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Lundberg Studios Cabinet vase tog. w/Unsigned Contemporary Art Glass Vase Lundberg Studios Cabinet vase tog. w/Unsigned Contemporary Art Glass Vase. Sgn. Lundberg Studios 1979. Ht. 3" & Ht. 7" Excellent. Starting Price: $100

*† JACK VETTRIANO O.B.E. (Scottish, b.1951) STUDIO AFTERNOON Signed, oil on canvas, 76 x 61cm (30 x 24") Literature: Jack Vettriano, by Anthony Quinn published by Pavilion, 2004, illustrated Pg. 160 (†) Denotes VAT on the hammer price Born in Fife, Scotland in 1951 Jack Vettriano is one of the most significant figures in British Contemporary Art. Early works, submitted to The Royal Scottish Academy`s Annual Exhibition in 1989 and the Royal Academy`s Summer Exhibition in 1990 were an immediate sell out. Jack Vettriano`s works had captured the imagination and the spirit of the times. Over the last 20 years, interest in Vettriano`s work has grown consistently, with sell-out solo exhibitions in many major cities including London, New York, Johannesburg and Hong Kong. In November 1999 work was shown for the first time in New York, when 21 of his paintings were displayed at The International 20th Century Arts fair at The Armoury. International collectors flew out for the Event and all 21 paintings were sold on the opening night. Prestigious public figures and institutions have commissioned Vettriano`s work. In 1996 Sir Terence Conran commissioned a series of paintings, inspired by Sir Malcolm Campbell, to be hung in his new Bluebird Club in London. These "Bluebird Paintings" subsequently sold for more than £1m. Vettriano has studios in London, Scotland and Nice and counts, Jack Nicholson, Sir Alex Ferguson, Sir Tim Rice and Robbie Coltrane amongst his collectors. Formula One Legend Sir Jackie Stewart includes, in his private collection, a triptych by Vettriano entitled Tension, Timing, Triumph- Monaco 1971. In 2004 Jack Vettriano was presented with the OBE for services to the Visual Arts and was the subject of a South Bank documentary entitled "Jack Vettriano: The People`s Painter". In 2010 he was presented with the Great Scot of The Year Award. The Singing Butler" sold for £744,500, making a record price for any Scottish painting sold at auction. This iconic work is included in the major Retrospective Exhibition of Vettriano`s work in Glasgow`s Kelvingrove Art Gallery and Museum ( 21 September 2013- 21 February 2014) www.jackvettriano.com/retrospective. This comprehensive retrospective brings together more than 100 works from private collections around the world, many on public display for the first time and includes key works such as Dance Me To The End Of Love, Mad Dogs, Bluebird at Bonneville and Billy Boys. The record breaking attendance of visitors to Kelvingrove during this Exhibition illustrates the importance of Jack Vettriano`s work to contemporary culture.

Lillian Budd Modern World screenprint and acrylic on paper, two found lamps with assorted bulbs, found extension cord and resin-coated copy of Damned Shall be Desire by Stephen Coulter affixed to found stand National Art Gallery, Wellington, New Zealand Museum Contemporary Art, Sydney, Australia: Touring Exhibition label attached to base of found lamp 2400mm x 2000mm x 3000mm overall Acquired by the present owner from Gregory Flint Gallery, 1992. Formerly in the collection of Budd Holdings (NZ) Ltd, Auckland Headlands: Thinking through New Zealand Art, Museum of Contemporary Art, Sydney, Australia, 1992 Barr, Mary (ed.), Headlands: Thinking Through New Zealand Art, Museum of Contemporary Art: Sydney, 1992, p. 78

SHAKESPEARE, William - The Complete Works : 9 vol. set, contemporary art nouveau style quarter vellum, 12mo, The World`s Classics, 1910-11.

AN ART DECO SILVER EGG CUP AND A CONTEMPORARY SPOON, BOTH BIRMINGHAM, 1940 AND `41 AND A CHILDS SILVER SPOON AND PUSHER, BOTH CASED, 4 OZS

India and the Punjab An 1861 catalogue^ titled ‘CATALOGUE des OBJETS D`ART et de CURIOSITE^ composant la célèbre collection DU PRINCE SOLTYKOFF’^ Vendu à DROUOT en 1861. Bound in original half leather^ with contemporary inscription and prices realised written in ink beside the lots details. Extensive collection of the Prince Pierre Soltykoff of medieval objects were eliminated in a sale in Paris in 1861^ from which the Museum acquired some of its most important medieval objects as the Gloucester candlestick. Prince Pierre Soltykoff was the grandson of the count^ later Prince^ Nicolas Soltykoff^ president of the Council of Ministers of the Tsar Alexander^ he came to Paris in 1840 where he assembled a vast collection of medieval treasures^ which he housed in two hotels built specifically for this purpose. The Collection of medieval art of Soltykov was the most famous collection of its kind and armor composed^ glass^ enamels^ watches^ ivories^ manuscripts and other parts. He travelled to Punjab^ India through Persia and Afghanistan^ visiting the Princely Royal Courts including that of the Sikh King^ Maharajah Sher Singh at Lahore^ on which he published his travel accounts. In 1861^ 1109 lots were sold at auction at Hotel Drouot^ 26 lots that were purchased by John Webb and offered to the South Kensington Museum^ including Phillips hunting (7650-1861)^ known as the reliquary Eltenberg and is considered the star of the entire collection^ and the lampstand of Gloucester (7649-1861).

