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20th Century, Contemporary Art Collection Lot of three paintings: "Jump, Man in Cityscape with Dog, 1.2.3.4.." All encaustic oil on canvas. Jump: 14 x 12 1/2 inches. Man and 1.2.3.4: 12 1/2 x 13 inches. Indistinctly signed and dated verso: Takash Kamichi (?), 1884. Starting Bid: €120

Foan G. : The Art and Craft of Hairdressing, nd. C. 1930. Large qto. Maroon qtr. binding, gilt. "A standard and complete guide to the technique of modern hairdressing, manicure, massage and beauty culture." Profusely illustrated with line drawn plates and in text vignettes together with some photographs. A complete range of styles, female, male and children. Includes some illustrations of contemporary 'flapper' styles. Almost a cultural guide to 1930s society. CONDITION REPORT: Binding a little faded and marked o/w sound. Contents/textblock vg.

Foan G. : The Art and Craft of Hairdressing, nd. C. 1930. Large qto. Maroon qtr. binding, gilt. "A standard and complete guide to the technique of modern hairdressing, manicure, massage and beauty culture." Profusely illustrated with line drawn plates and in text vignettes together with some photographs. A complete range of styles, female, male and children. Includes some illustrations of contemporary 'flapper' styles. Almost a cultural guide to 1930s society. CONDITION REPORT: Binding a little faded and marked o/w sound. Contents/textblock vg.

Su Trembath, As They Blunder Blindly into Space We Were Only Collecting Butterflies, mixed media, inscribed and dated 1990 on a contemporary Art Society Market label verso, 105 x 80 cm (overall), and two oil paintings (3)

Walter Launt Palmer, N.A. (American, 1854-1932), "Fishing Boat on the Venetian Lagoon", watercolor laid down on board, signed lower left, 25 in. x 19 in., framed. Provenance: Estate of James Fenimore Cooper IV. Note: Son of the celebrated American sculptor Erasmus Dow Palmer (1817-1904), Walter Launt Palmer was born in Albany, and is well known for his evocative scenes of upstate New York in winter. At the age of nineteen, he accompanied his father on his first trip to Europe—to Paris in 1873-74, and returned to study painting there in 1876-77. Between these Parisian sojourns, Palmer worked in Venice using both oils and his typical watercolors. During this period, he painted a nearly identical version of the dramatic composition offered here in a smaller, horizontal format. "S. M. della Salute at Twilight" and "Piazzetta from the Bacino" were also painted on this extended visit. The wonderful "Fishing Boat" presented here recalls art historian Royal Cortissoz`s encomium of Palmer`s contemporary, William Bunce: "[his] characteristic design was composed of a long, horizontal line separating a tremulous lagoon from a vibrating sky, with a campanile or two lifted into the air and a…boat shrewdly placed…in the foreground. Out of these few materials he fashioned the most amazing opalescent effects." Launt Palmer`s composition here is even more persuasive than Bunce`s "Early Morning,Venice" in the Metropolitan Museum. Palmer`s watercolor strongly recalls parallel works by J.M.W. Turner, Edward Lear, John Inchbold, and Thomas Moran—who all painted these same decorated sails (still visible today in vintage Venetian photographs of the period). Palmer`s watercolor also recalls Renoir`s "Fog in Venice", whose water is handled in a closely analogous way. In sum, Palmer`s "Fishing Boat" is a tour-de-force that prefigures Whistler`s masterpiece "Scene on the Venetian Lagoon" by four years. Whistler`s painting presents not only the same panorama, perspective, and proportions that we see here in Launt Palmer, but even the same highly idiosyncratic cloud-strewn sky, scumbled to reveal a ground of brown wash.

Ira Upin (American, 20th c.), "No Escape", 1973, acrylic on canvas, signed and dated lower right, signed, dated and label with title en verso, 77 in. x 77 in., framed. Provenance: Collection of Artist Charles Fritchie. Note: Nationally acclaimed artist, Ira Upin participated in the 16th Annual "No Dead Artists National Juried Exhibition of Contemporary Art", Jonathan Ferrara Gallery, New Orleans, 2012.

[Art of England and Ireland Reference Books], 40 books including: Kidson, George Romney; Redgrave, A Century of British Painters; Redgrave, Dictionary of Artists of the English School; National Gallery of Ireland, Irish Watercolors and Drawings; Sparrow, British Sporting Artists; Ten Sotheby`s Auction Catalogues, 1980-84; Royal Academy Pictures, 1895; British Contemporary Artists, 1899; Waters, Dictionary of British Artists; The Index of Paintings Sold in the British Isles during the 19th Century, part 2; and others.

BILLY AL BENGSTON, AMERICAN b. 1934. `J.W.S. 6`, 1967, decorated with central double-chevron motif, polyester resin on aluminium. Inscribed `J.W.S 6` 1967` and signed Billy Al Bengston verso. PROVENANCE: Acquired by Michael Compton from the artist on a visit to California in 1968. This trip was funded by a Churchill Travelling Fellowship, which Compton used to gain firsthand knowledge of contemporary art in the USA. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. BILLY AL BENGSTON: (born 1934 in Dodge City, Kansas) is an American artist and sculptor who presently lives and works in Venice, California. When Compton visited him in 1968 Bengston was deeply involved in motorcycling and had discovered spray painting techniques. He encouraged viewers to associate his art with motorcycle subculture, notably by straddling a bike on the cover of the catalogue for a 1961 show at the Ferus Gallery. Included in this work is the double-chevron motif which he used in several of his works at this time. Bengston`s work is found in many public and private collections, including the Centre Georges Pompidou (Paris), Museum of Contemporary Art (Los Angeles), Museum of Modern Art (New York), and the Solomon R. Guggenheim Museum (New York). His first solo exhibition was at the Ferus Gallery in 1958. 9½ x 9in. (23 x 23cm) Pooling of resin to the top right hand corner, slight surface scratches and pitting of resin throughout. Small piece of resin damaged on the bottom edge.

