das Spanische Volk und Land [A seven-years battle on the Iberian Peninsula from the year 1807 to 1814; particularly my own experiences in this war including my remarks about the Spanish people and the country] Rastatt, 1819. Published at author`s expense by the author himself. 12mo (206 x 133 mm) each volume. 532 pages (volume I); 454 pages (volume II). Both volumes contain a label from the Pavlovsk Palace Library indicating item`s location and inventory number. Contemporary red Morocco binding with gilt tooling along the borders and on the spines. All edges gilt. Silk endpapers. Volume I containing a full-page copperplate etching depicting a Spanish insurgent, and a foldout map of a battle plan. Volume II containing six full-page copperplate etchings featuring a Spanish national dance Bolero, and various landmarks of the territories where the battles took place.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.

AN ILLUMINATED RUSSIAN OLD BELIEVERS MUSICAL MANUSCRIPT, FESTIVE LITURGY[Kniga glagolemaya oktai sirech osmoglasnik. Tvoreniye prepodobnago otsa nashego Ioanna Damaskina], Russia, first half of 19th Century. 8vo (225 x 180 mm). 148 leaves. Illuminated in red and black ink, with profusely illustrated headpieces. Contemporary blind stamp leather binding over wood panels. Spine with five raised bands, two clasps (both missing). Ownership inscriptions on the first flyleaf from Alexander Petriayev (1846) and his son Grigoriy (1880). LOT NOTES:A very similar manuscript is included in the collection of the Hermitage Book Museum under inv. #213234. It has been illustrated in the Museums catalog in 2002 (p. 87, cat. 68).PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.

AN ILLUMINATED RUSSIAN OLD BELIEVERS MANUSCRIPT WITH NEUMES FOR THE DIVINE LITURGY OF SAINT JOHN CHRYSOSTOMRussia, middle of 19th Century. 8vo (232 x 183 mm). 93 leaves. Illuminated in red and black ink, with profuse polychrome and gilt illustrations of the title page and initials. Some leaves bear an impressed paper manufacturer`s stamp V. G. P. U. F. Sergiyevskoy in the corner. Contemporary blind stamp leather binding over wood panels, two clasps (both missing). Spine neatly restored. Colored top, fore, and lower edges.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.

POSLEDNIY SOVREMENNIK, A POETRY BOOK BY S. KIRSANOV WITH WRAPPERS BY A. RODCHENKOtext by KIRSANOV [Kortchik], Semyon Isaakovich (Russian, 1906-1972) Posledniy sovremennik [The last Contemporary]. Moscow: Federatsiya, 1930. 12mo (184 x 130 mm). 96 pages. Original two-color wrappers designed by Alexander Rodchenko. First edition. An Agitprop poem.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.

TWO VOLUMES OF NAVIGANTIUM ATQUE ITINERANTIUM BIBLIOTHECA HARRIS, John (English c. 1666-1719) Navigantium Atque Itinerantium Bibliotheca, Or A Complete Collection of Voyages and Travels., London: T. Woodard, A. Ward, S. Birt, D. Brown (et al.), 1744-1748. Large folio (417 x 267 mm) each volume. 984 pages (volume I); 1056 pages (volume II). Second edition. Contemporary quarter mottled calf binding with marbled paper. Spine with six raised bands and intricate gilt tooling. All edges stained. Marbled endpapers matching the cover. Royal privilege as frontispiece in volume one, engraved frontispiece in volume two. Containing 61 full-plate engravings, 39 of which featuring panoramas and landscape views, scenes from the life of locals depicting their customs and traditions; and 22 maps, most of them folding.LOT NOTESThis highly regarded work contains the first separate map of Australia, and one of the first maps of Georgia and the southeast United States-, along with valuable cartography on the Northwest Passage, North and South America, the Arctic regions, and more. It is the second edition, regarded as the best, notably by Hill who commented "This revised edition is the one collectors should seek. It is so expanded compared with the first edition that it is almost a new work." Particularly valuable is the inclusion of a printing of Tasman`s original map and two short articles printed on the map. One discusses Quiro`s voyage, while the other speculates about the possibility of the Australian continent being colonized. To the original extensive collection are added accounts of voyages completed since the first publication: Christopher Middleton to Hudson`s Bay in 1741-42; Bering to the Northeast in 1725-26; Woodes Rogers`s circumnavigation in 1708-11; Clipperton and Shelvocke`s circumnavigation, 1719-22; Roggeveen to the Pacific, 1721-33; and the various travels of Lord Anson, 1740-44. Rearranged to reflect the new English interest in the Pacific.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.