A miscellaneous selection of silver plated ware and ceramics to include a good quality plated dish on pedestal foot with heavily embossed floral detail to the border, a contemporary plated drinks tray with leather strap handles, various other sundry plated items together with an Art Glass dish of shallow form with applied handle in the form of a swan`s face and neck, a Studio ware vase of squat bulbous form with flared rim, a Studio ware jug of ribbed moulded form, indistinctly signed to the base, etc

RAWLINGS. Framed, signed, oil on canvas, Contemporary scene, horseracing scene showing riders at the peak of the race, titled on stretcher verso, `The Final Furlong`, 59.5cm x 74.5cm. See certificate of valuation from Charles Phillips Fine Art Auctioneers and Diamond Merchants.

[ART & DESIGN]. Rudoe, Judy. Decorative Arts 1850-1950. A Catalogue of the British Museum Collection, revised edition, British Museum Press, London, 1994, soft covers, colour and black and white plate illustrations, quarto; Garner, Philippe, editor. Phaidon Encyclopedia of Decorative Arts 1890-1940, first edition, Phaidon, Oxford, 1978, boards, dustjacket, colour and black and white illstrations throughout, quarto; Garner, Philippe. The Contemporary Decorative Arts from 1940 to the Present Day, first edition, Phaidon, Oxford, 1980, boards, dustjacket, quarto; and a further fifteen assorted works, (18).

* Goyo Dominguez (Spanish, b1960) ``Ella Inventa la Cuidad`` 1999 a large and important Oil on Panel, signed lower right, annotated and dated verso, silver gilt framed, 113 cms x 145 cms, Provenance: Exhibited at The Albermarle Gallery, London. Goyo Dominguez spent his formative years studying for the priesthood, his evident artistic talent was discovered and nurtured with important commissions to follow in Spanish Ecclesiastical Buildings and The Vatican in Rome, Italy. Dominguez eventually sacrificed his vocation as a priest to devote himself entirely to painting and at the age of twenty five studied Fine Arts at Madrid`s Complutense University. Dominguez was fascinated with the works of the 16th and 17th century old masters and it was those works of art which inspired his compositions resulting in the intriguing contemporary fusion of The Renaissance and the Classical World.

PERKINS (W) A TREATISE ON THE ART OF LIVINGWELL WITH A SALVE FOR A SICKE MAN, TWO TREATISES., A DIRECTION FOR THE GOVERNMENT OF THE TONGUE., A GRAINE OF MUSTARD-SEEDE: OR, THE LEST MEASURE OF GRACE AND A DECLARATION OF THE TRUE MANNER OF KNOWING CHRIST CRUCIFIED six works in one volume, titles, wanting the first, contemporary calf (11.5 x 7cm), wanting upper board, Cambridge: J Legatt, 1625, waf

Iwao Akiyama (Japanese contemporary school, b. 1921), 'Yasei (Wild Nature)', folk art study of a roaring animal, signed lower right and dated 1973, edition 17/200, woodblock print on paper, W. 36 cm, H. 20 cm.

REEVES, John. The Art of Farriery. London: 1758. 8vo (200 x 131mm.) 3 engraved plates (1 folding) only (of 4). (Some spotting and browning Q7 & Q8 torn with loss.) Contemporary calf (chipped at head of spine, lower cover worn). – And a quantity of others (a quantity).

THE STUDIO. The Studio, an Illustrated Magazine of Fine & Applied Art. London: [1902-1907.] 12 vols. various, 8vo (290 x 210mm.) Plates and illustrations. Contemporary limp cloth, each with one original wrapper bound-in. – And one other volume (13).