SOL LEWITT, AMERICAN (1928-2007), paper folded into squares, 1971. Signed to bottom right square `Sol LeWitt London June 15 1971`. Lisson Gallery stamp and label verso, with No.7 written in pencil. PROVENANCE: Acquired from a 1973 Lisson Gallery exhibition, presumably from `Sol LeWitt: Lines through toward and to centre points` , May 1973, though the signature suggests that it was made at an earlier date. A similar example was sold at Christie`s Post-war & Contemporary Art auction on 17th April 2013. Compton visited exhibitions at the Lisson Gallery from its opening in 1967 and later met Sol LeWitt in New York. Sold with a copy of 1973 Lisson Gallery invoice. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. SOL LEWITT (1928-2007): Sol LeWitt was born 1928 in Connecticut to Eastern European immigrants. LeWitt received a BFA from Syracuse University in 1949 (where he made his first prints) and then was drafted in the Korean War in 1951. During his service, he made posters for the Special Services and spent time in Japan. In 1953, he moved to New York , where he studied at the Cartoonists and Illustrators School (now the School of Visual Arts). In 1960, he took an entry-level job at the Museum of Modern Art, where he met Dan Flavin, Robert Ryman, Lucy Lippard and Robert Mangold. Together, through the `Sixteen Americans` exhibition, they were introduced to the work of Jasper Johns and Frank Stella and Robert Rauschenberg. LeWitt was also interested in Russian Constructivism, with its engineering aesthetic and the idea of making utilitarian art in an industrialised age. LeWitt`s three dimensional structural works from the mid to late 1960s - such as Serial Project, Three Part Variations on Three Different Cubes, and hundreds of sculptures made of open white cubes - grew out of this interest in the serial. He applied the same system of permutations and variations in his prints, drawings on paper and drawings on the wall. Sol LeWitt executed his first wall drawing in 1968 at Paula Cooper Gallery in New York. Wall Drawing #1 emphasized the premise of the artwork over the final product. "I wasn`t really that interested in objects. I was interested in ideas." - SOL LEWITT. 21.70 x 4.10in. (55 x 10cm) Possible slight discolouration / sun damage throughout but very minor. Has been out of its frame. Fixed down in all four corners, back is plain. Slight rough edges, various creases around fold lines. Small dot (possible foxing) through the fourth segment top to bottom on the right hand side. Plain oak frame.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976), `Petite forme de Moules` 1969, Mussel shells, and dyed resin. IMPORTANT NOTICE: This work is entitled `Petite forme de Moules` 1969 in Maria Broodthaers` inventory of the artist`s work as can be seen in the inventory photograph. We are indebted to her for pointing out the mistake in the original sale description. The pan on which the work sat when it belonged to Michael Compton (formerly illustrated in this sale catalogue) is a separate item. It was added by him to make the work easier to display but was never part of Marcel Broodthaers` original and has been removed from the lot. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Similar examples were exhibited at the Tate Gallery Retrospective in 1980 which was curated by Michael Compton. These included `Poêle De Moules`, 1965; and `Moules sauce blanche` 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, pp.130/131). Underside of Mussels with label stamped `Broodthaers Estate` and numbered `40006` in red ink.This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson.MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints.Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows:"I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design.In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013.6.3" x 11" x 6"Some shellls damaged and pieces missing, see images§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976). `Tractatus logico-catalogicus` (L`Art ou l`art de vendre/ Art or the Art of Selling). Signed offset print, 1972. Edition 61/100. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Broodthaers made `Tractatus Logico-Catalogicus` in 1972 for a solo exhibition of the same name held at the Galerie MTL in Brussels. The work is based on the catalogue of a previous exhibition `L`Exposition à la galerie` held at the same gallery in 1970. At this earlier exhibition Broodthaers displayed files filled with papers relating to his earlier time as a poet including poems and other writings spanning over ten years of artistic output. The catalogue for the exhibition listed each page and arranged them into sections, it also described how the work was to be arranged in the gallery. For the 1972 exhibition Broodthaers focused even more on the role of the exhibition catalogue. He reprinted his 1970 catalogue, changing the cover dates but otherwise leaving as it was. He also produced the editioned print called `Tractatus Logico-Catalogicus - Art or the Art of Selling` which is created from negative images of the pages of this catalogue. Broodthaers used the original printing blocks in sheets ready to be folded and cut into book format, illustrated by the visible vertical bands to the margins bearing measurement markings that would ordinarily be cut off. In Broodthaers`s print the pages are not in order, with those on the upper register upside down. Broodthaers placed the first block in the middle so the central panel shows pages 1 and 2 upside down, and also pages 11 and 12 of the catalogue. The work`s title is influenced by the book `Tractatus Logico-Philosophicus` by German philosopher Ludwig Wittgenstein (1889-1951). In this book Wittgenstein proposed that the world is made up of facts and thoughts expressed through a logical structured language. These concepts appealed to Broodthaers, who developed interest in the relationship between words and images. A print from this edition was sold at Sothebys Paris in May 2007. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 26.40 x 60in. (67 x 152cm) Various small tears to the border underneath the frame mount. Staining and discolouration to border. No other damage found.§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976). Light box with Avion and Avis inscribed photographs/slides PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 7½ x 6 x 2.80in. (18 x 15 x 7cm) Appears to contain original battery, this has leaked inside. Have not had working. Slight wear to the outer case.§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976). Pair of green glass wine bottles with printed labels `Pluie` and ` Mer du Nord`. English translation: `Rain` and `North Sea`. With a negative image of the bottles labelled `Heini Schneebeli Photographer`. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. Mark and slight lifting to the Mer Du Nord label. Some slight discolouration to labels.§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976). Three magic slate boards mounted on grey card. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 13½ x 27in. (33 x 69cm) Each Panel 7.75" x 5.75", frame 13.5" x 27".Each Panel 7.75" x 5.75", frame 13.5" x 27". According to vendor the original images have been lost from the slates. § ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976). `Palette`, 1973-4, coloured pencils on prepared canvas board. Signed M.B. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Similar examples `Palette P` 1974, and `Le Motif` 1973 were exhibited at the Tate Gallery Retrospective in 1980 curated by Compton who was Head of Exhibitions there. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 14 x 10in. (36 x 25cm) Various marks to canvas. No other damage found § ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976). Handwritten note about Egg Sculptures written by Broodthaers in French, c.1966. English Translation: `I am returning to the matter, To the matter`s value I rediscover the tradition of the primitives I was born during the XV century Egg painting Egg painting sculpture Tiler Mr Nos? ?32424 Quote 5 and 6 hours Phone him` PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. The ideas written on this note were reflected in the work `I Return to Matter, I Rediscover the Tradition of the Primitives, Painting with Egg, Painting with Egg`, 1966 in the Tate, London (ref: T03089). This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 7.90 x 4.30in. (20 x 11cm) Slight creases, rough edges and slight discolouration to the paper§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976). Children`s stencilled play bricks a b c stencilled in black on a set on twelve childs play bricks in Dr. Pusscat on the Mouse B M Series box. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 2 x 7 x 5½in. (5 x 18 x 13cm) each brick 3.5cm x 3.5cmExtensive wear to the boxes and bricks. Each brick 3.5cm x 3.5cm § ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

§ MARCEL BROODTHAERS, BELGIAN (1924-1976). `Un Chateaubriand bien saignant pour deux` 1973. A rare chateaubriand for two. Stenciled (?) on un-primed/back of canvas. Unsigned, framed and glazed. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. Similar works are included in `Peintures` (Pictures), a 1973 work comprising nine canvases currently in the Tate collection. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. 43½ x 36in. (109 x 91cm) Test paintings to reverse of canvas.Test paintings to reverse of canvas. Has been out of frame, no damage found condition good.§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.