LEON AUGUSTIN LHERMITTE (FRENCH 1844-1925)Depart des laveuses le soir, 1892oil on canvas98 x 78 cm (38 1/2 x 30 3/4 in.)signed and dated lower left L Lhermitte 1892PROVENANCEAcquired from Boussod, Valadon & Cie, Paris (no. 22249)Collection of John Parkinson, Boston, MAMuseum of Fine Arts, Boston (loan 1920-1946)Vose Galleries, Boston, MACollection of Jacob L. Rosenthal, New York, NYPrivate Collection, New YorkEXHIBITEDSalon de la Societe nationale des beaux-arts, 1892, no. 683Museum of Fine Arts, Boston, MA 1920-1946LITERATURENew York Herald, March 29, 1892Doumic R. le Moniteur universel, May 5, 1892Fourtel Eugene, le Petit Marseillais, May 5, 1892les Petites Nouvelles, May 5, 1892Andre A. la France nouvelle, May 6, 1892Cardon E., le Moniteur des arts, May 6, 1892Correspondence Haras, May 6, 1892Fremine Ch., le Rappel, May 7, 1892l'Electeur, May 7, 1892Silvestre A. l'Echo de Paris, May 7, 1892De Fontissant M., le Telegraphe, May 9, 1892Dac H., le Monde, May 16, 1892Godin H., la Revue des Beaux-Arts, May 21, 1892l'Echo republicain, May 27, 1892De Gourcoff O., l'Avenir national, May 28, 1892Dalligny A., le Journal des arts, May 31, 1892le Phare de Dunkerque, June 10, 1892Talansier Ch., le Genie civil, July 2, 1892Furnel Ch., Revue moderne, September 10, 1892Hamel M. M., op cit., C 184, cat. No. 181Monique Le Pelley Fonteny, Leon Augustin Lhermitte: 1844-1925, Catalogue Raisonne, (Paris: Editions Cercle D`Art, 1991), p. 136, no. 160, illustrated LOT NOTESLeon Lhermitte spent the formative years of his life in rural northern France before moving to Paris at the age of 19 in 1863 to attend the Ecole des Beaux-Arts, and debuting at the salon the following year. He has been praised for his monumental and unsentimental treatment of the peasant life with which he himself was so familiar from an early age. Lhermitte at once showed the hard, daily toil of the rural working class and imbued his subjects with a sense of dignity so often lacking in the works of his predecessors. Lhermitte revisited the subject of women doing laundry on the banks of the Marne on several occasions, but this composition focusing on two young women at dusk is among his most striking. When Depart des Laveuses le Soir was shown in 1892 at the Salon exhibition of the new Societe nationale des beaux-arts it caused quite a stir, and in the catalogue raisonne Monique Le Pelley Fonteny has accrued an extensive list of reviews and mentions of the painting in contemporary publications. In the 20th century, the work continued to fascinate and inspire its audience during the decades it was at the Museum of Fine Arts in Boston.Ever since first seeing his work in the early 1880s, Vincent van Gogh was taken with the Lhermitte: “He`s a master of the figure. He`s able to do what he likes with it -- conceiving the whole neither from the color nor from the local tone, but rather proceeding from the light -- as Rembrandt did -- there`s something astonishingly masterly in everything he does -- in modeling, above all things, he utterly satisfies the demands of honesty.” (Letter to his brother Theo, September 2, 1885)In the dapples of soft pink on a robin egg blue sky, the reflections of the setting sun in the water highlighted with scrapes from the wooden end of the brush, and the delicate silhouette of the carefully modeled peasant woman`s profile shimmering in the twilight, one can sense Lhermitte`s attempt to create a synergy between the teaching of the academies and the play of light using unadulterated colors popularized by the Impressionists. The admiration heaped upon Lhermitte by the van Gogh brothers may have also contributed to the artist`s association with Boussod, Valadon & Cie, the prominent international gallery which signed an exclusive contract of representation with Lhermitte in 1887. Vincent van Gogh (the uncle of the painter) was a partner at the firm, and both of the brothers were at one point or another employed by the gallery, as well.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.