Walter Frederick Osborne RHA ROI (1859-1903) SUNSHINE AND SHADOW, [LA RUE DE L`APPORT], DINAN, 1883 oil on canvas signed and dated lower left; signed again in pencil on stretcher on reverse; with Spence`s Fine Art Gallery [Sackville St., Dublin] label on reverse 17.5 by 13.5in., 43.75 by 33.75cm. P RHA, Dublin;Private collection;Christie`s, London, 9 May 1996, lot 69 as La Rue de l`Apport, Dinanwith Cynthia O`Connor Gallery, Dublin;Private collection RHA, Dublin, 1884, catalogue no. 333 [£21-0-0];Irish Paintings for the 31st Antique Dealers Fair, RDS, Dublin, 26-29 September 1996, catalogue no. 5 as as La Rue de l`Apport, Dinan (illustrated) Sheehy, Jeanne, Walter Osborne, Gifford & Craven, Ballycotton, Cork, 1974, p.115, catalogue no. 76 (listed);Campbell, J. Peintres Irlandais en Bretagne, Musée de Pont Aven, 1999, p.48 Lovers of Irish art may feel a sense of familiarity with his picture by Walter Osborne, even if they have not seen it before, or visited Dinan in Brittany. For it shows the same motif: gateway at Dinan which is featured in the much -admired painting The Hôtel Beaumanoir`s Portal, Dinan, 1883 also known as Old Convent Gate, Dinan, 1883, by Osborne`s contemporary Joseph Malachy Kavanagh, in the National Gallery of Ireland (NGI. 1194).The medieval walled town of Dinan in the district Cote d`Eméraude in the north of Brittany, was often the first port-of-call for Irish and English visitors to the Continent, quite easily accessible by ferry from Southampton to St. Malo, and then by local steamer down the River Rance. Strategically situated on a hill above the river, Dinan was a picturesque medieval town encircled by a stout wall, notable for the port, the imposing St. Servan Church, the Tour d`Horloge dating form the 15th Century, and the Jardin Anglais; as well as for its cobbled squares and streets, stone entrance gates, and stone bridges. There was a long-established English colony there, and throughout the 19th Century, Dinan attracted many artists, including Dagnan and Stanfield in the Romantic period, the Pre-Raphaelites Seddon and Boyce, History painters Ward and Lady Elizabeth Butler, and French Realists Corot and Bonvin. Shortly before Osborne`s visit the old stone Porte de Brest had been demolished. Of more significance to Walter Osborne was the fact that young English contemporaries, such as Ralph Todd, Blandford Fletcher, William Breakspeare and Edwin Harris (some of them students in Antwerp) had painted in Dinan c.1879-80. After completing their studies in Antwerp Osborne and Kavanagh travelled to Brittany in spring or early summer 1883. In spite of the town`s historic sites Osborne preferred the more quiet or secluded corners of Dinan, for example the narrow Rue de l`Apport leading from the Place des Merciers, and the Rue du Jerzual, which led downhill to the port. The large gateway (entitled Old Convent Gate in Kavanagh`s picture) is situated on the Rue de l`Apport, the Renaissance portal to the Hôtel Beaumanoir, built in the 15th Century. Rather than showing the gate from outside, bathed in sunlight, the artist represents it from inside and largely in shadow. Framed by the gateway, an elderly street cleaner with a long-handled twig broom pauses from his work, standing in reflection, or looking at the viewer. He wears the plain costume of the Dinan worker: wide-brimmed hat, blue jacket, faded trousers and wooden clogs. The painting is a fine piece of Social Realism. Yet the man stands in shadow, and Osborne`s attention is given as much to the architectural features of the scene, and contrast of sunlight and shadow, as to the human presence. Although small in scale, the picture is well constructed, and painted with a kind of rapturous verisimilitude. Osborne was attracted by the variety of rough textures: old stone, weathered wood, cobbles, slates, tiles, grass and foliage, on which sunlight falls. He shows the imposing gateway with its latticed upper area through which the sun pierces. The gate and the workman`s hut appear in a state of neglect, the timberwork battered, and weeds growing. (Behind the artist was a small square in which the manor was situated, while the top of the gate`s exterior was decorated by a religious statue and curling fish motifs). Warm sunlight in the street begins to enter through the arch, falling on the woodwork and cobbles and along the top of the gate. The area of sunlight at the top right is balanced by a small section of blue sky in the top left corner. The fruit or vegetable stall outside the gate is in shadow, but the sturdy stone house captures the sunlight. Osborne even observed such details as the plaque bearing the name of the street, Rue de l`Apport, and a globe-like glass lamp hanging from the gate.Osborne enjoyed working in the company of fellow-artists, and the close similarity of his painting with Kavanagh`s suggests that the two artists were painting in Dinan together. However, Kavanagh`s picture is larger in scale, and his viewpoint further back in the square. The man is viewed from behind, and sunshine enters the square more fully, suffusing the cobble stones with warmth. And the little glass globe is omitted from Kavanagh`s picture.In one of Osborne`s sketchbooks in the National Gallery is a tiny pencil drawing of his painting (NGI no. 19, 201 facing p.3, iv), entitled Sunshine and Shadow. This, surprisingly, may be the title of the picture, rather than Rue de l`Apport whose name he identifies in the street sign in the painting. Both pictures were exhibited at the RHA in 1884, along with several other Breton works. (Sunshine and Shadow, along with later titles such as Light and Shade, indicate Osborne`s plein-air as well as topographical preoccupations). There is a small black and white photograph of the exterior of the gate, La Porte du Couvent, in Osborne`s photographic album in the National Gallery (NGI, CSIA). The arch appears to have a grill with an open doorway in it. Osborne`s painting has an important historical significance, for it shows the house outside the gate as it was in 1883. It was later destroyed (perhaps during World War II), and a fine handsome, traditionally-styled house built on its site. However, the ancient Hôtel de Beaumanoir with its fine doorway, staircase and gate, has been beautifully restored. Dr Julian CampbellJanuary 2014

Helen Sinclair (British, b.1954) DOO WAH DIDDY, 2002 bronze and steel; (no. 3 from an edition of 3) signed with initials [H.S.] and with edition number at base, rear 181.25 by 132.5 by 14.5in., 181.25 by 132.5 by 36.25cm. P Dimensions of base, 11.5 by 51.5 by 3.5ins. A copy of the artist`s certificate accompanies this work.Helen Sinclair studied sculpture at Wimbledon School of Art (1972-1976). She has been a full-time sculptor since 1988. The human figure is her principal source of inspiration. Stylistically her work is influenced by sculptural forms and mythology of ancient civilisations as well as the Renaissance sculptors and the more contemporary artists such as Giacometti.Sinclair exhibits widely in the United Kingdom and her work can be found in private collections in the UK, Ireland, Europe and internationally. Among her most prestigious clients are Lord Melvyn Bragg, chef Gary Rhodes, singer Bonnie Tyler, actors Sheila Hancock and Arnold Schwarzenegger. Helen Sinclair is married to fellow sculptor Terry Ryall. They live and work in the Gower Peninsula in South Wales.The title of this work is thought to reference the song, Do Wah Diddy Diddy, written in 1963 by Jeff Barry and Ellie Greenwich, which was a hit for British group, Manfred Mann in 1964.