CHRIS MOUNCEY (CONTEMPORARY) VIEW OF LEEDS ART GALLERY, signed, dated 2001 lower left and inscribed Leeds lower right, bears label verso with title LEEDS VIEW V1, watercolour, framed and glazed, 14cm by 18cm

An Art Nouveau style walnut tripod stool contemporary, by Ugis and Juris Krievins, in the manner of Louis Marjorelle (French, 1859-1926), the triangular, black leather padded seat within a moulded frame, raised on three naturalistic swept and shaped legs, united by arched stretchers, on tapered peg feet, 18½in. (47cm.) high. See Illustration.

[MACKENZIE, Henry (1745-1831)]. The Man of Feeling. The Second Edition, Corrected. London: Printed for T. Cadell, 1771. 12mo (166 x 100mm). (Some light staining.) Contemporary speckled calf gilt (spine and extremities quite heavily rubbed, some scuffing). Provenance: Francis Enys (armorial bookplate); Dorothy Enys, Nov. 7th 1771 (signature at head of title). RARE. This edition printed in the same year as the first. A contemporary annotation on the front free endpaper states: "... [?]Eccles, a young Clergyman from [illegible place], who was unfortunately drowned in the Avon at Bath, Aug. 15 1777, in attempting to save the life of a Boy, was long considered as the Author." The Introduction outlines the supposed origin of the work: "a bundle of papers" left in a room by "a grave, oddish kind of man ... The country people called him The Ghost", which "the editor" acquired. "I found it a bundle of little episodes, put together without art, and of no importance on the whole, with something of nature and little else in them. I was a good deal affected with some very trifling passages in it; and had the name of a Marmontel, or a Richardson, been on the title-page - t`is odds that I should have wept: But [a gap in the text] One is ashamed to be pleased with the works of one knows not whom." A lengthy footnote explains why the novel begins at Chapter XI.

RACINET, Auguste (1825-93). Le Costume Historique. New York: Beranger Productions, 1920. 11 volumes, folio (388 x 278mm). 485 lithographed plates, of which 300 printed in colours. Contemporary or [?]original black half morocco gilt by Art Bookbinding Co. of New York, top edges gilt (spines faded). This is a reprint, using the original plates - the first chromolithographs to illustrate a work on fashion - of Racinet`s monumental work which was first published in Paris between 1876 and 1888. cf. Colas 2471; Vinet 2141. (11)

LANGLEY, Batty (1696-1751). The City and Country Builder`s and Workman`s Treasury of Designs or, The Art of Drawing, and Working The Ornamental Parts of Architecture. Illustrated, By upwards of Four Hundred Grand Designs. London: Printed by J. Ilive, for Thomas Langley, 1740. 4to (270 x 230mm). 186 fine engraved plates "proportioned by Aliquot Parts" (occasional light spotting and staining, some leaves detached, one plate detached and frayed). Contemporary calf (lacks covers, spine worn). Provenance: "To Master Thomas Ede`s [sic] from his friend & well wisher A. [?]Bonard, April 1790" (inscription on title). Whilst the plate count conforms to what is called for on the title page ("Finely Engraved on 186 large Quarto Plates"), there are 2 plates numbered CLXXXIV, each with different subjects. Sold as a collection of plates, not subject to return.

**A 140 BORE COMBINED D.B. PERCUSSION PISTOL AND DAGGER, CIRCA 1850, BASED ON THE FRENCH DUMONTHIER PATENT with tapering barrels fitted with a fullered blade between, a pair of moulded hammers also forming the left-hand side of the cross-guard, and fitted with a pair of wooden grips carved with foliage (one cracked the other extensively chipped), in a contemporary leather scabbard with brass chape, the top of the scabbard fitted with a loop for suspension, and brass tag numbered 1526 33cm; 13in Provenance George F. Harding Jr, Chicago, by 1939 Transferred to the Art Institute of Chicago, 1982, Acc. No. 1982.3358 See Lewerken 1989, pp. 232-3 nos. 57 and 58.

Five books, including The Beautiful Jumeau, F. Theriault; Purple Skies, Plum Delights, The Extraordinary Antique Doll Collection of Lucy Morgan (Theriault catalogue); Dolls Contemporary Works of Art, The French Artists by Theimer and Voinier and two more. (5)

A Contemporary Cast Bronze Modern Art Sculptural Chess Set. Each Piece Signed and Numbered. 660. King 24.5cm high.

Bernard Chaet (1924-2012), "War Ruins Toldeo", oil on canvas, labeled Boris Mirsky Gallery, Boston, Bertha Schaefer Gallery, New York, NY, and Institute of Contemporary Art, Boston, 31" x 18". Provenance: From the collection of late Yale University professor Bernard Chaet.