1998-2012 AD. A mixed group of auction and saleroom catalogues comprising: Apex Philatelic UK & World stamps 6 November 2011; Aureo & Calico 'Imagines Imperatorum' 8 February 2012; Bonhams 'Antiquities' 25 November 1998; Bonhams 'Islamic and Indian Art' 29 April 2004; Bonhams 'Medals, Bonds, Banknotes and Coins', 25 October 2005; Bonhams 'Prints' 30 September 2008; Bonhams 'Antiquities' 28 October 2009; Bonhams 'Old Master, Modern & Contemporary Prints' 13 July 2010; Bonhams 'Antiquities' 25 April 2012; Bonhams 'Islamic & Indian Art' 28 April 2012; Bonhams 'Antiquities' 23 May 2012; Bloomsbury 'Erotica' 21 November 2002; Bloomsbury 'Photographs, Oil Paintings, Watercolours, Drawings & Prints' 12 July 2007; Bloomsbury 'Modern and Contemporary Prints' 29 March 2012; Bloomsbury 'Important Books and Manuscripts' 29 November 2012; Christie's 'Asian Art' 15 September 2005; Christie's 'German and Austrian Art' 20 June 2006; CNG 'Classical Coins' 5 May 2010; Phillips 'Antiquities & Tribal Art' 11 December 2005; Sotheby's 'Library of Irwin Silver' 26 April 2005; Spink 'Orders, Decorations, Campaign Medals and Militaria' 27 April 2000; Spink 'Orders, Decorations, Campaign Medals and Militaria' 30 November 2000; Spink 'World Banknotes' 27-28 October 2011; Spink 'World Banknotes' 24-25 April 2012; Spink 'British and Irish Banknotes' 24 April 2012. 15.8 kg, up to 23x30 cm (9 x 11 3/4"). Ex Steinberg collection; acquired London art market, 1960s-1970s. [No Reserve, 25, No Reserve]

Sir Terry Frost R.A. (British) 1915 - 2003, framed abstract oil on board signed Terry Frost '77, 43.5cm x 79cm, After or by Frost. Prov. Part of the estate of a female contemporary who studied at Glasgow School of Art (1960's) and her father, also an artist (1930's to 50's).

THE RECEIPT BOOK OF A LADY OF THE REIGN OF QUEEN ANNE, Intro John Shirley-Fox, Hampshire, Azania Press, 1931, (250), 1st edn, orig green vell + MRS H M YOUNG (ed): LIEBIG COMPANY'S PRACTICAL COOKERY BOOK, L, 1894, orig cl bkd pict bds + CHARLES HERMAN SENN: POPULAR BREAKFAST DISHES AND SAVOURIES, L, Food and Cookery Publishing Agency [1908], orig pict wraps worn + MARTHA JANE LOFTIE: THE DINING ROOM, L, MacMillan 1878 1st edn, orig cl soiled, + THOMAS WALKER: ARISTOLOGY, OR THE ART OF DINING, L, 1881 1st edn, contemporary green cl gt, soiled, spine darkened (5)