Helen Sinclair (British, b.1954) PERCHANCE TO DREAM (2) bronze; (no. 3 from an edition of 7) signed with initials [H.S.] and with edition number at rear 150 by 68.75 by 12in., 150 by 68.75 by 30cm. P A copy of the artist`s certificate accompanies this work.Helen Sinclair studied sculpture at Wimbledon School of Art (1972- 1976). She has been a full-time sculptor since 1988. The human figure is her principal source of inspiration. Stylistically her work is influenced by sculptural forms and mythology of ancient civilisations as well as the Renaissance sculptors and the more contemporary artists such as Giacometti.Sinclair exhibits widely in the United Kingdom and her work can be found in private collections in the UK, Ireland, Europe and internationally. Among her most prestigious clients are Lord Melvyn Bragg, Chef Gary Rhodes, singer Bonnie Tyler, actors Sheila Hancock and Arnold Schwarzenegger. Helen Sinclair is married to fellow sculptor Terry Ryall. They live and work in the Gower Peninsula in South Wales.

A collection of contemporary carved African tribal art including an elephant, stool, shield etc.

Joshua Charles Armitage "Ionicus" (1913-98), "Now Squeeze, Don`t Pull", signed, titled and dated `April 7th, 1954` in the margin, with exhibition label - `Art Exhibitions Bureau - Contemporary British Illustrators` on verso, ink and watercolour, 46.5 x 33.5cm.; 18.25 x 13.25in. Artists` Resale Right ("droit de suite") may apply to this lot. Condition report: see terms and conditions.

A set of four contemporary "orangebox" tub chairs in the Art Deco style in tones of cream and green upholstered finish

A VICTORIAN BRASS COMPOUND MICROSCOPE WITH VARIOUS ACCESSORIES, IN A FITTED MAHOGANY BOX AND A COLLECTION OF APPROX 65 CONTEMPORARY GLASS MICROSCOPE SLIDES INCLUDING MANY MICRO PHOTOGRAPHS OF FINE ART BY J B DANCER AND A PART SET OF 15 FRENCH SMALLER SLIDES EACH OF TWO SPECIMENS AND COVERED IN GREEN AND WHITE PAPER, PART ORIGINAL DARK GREEN BOX

Hollar, W. (ills.) "The Dance of Death painted by Holbein", engraved plates, library stamps top right hand corner, title page missing, contemporary boards worn and rubbed, another, published 1890, Leipnik, F.L. "A History of French Etching from the 16th Century to the Present Day", John Lane, The Bodleyhead, 1924, numerous plates, library stamp top right hand corners, Pietsch, Ludwig "Contemporary German Art at the Centenary Festival at the Royal Academy of Arts Berlin", George Bell, 1888, 2 volumes, plates with tissueguards, one or two missing, rebound library cloth and three other related volumes (8) Please note we do not guarantee books regarding collation. Bidders must be completely satisfied with condition and collation before bidding.

A Charlie Macphearson contemporary turquoise glass vase of teardrop form, etched mark, 24cm high. [Charlie Macphearson has exhibited glass works of art in the Royal Academy, London].

Trajan Hughes (British, b. 1670): oil on canvas depicting a farmyard scene with cockerel, three white speckled hens and their five chicks pecking at corn, a farm building, fence and trees to the background, and a flock of birds flying in the distance against the dawn sky, signed 'Trajan Hughes' lower centre, 82 by 102cm (32.2 by 40.2 inches). PROVENANCE: Purchased by the vendor's father, circa 1970, from an art gallery in Chester, the gallery reputedly had purchased the painting from an auction in Wales some time before. NOTES: Born in Wales, Trajan Hughes is one of the earliest recorded animal painters in Britain and his works are extremely rare. He was a contemporary of Francis Barlow, who drew and painted similar subjects. Hughes' small oeuvre of bird paintings display a delightful simplicity with close attention to detail in the plumage and the features of the birds. His palette is reminiscent of Dutch and Flemish old masters but painted with a directness and charm rooted in British painting of the period.

Attributed to Bambi (contemporary London street artist), 'Top Fashion Accessory 2011' or 'Bambi's Baby', monochromatic street art stencil of a crying infant on painted door, artist's stamp upper right. Stencil W. 50 cm, H. 50 cm, Door W. 70 cm, H. 183 cm, D. 4.5 cm.

Literature - Anthony J P Meyer, Oceanic Art, Vol. I, 1995; Duncan Clarke, African Hats and Jewelry, 1998; Laure Meyer, Black Africa, 1992; Art and Craft in Africa, 1995; Nooter, Secrecy, African Art that conceals and reveals, 1993; Tom Phillips, Africa, The Art of a Continent, 1999; Adler & Barnard, African Majesty, the textile art of the Ashanti and Ewe, 1995; Sieber & Herreman, Hair in African Art and Culture, 2000; Art/artifact, African Art in Anthropology Collections, 1989; Allen F Roberts, Animals in African Art, 1995; Drewal, Pemberton & Abiodun, Yoruba, Nine Centuries of African Art and Thought, 1995; Klaus E Muller & Ute Ritz-Muller, Soul of Africa, 2000; Ladislas Segy, Masks of Black Africa, 1976; African Sculpture, 1958; S L Kasfir, Contemporary African Art, 2000. (15)

Cox G. : The Art of Confectionery, 1907. Qto. Hb. Text and monochrome photographic illustrations. Contemporary advertisements. Scarce. CONDITION REPORT: Lacks Tp otherwise complete. Selotape repairs front and back. Apparently very scarce.