SIR WILLIAM QUILLER ORCHARDSON RA HRSA RP HRMS (SCOTTISH 1832 - 1910), THE PORTRAIT OF ALICE FAIRFAX RHODES oil on canvas, signed with initials 127cm x 101.6cm (50 x 40 inches) Gilt frame Note: a copy of the 1972 Scottish Arts Council touring exhibition catalogue accompanies this lot. The Artist: Sir William Quiller Orchardson was born in Edinburgh in 1832. He attended The Trustees` Academy from 1845 aged thirteen. By the age of sixteen, his first painting had been exhibited at The Royal Scottish Academy (Edinburgh). By the end of his career, he had been knighted, become a prominent Royal Academician, an Honorary member of the Royal Scottish Academy, a Chevalier of the Légion d`Honneur, and had been awarded an Honorary Doctorate of Law at Oxford University. By way of a memorial, a copy of the 1895 portrait bust by Edward Onslow Ford was acquired by public subscription for The Tate Gallery and a plaque was installed in the crypt of St Paul`s Cathedral. In 1862, Orchardson moved to London and quickly made a huge impact on the London art scene and the Royal Academy. Orchardson`s subject matter changed from Scottish scenes of historical everyday life, to literary themes from writers such as Sir Walter Scott, Charles Dickens and Harriet Beecher Stowe. He became famous for his portraits and period or contemporary set-pieces and shied away from landscape painting in favour of working from his studio. He developed his own unique style with a very thin application of paint in warm earthy shades on to a dry white ground that gives an overall yellow tone. He worked very carefully but with a quick application of the paint. Orchardson`s subjects were undemanding and their anecdotal elements were extraordinarily popular with Victorians who each year "flocked to the Royal Academy to see his paintings". He became more successful than any of his Scottish predecessors both in Britain and in France. His work was publicly admired by the Impressionist Edgar Degas (1834 - 1917) and in the early days, the American artist James Abbott McNeill Whistler (1834 - 1903) took it upon himself to raise Orchardson`s profile in England. Orchardson`s most famous paintings include "Napoleon on board the Bellerophon", (acquired for The National Collection by the Trustees of the Chantrey Bequest for Tate), "Voltaire" (National Galleries Scotland), "Mariage de Convenance" (Glasgow Museums & Galleries), "The Salon of Madame Récamier"; "After" ( the sequel to the "Mariage de Convenance"), "A Tender Chord", "Her First Dance" (Tate), "Master Baby" (National Galleries Scotland), "A Social Eddy" (Aberdeen) "The First Cloud" (Tate), "Her Mother`s Voice" (Tate), The Portrait of Lady Orchardson (The Barber Institute) and "The Young Duke" (Lady Lever Art Gallery) to which the Royal Academy hanging committee awarded the primary position in the entire 1889 RA Exhibition in preference to the principal offering of Frederic Lord Leighton, another great favourite of the day. Collections: More than one hundred of Orchardson`s paintings are held in UK National Collections including The Royal Collection, The Palace of Westminster, The UK Government Collection, The Tate, The National Gallery, The National Gallery of Scotland, The National Portrait Gallery, The Hunterian and at Glasgow, Aberdeen, Dundee, Ulster, Kirkcaldy, Liverpool, Manchester, Sheffield, Bolton, Paisley, Middlesborough, Nottingham, Birmingham and Southampton. Beyond the UK, The Musée d`Orsay (Paris), The Uffizi Museum (Florence), The Beaverbrook Gallery (Canada), The NGV (Australia), The Royal Museums (Belgium) and notable others hold examples of his work. The Painting: Although undated, is identical in size and of very similar composition, palette and style to "The Portrait of Mrs James T. Tullis" (Glasgow Museums & Galleries) which is dated 1896, the same year that Orchrdson was nominated for the Presidency of The Royal Academy. The Sitter: Miss Alice Fairfax Rhodes was the youngest daughter of Colonel Fairfax Rhodes of Brockhampton Park, Gloucestershire. Colonel Fairfax Rhodes was the only son of John Rhodes of Potternewton House, Leeds whose obituary describes him as having "one of the finest collections of paintings in the north of England". Fairfax Rhodes bequeathed his collection of rare books to The Cambridge Union which now reside in The Fairfax Rhodes Reading Room. The significance and value of the collection can be measured against the only two other individuals with named rooms within The Cambridge Union; Earl Mountbatten of Burma and former US President John F Kennedy. His only son John Fairfax Rhodes Lieut. Royal Scots Greys was killed in action in the Boer War on Feb 18th 1902.

CARLOS CRUZ-DIEZ (1923- ), VENEZUELEN PHYSICHROMIE NO. 520, 1970 Acrylic and laminated plastic on panel; signed, titled and dated “Juillet 1970” at “Paris” verso 24"" x 24"" — 61 x 61 cm. Provenance: Delamare & Cie. Paris; Pollock Gallery, Toronto from whom purchased by the present Private Collection, Toronto in the early 1970’s Note: Carlos Cruz-Diez is known as an influential contemporary master artist for his contribution to the theory and practice of colour, particularly in relation to physical movement. As a leader of the kinetic art movement that became an international phenomenon in the 1950s and 1960s, he was fascinated by the possibility of generating new visual experiences and a more interactive relationship with the viewer.   Cruz-Diez’s “Physichromie” series originated in 1959 and is considered his most important body of work. The term, coined by the artist, means “physical colour” and references the investigation of colour in time and space. When colours are placed in parallel strips and at right angles, their relationships are blended and transformed and the spectator’s viewpoint changes. An innovator of his time, Cruz-Diez was active at the heart of the movement in Paris and participated in the Denise Rene Gallery’s legendary exhibition series “Le Mouvement” (1955, 1964) that helped to popularize kinetic and op art both in Europe and internationally.

"‡JOHN PIPER R.A. (1903-1992) Foliate Heads, silk square, screen print,1984 design, numbered 175/225, published by Christies Contemporary Art, 32 x 32in (81.3 x 81.3cm)"

An Italian gilded glass vase with lion mask decoration, contemporary pot pourri, pocket watch, wall hanging and Art Nouveau study of a lady with harp, etc.

Collection of Vintage and contemporary enamel and silver jewelryincluding an early 20th century marcasite and sodalite brooch; Austro Hungarian mark 900 silver; two vintage enamel and sterling silver belt buckles; a detailed vintage open work silver brooch set with paste; an enamel sterling silver brooch maked, Champleve` sterling, robin mark and hand holding knife, early 20th century, American; an enamel sterling silver butterfly brooch marked Norway, JE; a blue topaz, turquoise, labradorite and silver pendant, Charles Albert; an enamel art deco lighter; a contemporary sterling silver and 18k yellow hinged bangle set with various colored sapphire, mother-of-pearl and black onyx inlay; an enamel and silver rouge and powder compact with mirror, 1 quarter 20th century, 2""; a silver chimera belt buckle, together with an engraved sterling silver bangle with British Hallmarks, total weight for the collection is 306.8 grams

A contemporary figure of a seated Art Deco lady with a seated dog.

AN ART NOUVEAU SILVER PLATED FIGURAL OIL LAMP BY JAMES HINKS in the form of a young woman in diaphanous drapery, a torch in her right hand, on swirling foot, maker`s fount and burner, 60cm h excluding contemporary etched green glass shade, marked HINKS, c1905 ++In good condition

A large contemporary art glass ""Fisheye Plate"" designed by Stuart Akroyd, signed. 45 cm diameter

A contemporary ceramic vase, decorated with Art Nouveau maidens, inset with glass liner, H. 40 cm.