WORLD COMMEMORATIVE MEDALS, Art Medals, Greece, Eleftherios Venizelos (1864-1936), Prime Minister and his Return to Power, 1928-1932, modern Gold Medal, bust right wearing cap, before Parliament building, rev legend and dates, 24ct, 11.89g, 28mm, prooflike surface, virtually mint state; with contemporary Silvered-Bronze ‘Souvenir’ Medalet of Venizelos, facing bust, rev anchor and flag, 23.5mm, suspension loop and ring, very fine. (2)

WORLD COMMEMORATIVE MEDALS, Art Medals, Italy, Matteo di Andrea de’ Pasti (active from 1441, died 1467/8), Sigismondo Pandolfo Malatesta, Lord of Rimini and Fano (1417-1432-1468), Bronze Medal, bust of Sigismondo left, wearing cuirass and surcoat, SIGISMONDVS PANDVLFVS DE MALATESTIS S RO ECLESIE C GENERALIS, rev view of the Castle of Rimini, CATELLVM SISMONDVM ARIMINENSE M CCCC XLVI, 82mm (Hill, Corpus 174; Kress 60; Pollard 27). A high quality contemporary cast, nearly extremely fine. ex Michael Hall Collection, Baldwin’s Auction 64, May 2010 lot 36

WORLD COMMEMORATIVE MEDALS, Art Medals, Italy, Gianfrancesco Enzola (active 1455-1478), Francesco I Sforza (1401-1466), 4th Duke of Milan and Galeazzo Maria Sforza (1444-1476), 5th Duke of Milan, cast Bronze Medal, 1459, bust of Francesco, rev bust of Galeazzo Maria, 42mm (Hill, Corpus 284; Arm I, 44/7; Kress 93; Pollard 136). A very fine contemporary cast with traces of acquisition number on obverse. ex Michael Hall Collection, Baldwin’s Auction 64, May 2010, lot 76

WORLD COMMEMORATIVE MEDALS, Art Medals, Poland, Danzig, Silver Nativity Medal, 1631, by Sebastian Dadler, Visit of the Three Kings, with Joseph left and Mary holding the infant Christ in centre, legend around in two lines, EIN REINER GLAVB …, rev date above legend in seven lines, the first letter of each of the first five lines spelling IESVS, 55.5mm, contemporary wide suspension loop (Wiecek 78; Maué 106). Very fine, has been cleaned.

WORLD COMMEMORATIVE MEDALS, Art Medals, United States of America and the Americas, USA, George Washington (1732-1799), President and General, Oval Portrait in White Glass Paste, in the style of William Tassie, his be-wigged bust left, the reverse incised “GW”, 39mm x 30mm, in plain gilt-metal frame with suspension loop. Much as made, good very fine and rare. Believed to be a memorial piece contemporary with Washington’s death.

Jack Russell MBE (20th/21st Century Contemporary) - 'Cheetah Storm', signed and bearing the copyright symbol, together with a further inscription verso, written in the artist's own hand, oil on canvas, 24" x 36" *The artist was an extremely successful English cricketer before turning to art and now has the Jack Russell Gallery situated in Chipping Sodbury, South Gloucestershire, his work hangs in many important collections and has been exhibited prolifically throughout Great Britain

Dame Elisabeth Frink CH DBE RA (1930-1993), 'Snowy Owl', a screen printed silk scarf, numbered 185/225, with Christie's Contemporary Art Certificate of Authentication, 88 x 88 cm (34 1/2 x 34 1/2 in)

* MURIEL BARCLAY, GENDER BALANCE oil on canvas, signed 76cm x 122cm Framed Label verso: The Contemporary Fine Art Gallery, Eton

* MURIEL BARCLAY, PUESTO DE SOL HABANERA oil on canvas, signed 86cm x 91cm Framed Label verso: The Contemporary Fine Art Gallery, Eton