Contemporary Artists Collection : Michael Honnor Paintings, 2000; Moncrieff E. : Andrew Gifford, 2006; Gross M. & P. : Anthony Gross, 1992; Guerman M. : Albert Marquet, The Paradox of Time, 1995; Andreae C. : Mary Fedden, 2007; Neut R. : Jeroen Krabbe, Painter, 2004; Michel Delacroix, Eternal Paris, 1998; McKenzie J. : The Art of Ken Done, 2002; The Paintings of Bernard Dunstan, 1993. Herdman R. : The Prints of Anthony Gross, 1991; Sidey T. : The Prints of Michael Rothenstein, 1993; Davies P. : St.Ives 1975-2005, Art Colony in Transition, 2007. All mainly large qto. hb. + dj. Together with 11 other similar titles and three Jeroen Krabbe Calendars ( Elephant Folio size ) with large colour reproductions of his work. CONDITION REPORT: All vg+ / fine

20th.Century Art Selection. A collection of 22 mainly large format hb. titles which include volumes on Jackson Pollock, William Eggleston, David Hockney, Andy Warhol, Vasily Kandinsky, Oskar Kokoschka, Ben Nicholson, Pierre Bonnard, Andre Derain, Philip Guston and Contemporary Vietnamese Fine Art. CONDITION REPORT: All generally vg.,nf.

After Andy Warhol (20th/21st Century Contemporary) 'A Pop Art Design Depicting a Collage of Portraits and an Electric Chair, One being a Self Portrait of the Artist' Bearing a Signature and the Studio Stamp for the 'Factory', Coloured Print on textured linen or canvas, 88cm x 60cm

A contemporary Japanese Art Bowl with stand

Evelyn, John. Numismata. A Discourse of Medals, Antient and Modern, first edition, presentation copy from the author, `For the Rigt. Honble my Lord Spencer from his most humble and most obedient servant J Evelyn`, a few leaves with manuscript corrections, engraved illustrations in the text, some light browning, contemporary mottled calf, neatly rebacked, folio, London: Printed for Benj. Tooke, 1697 [Wing E3505] A fine copy from the Sunderland Library at Althorp, bought by Sir Edward Sullivan (1822-1885) at the Sunderland Sale of 1881-3 and gifted by him to the then Lord Spencer in 1885, with an inscription recording the gift on the front-free endpaper. After a visit to Althorp, Evelyn described Spencer in his diary as `a youth of extraordinary hopes, very learned for his age, and ingenious` (18 August 1688). By 1699, Evelyn confirms that Spencer had `an incomparable library. wherein, among other rare books, were several that were printed at the first invention of the wonderful art.` (April 1699).

Seven various contemporary mirrors, to include an Art Deco example.

A pair of contemporary maple and sycamore low tables in the Art Deco style

Frank Shenton (20th century) - '21st Studio 40A', depicting abstract forms, oil/acrylic on board, signed, approx. 120x91cm, inset contemporary frame (illustrated) 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

William Norman Gaunt (British, 1918-2001) - 'The Prom', oil on board, signed, approx. 59x75cm, bears label verso for Joanna Cole Fine Art, stating 'Set Against a Vast Sky, this work has it all and is Gaunt at his best. A typically spontaneous and rapidly executed work by Gaunt capturing the horses superbly which he delighted in painting. Born in Leeds he specialised in equestrian pictures and, in an impressionistic style, captures the grace and subtlety of the horse. Inset silvered contemporary frame (illustrated)

*Luis Cook (Contemporary), UNTITLED A set of four, watercolour, in bespoke frames with silver and gold leaf largest 76 x 54cm (4) Luis Cook studied at the Royal College of Art. He is an award-winning director and illustrator at Aardman Animations. *Artist's Resale Right may apply to this lot.

MIRROR, contemporary wall art, sectional Art Deco style, 103cm x 94cm.

HARRY BERTOIA [AMERICAN 1915-1978], STAINLESS STEEL & SLATE SPRAY SCULPTURE, H 38": Contemporary, spray sculpture on base. Base measurement 6" X 5 3/4". Spray is stainless steel, base is slate. Unsigned. Comes with a Harry Bertoia signed small poster from the Joslyn Museum in Omaha, Nebraska. Sculpture authenticated by Celia Bertoia, www.HarryBertoia.org, 2791 Butch Cassidy Dr., Bozeman, Montana 59718 [certificate in customer file]. Provenance: The Joslyn poster and spray have been together since acquired. It is unknown if the piece was in the Joslyn exhibition. The piece comes from the Boston/Fall River area, likely from a gallery or private sale. It has been in the consignor`s possession for the last ten years. Acquired through family descent. It was thought to be from the late 1960`s - early 1970`s. The Bertoia-signed Josyln Art Museum poster included with the piece had a postmark from early 1970`s. Authenticator`s notes: 6 different sprays with the same dimensions were made in 1966. Staempfli Gallery in NYC sold some of them.