A contemporary Art Deco style hall mirror, bevel plate glass panels, set in a bevelled black glass frame. H: 62cm L:152cm

Wesley van Eeden SECRET COUNTRY signed, dated 24/10/13 and enscribed with the title on the reverse mixed media on board Secret Country was completed over 3 days at the inaugural Cape Town Art Fair in October 2013. The work was conceptualized over 3 weeks and incorporates digital design and live painting - the final product being the result of a unique and contemporary application that has become popular with street artists worldwide. With van Eeden having experienced teaching in a disadvantaged school near Durban, he saw first-hand the problems that many of today`s youth face. Through this work he attempts to convey a message of hope; that no matter what situation which we find ourselves in, we can pull ourselves up and rise above it. Wesley van Eeden is a full-time artist and illustrator who works under the name `Resoborg`. He has a degree in illustration and has won numerous awards in the advertising industry. His work is housed in private collections globally. 1 270 by 90cm

Francis Elliot (contemporary British school), 'Cheshire Cat', contemporary street art style study after Disney's Alice in Wonderland, signed to stretcher, dated 08, acrylic and ink on plastic, H. 81 cm, W. 80 cm.

J W McCracken framed oil on canvas. Contemporary art, study of a nude female. Signed J W McC dated 72. 50cm x 40cm. Condition Report : Good condition.

Deborah Brown HRUA (b.1927) MAN SEA AND SKY, c.1951-1953 oil on board signed lower right; titled on original label on reverse 18 by 22in., 45 by 55cm. L Collection of Vincent Ferguson; Whyte`s, 18 November 2003, lot 63;Private collection Painted circa 1951-1953, Man Sea and Sky is an extremely early example of Deborah Brown`s work, predating her move into abstract painting and later sculpture. Born in Belfast, she enrolled at the Belfast College of Art in 1946, spending only twelve months there before switching to the National College of Art in Dublin. Upon completing her formal studies in 1950 she went to Paris for a year, absorbing the lessons of the Old Masters whilst simultaneously stimulated by contemporary trends in art. Upon returning to Belfast in 1951 she met with great success when the Arts Council of Northern Ireland gave her a solo show in their gallery at Donegall Place. Anne Crookshank has noted of Brown`s work of this period: her painting was still realist, if already notably simplified, and great attention was focused on the forms created by the brushstrokes"". (1)In this sense it was typical of much of the best work being produced in Belfast at the time by artists such as Basil Blackshaw and T. P. Flanagan, who in turn were influenced by the slightly older generation of artists who had styled themselves in the thirties as the Ulster Unit. Indeed, Man Sea and Sky bears comparison with both Blackshaw`s similarly titled Men, Sea and Moon of 1952, and with Daniel O`Neill and Colin Middleton`s work of the late forties and early fifties in which figures are pressed up close to the picture plane and brooding dark colours lend the scenes a poetic romanticism. 1 Deborah Brown: A Selected Exhibition of Works Completed Between 1947 - 1982, Arts Council of Northern Ireland, Belfast, 1982, unpaginated

Andy Warhol (USA, 1928-1987) BE A SOMEBODY WITH A BODY, 1985 synthetic polymer paint and silkscreen ink on canvas signed and dated on reverse; stamped by the Estate of Andy Warhol and by the Andy Warhol Foundation for the Visual Arts, Inc. and numbered [PA 10.614] on the reverse; also stamped by the Andy Warhol Art Authentication Board with an ID number [A157.0310] on the reverse 8 by 10in., 20 by 25cm. L The Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, Inc., New York;Private collection, New York;Christie`s, New York, Post-War and Contemporary Art, 9 May 2012, lot 270;Taylor Gallery, Belfast To be included in a forthcoming volume of The Andy Warhol Catalogue Raisonné, Paintings and Sculptures, ed., Georg Frei and Neil Printz, New York; New York, Museum of Modern Art, `Andy Warhol, A Retrospective, 1989`, exhibition catalogue, no. 436, p.386, illustrated (another example);Andy Warhol: Heaven and Hell Are Just One Breath Away! Late Paintings and Related Works, 1984-1986, Rizzoli, New York, 1992, a double Be a Somebody with a Body, illustrated p.60 and 61 (another example); Andy Warhol 365 Takes, The Andy Warhol Museum, Abrams, NY, 2004, (another example) illustrated in colour, p.97Germano Celant, Super Warhol, Skira/Grimaldi Forum Monaco, 2003, catalogue no. 248, p.485, illustrated (another example) Lots (116-170) are from the collection of The Taylor Gallery (in administration), Belfast. The Taylor Gallery was one of the leading art galleries in Northern Ireland and had established a reputation, not just for Irish paintings and sculpture, but also for works by international artists such as Andy Warhol, Damien Hirst, Joan Miró, and, more recently, in street artists such as Banksy. Andy Warhol is synonymous with Pop Art, consumerism and the cult of celebrity. Through the medium of silkscreen printing he reinforced the idea of manufactured beauty which he saw in everything from Campbell`s Soup cans to Coca Cola, Marilyn Monroe and Elvis Presley. In the 1980s Warhol returned to advertising as a source of inspiration. His earlier output of the 1960s pivoted on the promises of ad men from cheap magazines and resulted in works such as Before and After, 1961 which was the genesis of his obsession with image, physical beauty and later the cult of celebrity. The subject of the present work, Be a Somebody with a Body, uses the muscular image of a bodybuilder (sourced from an untraced ad) projected against a canvas. Warhol emphasises the message through the use of bold graphic text; a BODY makes you a SOMEBODY. The figure`s defined torso and confident pose is highlighted by a halo that radiates from his head; a detail that nods to another late series by the artist based on Leonardo da Vinci`s mural The Last Supper. In that series he isolated the figure of Jesus from his disciplines and transplanted him next to an image of a bodybuilder; the gospel according to Warhol.

Penny Hardy Blown Away Mild Steel Series 3 of 5 160cm.; 63ins high by 73cm.; 29ins wide by 70cm.; 27½ins deep Penny studied for a foundation degree at Chelsea School of Art, followed by an honours degree from Middlesex Polytechnic in Scientific Illustration. She has worked as a freelance illustrator for the Royal Botanic Gardens at Kew, and as a graphic designer before turning to sculpting full-time. Her dance figures express organic forms as tensile elements and are inspired by the dynamic forms of contemporary dancers. As in this figure, Blown Away, she uses the flexible, sinuous wrought mild steel to create the dancer’s raw and exposed movement as well as the blowing wind by leaving out a lot of mass within the sculpture in which a vision of movement is created.

WHITE, James. A Compendium of the Veterinary Art… the fourteenth edition. London: 1825. 4 vols., (175 x 107mm.) 25 engraved plates (1 folding, 4 coloured). (Some browning and soiling.) Contemporary calf (rubbed and scuffed).

BRACKEN, Henry. Farriery Improv’d: or, a Compleat Treatise upon the Art of Farriery. London: 1745-1743. Mixed edition, 2 vols., 8vo (162 x 95mm.) (Unidentified ink signatures to title-pages.) Contemporary speckled calf, spines gilt (slightly rubbed). – And two other volumes of related interest (4).

BERENGER, Richard. The History and Art of Horsemanship. London: 1771. 2 vols., 4to (264 x 205mm.) Frontispieces, 17 plates. (Some light offsetting or browning, 1 leaf torn with loss to margin.) Contemporary calf (extremities scuffed and rubbed, spines worn, stitching to vol. 2 slightly weak). Provenance: Paul Beilby Thompson (armorial bookplates).

KNIGHT, F. Vases and Ornaments. London: 1833. Vol. II., 8vo (319 x 246mm.) Engraved decorative title, 49 engraved plates. (Some damp-staining, spotting and browning.) Contemporary half-morocco (rebacked, extremities lightly scuffed, endpapers replaced). Provenance: Royal College of Art (label to front pastedown and blind stamp to title-page).

▲ William Mitchell: A GRP mural of the London to Brighton Veteran Car Run depicting a vintage car race 1970`s in four sections each panel measures 167cm.; 66in high by 122cm.; 48ins wide, overall width 488cm.; 192ins Divided into four panels modelled in high relief with various well known landmarks on the London to Brighton Veteran car Run, including St Pauls Cathedral, Nelsons column, the newly built Post Office Tower, opened in 1965, The Albert Memorial, and Brighton Pavilion, together with various vintage cars. William George Mitchell (b1925) is an English sculptor, artist and designer. From the 1950s, Mitchell produced work for a wide variety of clients. His initial appointment at the London County Council (LCC) allowed him to set up his own company in the early 1960s, a company which at one point employed over 40 skilled craftsmen and artists. Mitchell`s interest in experimentation, during the 1960`s and 70`s resulted in a wide range of projects including the use of contemporary construction materials such as GRP (Glass reinforced plastic) and GRC (Glass reinforced concrete) to create large scale panelled installations as in this example. In the 1980s Mitchell went to work in Qatar for the Royal Families designing and building both the Qatar Zoo and the extensive Doha Corniche waterfront promenade. He also worked for the BART (Bay Area Rapid Transit) in San Francisco, USA where he was responsible for designing and constructing many of the decorative panelling and sculptural installations at a number of stations across the system. The 1980s also saw Mitchell in Honolulu, Hawaii where he created the modelled surroundings of the Civic Square. Mitchell spent many years as artistic design adviser to Mohammed Al Fayed and was responsible for the overall design and for the carving and modelling of the panels for the Egyptian Hall and the Egyptian escalator at Harrods. Mitchell has been a member of the Design Advisory Board, Hammersmith College of Art, Trent Polytechnic, Formwork Advisory Committee and the Concrete Society, and is a regular on the construction lecture circuit, both in his home country and abroad (especially the USA), being described as a |Doyen of British muralists| at a presentation he gave in 2007 to the Tile and Ceramics Society. After long years of neglect, many of William Mitchell`s remaining works in the United Kingdom are now being recognised for their artistic merit and contemporary historic value, and many have been granted protected listed status.

Gibb (William). Naval & Military Trophies & Personal Relics of British Heroes, Descriptive Notes by Richard R. Holmes, John C. Nimmo, 1896, thirty-six chromolithograph plates, a.e.g., orig. publisherÕs gilt-decorated red cloth, a little rubbed and some marks, folio, together with Culver (Henry B.), Contemporary Scale Models of Vessels of the Seventeenth Century, being a collection of illustrations of authentic productions of the model makerÕs art ... Prepared for the Ship Model Society, New York, Payson & Clarke, 1926, sepia plates after photos, minor waterstain to extreme top margin towards rear of vol., original cloth-backed boards, rubbed and some soiling and damp marking, limited edition 133/1000, folio, plus Military Plans for the Marquis of Wellesley History of the Marhatta War, 1804, six mostly folding hand-coloured plans, including extra plan of the Battle of Delhi, original printed wrapper (defective), 4to, with others including Onori e Glorie, 3 vols., 1977-83 (limited edition of 1050) and The Absent-Minded Beggar, by Rudyard Kipling, 1899 (a carton)

A large contemporary monochromatic architectural poster 'Completion for the New Tribune Building', published by the Art Institute of Chicago, W. 71 cm, H.152 cm.

**AN AUSTRIAN HUNTING SWORD FOR AN IMPERIAL FORESTRY OFFICIAL, SECOND HALF OF THE 19TH CENTURY with tapering blade cut with a broad long fuller, etched on each face with scenes from the hunt including a figure in contemporary dress, trophies-of-arms, woodland landscapes filled with grazing deer and hounds in pursuit of foxes, the forte signed `Weyersberg & Stamm, Solingen`, brass hilt comprising down-turned shell-guard charged with the crowned Imperial arms enclosed by laurel fronds, quillon with deer hoof terminal (bent), knuckle-guard and brass-bound grip fitted with a pair of shaped bone grip-scales (cracked and chipped, retaining rivets incomplete), 63 cm; 24 3/4 in blade Provenance Angelo Peyron Florence, sold Savoy Art and Auction Galleries, New York, 5 November 1954, part of lot 515 JWHA Inv. No. 3500