APPLE CORE AND APPLE, two pieces, contemporary art style, red lacquered finish, black bases, 67cm tallest. (2)

Eckhel, Joseph. DOCTRINA NUMORUM VETERUM. VOLUMEN I–IV: PARS I. DE NUMIS URBIUM, POPULORUM, REGUM. VOLUMEN V–VIII: PARS II. DE MONETA ROMANORUM. Second edition. Vindobonae (Vienna), 1828 [actually published in Leipzig; first volume gives date of publication as 1792 (correct for the first edition); second volume gives erroneous date of publication as 1839]; 1826 Addenda included in final volume. Eight volumes complete. 4to [24 by 19.5 cm], contemporary full speckled calf; flat spines decorated and lettered in gilt; black morocco spine labels, gilt; all page edges marbled. Frontispiece portrait; (8), (v)–xvi, (14), (2), clxxxiii, (1), (2), 271, (1); (6), 606; vi, 562; viii, 563, (1); (2), vi, 364; xxiv, (2), 539, (1); (6), 521, (1); vi, (2), 573, (1), iv, 58, (4) pages. Engraved plate of Greek letters; engraved plate of Alphabetum Phoenicium et Samaritanum; 2 engraved plates of Greek coins [“Numi Goltziani. Numi veri.”]; engraved plate of Greek coins and cameos; 1 folding genealogical table; one engraved text figure of a Byzantine coin; engraved plate of Roman monograms. Binding with some signs of wear: first volume joints cracked, a couple others starting; old institutional stamps; generally near fine. Eckhel’s magnum opus; one of the major foundation works of modern scholarly numismatics. Joseph Hilarius Eckhel (1737–98) has been justly regarded as the “father of ancient numismatics” and his Doctrina as the major exposition of his principles. “With him began a new era in the study of ancient numismatics: rigid scientific methods entered the field of research supplementing the usual approach of the amateur. For the first time in its history the basic elements of ancient Greek and Roman numismatics—metals, ponderal systems, organization of mints, significance of coin-types, coins in their relation to the history of art—are amply discussed.”—Clain-Stefanelli, Numismatics, page 29. This second edition is bibliographically complex. Babelon 127–128: “still our main work of reference.” Bassoli 40–41. Clain-Stefanelli 1643*. Daehn 62. Lipsius 110.

Spanheim, Ezechiel. DISSERTATIONES DE PRÆSTANTIA ET USU NUMISMATUM ANTIQUORUM. EDITIO NOVA. IN QUA EDITÆ ANTEA DISSERTATIONES RECENSENTUR, MULTISQUE ACCESSIONIBUS LOCUPLETANTUR; ALIÆ NUNC PRIMUM PRODEUNT; SINGULÆ AUTEM SELECTIS INSIGNIUM NUMISMATUM ICONIBUS ILLUSTRANTUR. TOMUS PRIMUS & VOLUMEN ALTERUM. Londini: Impensis Richardi Smith, 1706, and Amstelodami: Apud Rodolph. & Gerhard. Wetstenios, 1717. Two volumes. Folio [46 by 30.5 cm], contemporary brown full calf, boards intricately paneled in blind, with mottled borders and center panels; edges decorated in gilt; spines with seven raised bands, ruled, lettered and lavishly decorated in gilt; page edges speckled in red. (48), 726, (42); (8), xxviii, 656, (52) pages; finely engraved allegorical title in the first volume; titles printed in red and black; superbly engraved frontispiece portrait of the author; superbly engraved portrait of George Augustus, Prince of Wales; finely engraved dedication vignette in the second volume; woodcut initials and tailpieces; coin engravings in the text. Bindings remarkably well-preserved and expertly rebacked. A fine set. An exceptional set of the third, last, and best, edition of this landmark work. Born as an unillustrated quarto in 1664, a greatly expanded and illustrated if still rather modest edition in two parts appeared in 1671. Its apotheosis here, in two oversize folio volumes, was most handsomely executed and, in the present set, bound in raiment worthy of it. Clain-Stefanelli (Numismatics—An Ancient Science) page 24: “one of the most significant names in the field of numismatics in the 17th century [was] Ezechiel Spanheim… His encyclopedic knowledge in history, art, geography, art history—all based on a full mastery of the ancient authors—made him one of the prominent numismatists of his day. His chief publication Dissertatio de praestantia et usu numismatum antiquorum (1664 [first edition]) must certainly be considered the work of a master” Babelon 105: “Ezechiel Spanheim (b. 1629 † 1710) was part of that exceptional group of scholars who came together at Rome under the reign of Queen Christina.” Bassoli 30: “that great work of Ezechiel Spanheim… represent[s] the seventeenth century ‘peak’ of classical numismatics. Spanheim meticulously (and not without digressions) records every image and inscription shown on ancient coins that could be made out.” Hirsch 122. Kress S.2350. Lipsius 376. Ex T. Sharp library, with his diminutive bookplate; ex Phiroze K. Randeria, with his bookplate.