**A COMPOSITE NORTH ITALIAN CORSLET WITH ETCHED DECORATION, PARTLY BY THE `MASTER OF THE CASTLE` OF MILAN, LATE 16TH CENTURY comprising morion with rounded one-piece crown rising to a high roped medial comb (perforated near the front), and `swept` integral brim rising to an acute point front and rear (the rear with a small welded repair, collar of two lames front and rear (the upper one in each case restored), breastplate formed of a main plate of deep `peascod` fashion, fitted at its arm-openings with moveable gussets (the right restored) and flanged outwards at its lower edge to receive an associated fauld of one lame and a pair of pendent tassets each of four lames (restored, the right damaged at its inner end), pair of large symmetrical pauldrons, each formed of six lames of which the lowest three extend inwards only to the armpit (both with patched repairs), two fully articulated tubular vambraces (not a pair), each fitted at its upper end with a turner of one lame (the left originally surmounted by at least one more), and at its elbow with a winged bracelet couter of three lames, and two gauntlets (not a pair) each formed of a flared and round-ended tubular cuff, four metacarpal-plates, a shaped knuckle and finger-plate, the main plate of a laterally hinged thumb-defence (restored) and a detached scaled defence for the second finger of the right gauntlet, the main edges of the armour formed almost throughout with file-roped inward turns, and its surfaces, except on the fauld and top of the collar, decorated with etching on a stippled and blackened ground (in part worn), that of the morion consisting of strapwork interlace occupied by trophies of arms, birds, fabulous beasts and human figures in both classical and contemporary dress, and that of the remainder consisting of bands and borders of trophies of arms generally enclosed by narrow bands of cabling and enclosing in the interspaces and volutes of the fronts and rears of the pauldrons, busts and full-length figures of classical warriors, and involving at the neck-opening of the breastplate the device of a two-towered castle; together with a pair of modern scaled chin-straps, each etched on a stippled and blackened ground with running foliage in the German fashion of the 16th century, and a pair of modern cuisses each of four lames, fitted at their lower ends with winged poleyns of four lames and etched with bands and borders of etching in the Italian fashion of the second half of the 16th century See note at front of catalogue for information concerning stands Provenance Victor A. Bachereau, Paris, Dr Bashford Dean, Riverdale, New York Edmund C. Converse, sold American Art Association, New York, 26 November 1927, lot 294, $4,300 (with horse armour) JWHA Inv. No. 406 Literature Stephen V. Grancsay, Catalogue of Armor: The John Woodman Higgins Armory, Worcester, 1961, p. 83, illustrated The device of a castle etched at the neck-opening of the breastplate represents the signature of one of the most important Milanese armourers of the late 16th century, know to scholars today as the `Master of the Castle`. It is possible that he, like his contemporary, Pompeo della Chiesa, was privileged to work in the Castello Sforzesco, residence of the Dukes of Milan. Other extant works bearing his signature include the fine garniture made for Wolf Dietrich von Raitenau, Prince Bishjop of Salzburg, probably after 1587, and now divided between the Bayerisches Nationalmuseum, Munich, the Wallace Collection, London, and the Hermitage Museum, St Petersburg, as well as various armours preserved in the Museo Civico L. Marzoli, Brescia, the Real Armeria, Turin, the Real Armeria, Madrid, the Musée de l`Armée, Paris, and the Wallace Collection, London (C. R. Beard, The Barberini and Some Allied Armours, pp. 1924, 11-12; K. Maurice, `Armour for an Archbishop`, Apollo, Vol. CXII, pp. 474-5; Norman, 1986, pp. 29, 32-3 & 36-7; and D. J. LaRocca, `A Notable Group of Late Sixteenth-Century Etched Italian Armour`, Journal of the Arms and Armour Society, Vol. XVI, no. 4, March 2000, pp. 181-97).

NUMISMATIC BOOKS, EUROPEAN MEDALS [Various Authors] Collection of 45 books and pamphlets relating to contemporary medallic art by authors such as Mark Jones, Philip Attwood, Sim Comfort and many others. Virtually all in card covers, all in good or very good condition. (45)

Samuel Burtis Baker (1882-1967) Viola with a Guitar Oil on canvas Signed lower right. Provenance: exhibited at the 1919 Corcoran Gallery of Art Washington DC Seventh Exhibition of Contemporary American Oil Paintings. Dimensions: h: 37 1/2 x w: 30 in.

David Baumforth (1942-), "Heavy Seas from the Marine Drive, Scarborough", initialled, mixed media, 59 x 120cm.; 23.25 x 47.25in. * David continually observes the North Sea and sky, the wild Yorkshire coastline and its hinterland. His work combines a contemporary viewpoint with the tradition of the Northern European Romantic Painters, capturing the elemental power of nature. He is uncompromising in his pursuit of nature`s passion. He is a nationally and internationally respected painter and has exhibited widely in both one-man and group shows, including The Summer Show at The Royal Academy, The Royal Watercolour Society Open and The Hunting Prizes at The Royal College of Art. Prize winner in the Not the Turner Prize 2003.

Hunt Slonem (American/Louisiana, b. 1951), "St. Martin de Porres", 1983, oil on canvas, signed and dated en verso, 72 in. x 24 in., unframed. Note: St. Martin de Porres (1579-1639) is the patron saint of mixed races and interracial peace. Born in Peru to a freed slave from Panama and a Spanish nobleman, de Porres became one of the first men of multiracial descent to be ordained as a Dominican brother. He is often depicted with a broom, because he worked his way up from a donado, "a volunteer who performed menial tasks in the friary", like sweeping the floor, to one of the most respected members of the clergy. In 1962, de Porres was canonized for the devout life he lived, caring for indigent people and animals, regardless of race and species. De Porres is the most commonly portrayed saint in Hunt Slonem`s works. In 1983, he painted a series of paintings that depict the saint in a blue vestment with a broom, surrounded by exotic flora and fauna. Two of those paintings, which closely resemble the one offered here, are in the permanent collections of the Metropolitan Museum of Art, NY and Newark Museum, NJ. For more information on the symbolism of birds and animals in Slonem`s oeuvre, please see lot 548. References: Craughwell, Thomas J., "Patron Saints for Modern Challenges." St. Anthony Messenger. American Catholic Organization. Web. Accessed April 2, 2014; Dinnerman, Barbara. "Winged Victory:Hunt Slonem`s Own Jungle Inspires His Flight of Fancy." Art and Antiques 25:11 (Dec. 2002): p. 68-70; Yau, John. The New Response: Contemporary Painters of the Hudson River. Albany: Albany Instiute of History and Art, 1985, p.72.