Bastien, Pierre. LE BUSTE MONÉTAIRE DES EMPEREURS ROMAINS. Wetteren, 1992–94. Three volumes. 4to, original matching red cloth, gilt. 327, (5), 24, 333–768, 45, (3) pages; numerous drawings; 266 plates comprising enlargements of coins and related art objects such as statues, busts, reliefs, engraved gems, ivories and paintings. A fine set. Numismatique romaine: essais, recherches et documents, Vol. XIX. The first comprehensive work devoted to the various elements of the Roman Imperial bust on coins, from Augustus to the end of the Western Empire. Organized into fifty-six chapters, it covers the following design elements: crowns, clothing, weapons, insignia, attributes, postures and gestures. Each element is studied from inception to the end of its evolution, including a discussion of its interpretation, which may vary over time. The painstaking research involved in this landmark work draws on literary sources and on contemporary figurative monuments. An indispensable aid not only to numismatists but also to students of Roman iconography in general. Bastien considered this his most important work and devoted several years of effort to the project, struggling with his deteriorating eyesight while doing so.

Hucher, Eugène. L’ART GAULOIS OU LES GAULOIS D’APRÈS LEURS MÉDAILLES. Paris 1868–74. Two parts in one volume, second part bound in first. 4to, contemporary marbled boards; rebacked in brown leather. (4), 160; (4), 63, (1) pages; titles printed in red and black; illustrations in the text; 101 plates of coins. Binding a bit worn; some light staining throughout. Very good. Quite rare and still important, with charming oversize illustrations. Babelon 146. Clain-Stefanelli 5137. Ex Robert J. Myers library.

Spanheim, Mr. le Baron de. LES CESARS DE L’EMPEREUR JULIEN, TRADUITS DU GREC. PAR FEU MR. LE BARON DE SPANHEIM, AVEC DES REMARQUES & DES PREUVES, ENRICHIES DE PLUS 300. MEDAILLES, & AUTRES ANCIENS MONUMENS. GRAVES PAR BERNARD PICART LE ROMAIN. Amsterdam: Chez François l’Honoré, 1728. Third edition. 4to [26 by 20.5 cm], contemporary full calf; spine with five raised bands, richly decorated in gilt; crimson morocco spine label, gilt; marbled endpapers; red page edges. (10), xlii, 286, (2), 196 pages; finely engraved historiated frontispiece; title printed in red and black with a numismatic vignette; superbly engraved copperplate of the dedicatee, Jean Matthias de Schoulembourg; finely engraved dedication vignette; woodcut decorations; engravings of coins and medals throughout the text; other fine engravings. Binding a bit worn but essentially sound. Very good. Ex libris American Numismatic Society Library. The best edition of this important work, featuring Les preuves des remarques and an index. Clain-Stefanelli page 24: “one of the most significant names in the field of numismatics in the 17th century (was) Ezechiel Spanheim… His encyclopedic knowledge in history, art, geography, art history—all based on a full mastery of the ancient authors—made him one of the prominent numismatists of his day.” Cicognara 3009. Lipsius 377. Ex Kolbe Sale 87, lot 409; ex Kolbe Sale 104, lot 378.

A contemporary Svaja art glass sculpture of square pillar form with a textured polished and satin finish exterior over an internal tonal amber and purple core, retains original label, height 28cm.

Gilbert and George (Contemporary, British ) 'The Urethra Postcard Art of Gilbert and George' exhibition poster, 14th January - 19th February 2011 White Cube London, bearing two signatures, W. 58 cm, H. 85 cm

Art Deco style wrought iron table lamp, marked muller Fres, contemporary

Contemporary Illusionary Art - two limited edition prints featuring eggs and burnt matches:- both indistinctly signed and dated War***y 1985 and numbered 77/150, each 74 x 60cm. [2]

(Books) Judith Gura, Scandinavian Furniture, Thames and Hudson, 2007; Helmut Ricke and Eva Schmitt, Italian Glass: Murano, Milan 1930-1970, Prestel, 1997; Dan Klein, Glass: A Contemporary Art, Collins, 1989 and Bohemian Glass, 1985 (4).

Philip Harris (British, b.1965) Portrait of Louise lying in the grass, 1990 signed and dated (lower right) oils on canvas 151cm x 59cm. Provenance: with Merz Contemporary Art Ltd., London. Illustrated: Time Out, May 20-27, 1992; The Artist`s and Illustrator`s Magazine, December 1992. Harris won the BP Portrait Award in 1993 and the noted art critic Brian Sewell championed his work for many years writing `Harris fits quite happily into the many strange English traditions of romanticism, tinged with mystery, or even mysticism, yet is unmistakably original and no man`s slavish imitator`. (Art Review, 1993, p.19). His work has been classified as skinhead pre-raphaelitism.

Alan MacDonald (British, b.1962) `Castaway`, 1993 inscribed and dated (to reverse) oils on paper 33cm x 25cm. Provenance: with Merz Contemporary Art Ltd., London.

Joan Miro : Ubu IV, colour lithograph, signed in pencil, numbered 72/120, 33 cm x 50 cm, framed. CONDITION REPORT: Excellent condition. With the original Christie's Contemporary Art sales invoice dated 5/12/1983.

A moulded leather model of an elephant, a brass lantern, a modern terrestrial globe on brass stand, a musical box/cigarette dispenser with marquetry decoration, an Art Glass tazza with turquoise and white ground, a contemporary cylindrical glass vase, etc

APPLE CORE AND APPLE, two pieces, contemporary Art style red lacquered finish on black bases, 67cm H. (2)

Julio de Diego (American/Spanish, 1900-1979) "Spanish Landscape," 1937, oil on canvas on board, 18.5" x 40.5", signed and dated lower left, titled on Art Institute of Chicago label on verso, framed Exhibited: Exhibition of Contemporary American Art, New York Worlds Fair, 1939 Property from the Collection of Governor Jim Thompson, Chicago, Illinois minor spots of in-painting in the guitar, localized areas of cracking to paint, localized areas of surface grime

'Autumn', signed limited edition screen print by Michael Carlo with original Christies Contemporary Art certificate, and three still life pictures

PETER JOSEPH BURNHILL (1922 - 2007) Framed, signed with monogram in print, woodblock print on paper, titled `Flying Kites`, showing children playing with kites, together with a framed, indistinctly signed, watercolour on paper, contemporary landscape coastal scene, and a framed, indistinctly signed with initials, contemporary oil on board, coastal scene. Burnhill was head of the Art department at Stafford Further Education College. (3) 10.5cm x 16cm, 7cm x 10.5cm and 9.5cm x 12cm.

Daniel O'Neill (1920-1974) The Gleaners Oil on board, 35.5 x 53cm (14 x 21") Signed, inscribed with title verso Provenance: From the Collection of George and Maura McClelland and on loan from them to IMMA from 1999 - 2004; Private Collection Dublin Exhibited : "Daniel O'Neill" Exhibition Victor Waddington Galleries, Dublin, May 1953 Cat. No. 22.; "Gerard Dillon, Art and Friendships" Adam's, Dublin July 2013, The Ava Gallery, Clandeboye August 2013 Cat. No. 19 Literature : "Daniel O'Neill (1920 - 1974) : Landscape and Figure Painter" by Gena Lynam, Irish Arts Review Vol 15 1999 Illustrated p.136; "The Hunter Gatherer" IMMA 2004 illustrated Fig.45 p.36.; and "Gerard Dillon, Art and Friendships " by Karen Reihill 2013 illustrated p.19 Dan O'Neill was one of 20th century Ulster's most significant landscape and figure painters. He received little formal training yet his works were very skilful and subtle in their tonal harmonies, painterly brushwork and use of impasto. He declared himself to have been interested in the work of the Italian primitives from the age of fifteen. However, his style was a contemporary one and unique to him. Along with Gerard Dillon, George Campbell, Nevill Johnson and to a lesser extent Colin Middleton, this group were collectively known as the Northern Painters. In 1945 the Dublin Magazine commented: 'His sensuous handling of paint, his rich colour and dramatic sense in composition, are used to express an individual vision which is essentially Romantic'. He had his first one man show at the Waddington Gallery in Dublin in 1946 and visited Paris in 1949, turning a three week trip into almost six months, and there was able to study and absorb the works of painters he admired including Watteau and Puvis de Chavanne. He later exhibited in London, New York and Amsterdam and left Ireland for London in 1958. When George McClelland met him in 1969, O'Neill was downhearted after several difficult years in London. McClelland gave him a place to stay in Belfast and a studio, and he produced paintings for a 'Recent Paintings Exhibition' at the McClelland Galleries in 1970, his first major show in Ireland for 18 years. In these paintings he left behind the brooding intensity of his earlier work in favour of the saturated colour of acrylic paint and simplified motifs. The exhibition was very successful and encouraged O'Neill to continue on this path, which he did for the remainder of his rather short life. The Irish Times review of 15th May 1953 referred to the "imaginative, often haunting, melancholic interaction between figure and environment, mood and circumstance". While bathed in a golden glow, the figures in The Gleaners embody this feeling of melancholy, silhouetted against the landscape and described in the newspaper as 'a means of painting light - hard, cold brilliance of moonlight'. It references O'Neill's awareness of other European paintings on the subject, primarily Jean-François Millet's The Gleaners (1857) and others by Pissarro, Seurat and van Gogh. The rich, warm colours of the fields and the figures' clothes are accentuated by the effects of light picking out their contours, and the long lingering shadows suggest the end of a day of hard work.

William Scott RA (1913-1989) Robert (1947) Oil on canvas, 40.5 x 35.5cm (16 x 14") Signed Provenance: From the Collection of George and Maura McClelland and on loan from them to IMMA from 1999 - 2004;Private Collection Dublin Exhibited: "Recent Paintings by William Scott", Leicester Galleries, 1948 Cat. No. 1 under title "Head of a Boy"; "The McClelland Collection, Irish Museum of Modern Art", Sept 2000-Jan 2001; "Envisage - The Fall of Contemporary Irish Art", Irish Museum of Modern Art, Oct 2001-April 2002; "Norhtern Artists from the McClelland Collection", IMMA 2004/5, Droichand Arts Centre 2005 "William Scott in Ireland", F.E. McWilliam Gallery Banbridge, Mar-Sept 2009, Cat. No.5 (see contemporary photograph of Robert Scott standing in front of this picture at that exhibition) Literature: "The Hunter Gatherer", Irish Museum of Modern Art 2005, illustrated Fig.106 p.106 "William Scott in Ireland" 2009 by Dr. Denise Ferran, illustrated p16; "William Scott Catalogue Raisonné of Oil Paintings" Vol. 1913-51 by Sarah Whitfield Cat. No.115, illustrated p.175 This is one of six known portraits of William and Mary Scott's first child Robert who was born in Dublin 5th January 1940, the Scotts having moved here in September the previous year. Robert was sent to live with his aunt in the United States and then Canada before returning to live in England with his parents in January 1944