The Mary Lawrence Carved and Painted Oak "Hadley" Chest, c. 1708, Hatfield, Hampshire County, Massachusetts, façade with tulip flower and leaf design, central panel with the initials "ML" under a heart, later hinged lid inscribed "AOS 1844", pine secondary wood, height 34 in., width 47 3/4 in., depth 20 3/4 in.; accompanied by a copy of The Hadley Chest by Clair Franklin Luther, 1935, Copy no.459. Provenance: Probably made for the 1708 marriage of Mary Lawrence (1688-1713) and John Allis Jr. (1682-1773). Acquired by James Fenimore Cooper (1858-1938) before 1929; thence by descent within the Cooper family, to James Fenimore Cooper IV. Published: Luther, Clair Franklin, The Hadley Chest (Hartford: 1935), p.138, no.47; Kane, Patricia E., "The Seventeenth-Century Furniture of the Connecticut Valley: The Hadley Chest Reappraised," in Ian M. G. Quimby, ed. Arts of the Anglo-American Community in the Seventeenth Century (The Henry Francis DuPont Winterthur Museum: 1975), pg. 119, no.126. Note: In 1883, pioneer collector Henry Wood Erving purchased an early American joined and carved chest out of a house in Hadley, Massachusetts, and ever since, this group of related chests has been referred to as Hadley chests. To date, there are over 250 pieces of related joined furniture that survive from this area of Western Massachusetts-stretching from Enfield to Northfield-along the Connecticut River. i In 1935, the present chest was recorded in the first comprehensive study of the form by Reverend Clair Franklin Luther, who used genealogical records in an attempt to match the initials carved into the fronts of the chests to contemporary local women`s birth and marriage records. Dr. Luther identified Mary Lawrence (1682-1713), who married John Allis Jr. (1682-1773) in 1708, as the original owner of this chest. This early provenance is strengthened by the survival of an almost identical chest, carved with the initials "RA," that descended in the family of Rebecca Allis (Ichabod and John Jr.`s sister) and her husband Nathaniel Graves (fig 1). That chest was given to the Memorial Hall Museum in Deerfield, Massachusetts in 1887 by Chester Graves Crafts, Rebecca and Nathaniel`s great-grandson.ii Both chests feature identical overall design of flat tulip flowers with leaves and scrolls, what Patricia Kane termed "the Hadley Motif,"iii repeated five to a row on the drawer front and medial rail and four at the top of the chest, leaving the area surrounding the lock uncarved. The same pattern templates were used on both chests, which is most evident in the carving surrounding the central incised tulip motif on the drawer front and medial rails. Additionally, the bottom rail of both chests is narrower than on other Hadley chests and unusually carved with a pattern of reverse C-scrolls separated by gouge marks. There are subtle differences in the incised scrolling and the placement and number of gouge marks throughout both chests, particularly around the flat tulip heads. The ML chest does not have gouge marks decorating the tulip heads as the RA chest does. In 1975, Patricia Kane categorized the known 126 Hadley chests into six distinct groups by related style and carving. She assigned the RA chest to subcategory C, "Crescent-shaped gouge carvings on both tulips and leaves," of minor group 5, called the Scribed Line Type, which included a total of six related chests. The ML chest, which had previously been in group 8, "Unidentified Hadley Chests," should be moved to group 5 subcategory B "Crescent-shaped gouge carving on the leaves".iv Both chests have flat leaf and tulip carved decoration that was laid out with templates and the designs on each rail confined within incised borders, an unusual feature on Hadley chests that these two related chests share with another Hadley chest with the initials HA, possibly for Hannah Allis, Rebecca`s sister, who married John Broughton Jr. in 1691.v Though free-hand carving is liberally sprinkled throughout the panels, there is no free-hand carving across the joints on any of the three chests as there is on other Hadley-type chests. The rails and panels were designed, carved, and painted before the chest was assembled and the stippling in the carved areas unified the design as well as hid the tool marks.vi The ML chest has the typical construction that is found in most Hadley chests. The four stiles have five sides and the framing members are all chamfered. The upper back board is framed into place, and a lower backboard, typically covering the drawer cavity, is missing here, perhaps removed when the drawer was repaired. The bottom of the chest compartment is comprised of three pine boards, with grain running from front-to-back, while the drawer bottom is constructed with two boards joined by a lap joint with the grain running from side-to-side. The drawers are side-hung, with a single large dovetail joining the drawer sides to the drawer façade. The groove in the drawer sides and its relationship to the single large dovetail varies from chest to chest; in this particular example, the dovetail is just above the groove. The "ML" chest was most likely made as a engagement or wedding present for Mary Lawrence and might have carried her dowry to her new life, just as chests have done throughout ages and cultures. The heart and tulip motif are both symbols of love, and the tree of life motif carved and incised into each inset panel is symbolic of fertility and longevity. The strong provenance of the RA chest, together with the shared templates and free-hand decoration on the two chests suggest that they were made by the same hand. John Jr., his brother Ichabod and his father, John Sr., have long been known as joiners who made these types of chests and it is tempting to speculate that either Ichabod, John Jr., or both, were the craftsmen who made these chests. At the time of Dr. Luther`s study, the ML chest was owned by James Fenimore Cooper (1858-1938), grandson of the author and great-grandson of the founder of Cooperstown, NY, where this chest was purportedly found in an old farm house. The top, a later addition, is painted with the initials AOS and the date 1844. Neal Auction Company would like to thank Seth A. Thayer Jr. for his invaluable assistance with this catalogue entry. References: i. Safford, Frances G. American Furniture in the Metropolitan Museum of Art: 1. Early Colonial Period: The Seventeenth Century and William and Mary Styles (Metropolitan Museum of Art, New York: 2007) p. 227. ii. Zea, Phillip and Suzanne Flynt, Hadley Chests (Pucumtuck Valley Memorial Association, Deerfield, MA: 1992), p. 10, cover and title page. iii. Kane, Patricia E., "The Seventeenth-Century Furniture of the Connecticut Valley: The Hadley Chest Reappraised," in Ian M. G. Quimby, ed. Arts of the Anglo-American Community in the Seventeenth Century (The Henry Francis DuPont Winterthur Museum: 1975), p.85. iv. Ibid, pp. 116-119 v. The HA chest is in the Wadsworth Atheneum Collection. Though the free-hand carving appears to be by another hand, the same templates may have been used to carve this chest as well. Patricia Kane assigned this chest to Group 5, subcategory C. Correspondence with Alyce Englund, the Richard Koopman Associate Curator of American Decorative Arts, Wadsworth Atheneum Museum of Art, March 18, 2014. vi. Zea, p.13.

Cast Metal Lamp Base in the Art Nouveau Style with daffodil decoration to the base together with a contemporary lamp base with a beige shade. (2)

A Pablo Picasso Bulls, Suns, Foliage pattern screen-printed silk square panel, designed in 1950 and produced by Ascher Ltd for the Institute of Contemporary Art, London, printed artist`s mark and date `15.11.50`, approx 80cm x 80cm (lacking manufacturer`s label to hem). Note: Picasso created the original drawing for the Institute of Contemporary Arts, where a limited edition of 100 scarves were produced for sale, at a price of five guineas each. The original drawing was sketched into the ICA visitors book and was the basis for an edition of 100 prints on paper and for the cover of the 1951 ICA exhibition of Picasso drawings.

Douglas Simpson (Contemporary) 'Landscape' Mixed media, signed bottom left, label verso Hanover Fine Art