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WALTER FOLLEN BISHOP BRITISH-AUSTRALIAN (1856-1936) Hawthorn Blossom, Brownhill Creek, 1917 watercolour 124 x 74cm. Walter Follen Bishop was a Liverpool artist, though he also lived in both London and Jersey. Bishop worked in the strong tradition of Liverpool landscape painting, and like his contemporary J.T. Watts (1853-1930) he specialised in woodland scenes and must have been familiar with the writings of John Ruskin and the Pre-Raphaelites. His fidelity to nature and attempts to revive a sense of realism in landscape painting bear testimony to his adherence to Ruskinian principles. He was fascinated by the play of light on leaves, bracken, lichen and rocks. He managed to combine meticulous detail with a sense of atmosphere. He exhibited at the Royal Academy from 1882-1902 works such as Where moorland and forest meet, 1884, no. 992, The last rays of sunlight on forest and moor, 1885, no. 1318 and The wood with morning sunlight crowned, 1890, no. 1319 and also at Suffolk Street. He married the painter and sculptress Florence Fitzgerald (fl.1887-1927) who also exhibited at the Royal Academy works entitled By the Meadow Brook and Where the Wild Flowers grow and at Suffolk Street. Follen Bishop is known to have painted in Australia, as there are several known works of South Australian views, though little is recorded of his time here. He is represented within the collection of the Art Gallery of South Australia and in the City of Burnside collection South Australia. The present work which is on an unusual scale for a watercolour, shows a romanticised English interpretation of the Australian bush, with young girls in the woods beneath towering gum tree’s. PLEASE NOTE THAT GST WILL BE CHARGED ON THE HAMMER PRICE

Ray Turner, "Study for the Battery," 1999, oil on canvas Ray Turner (American, Contemporary), "Study for the Battery," 1999, repainted as "The Gift," 2000, oil on canvas, signed, titled, and dated verso, canvas: 11"h x 12.5"w, overall (frame): 14"h x 15.5"w. Note: Turner has shown at numerous museums and galleries including: J. Cacciola Gallery, New York; George Krevsky Gallery, San Francisco; Akron Museum of Art; and Long Beach Museum of Art

Donna McGinnis, Rivers at Dusk III, oil on canvas Donna McGinnis (American, Contemporary), "Rivers at Dusk III," oil on canvas, signed and titled verso, canvas: 24"h x 26"w, overall (frame): 25.5"h x 27.5"w. Note: McGinnis has shown at numerous galleries including: Sandra Lee Gallery, San Francisco; William Merrill Gallery, Laguna Beach; and Lurie Fine Art Galleries, Boca Raton

Monika Lin, "Strange Saint #7," mixed media on board Monika Lin (American, Contemporary), "Strange Saint #7," mixed media on board, board: 72"h x 40"w, overall (frame): 72.5"h x 40.5"w. Note: Lin is represented at Michael Petronko Gallery, New York; OV Gallery, Shanghai; Art Labor Gallery, Shanghai; and Toomey Tourell Fine Art, San Francisco

Abraham Elterman, "That Which Fulfills," 2004, oil on canvas Abraham Elterman (American, Contemporary), "That Which Fulfills," 2004, oil on canvas, bears Dolby Chadwick Gallery, San Francisco label verso, canvas: 26"h x 30"w, overall (frame): 27.5"h x 31.5"w. Note: Elterman has had solo exhibitions at numerous galleries including: Melissa Morgan Fine Art, Los Angeles; Dolby Chadwick Gallery, San Francisco; Robert Berman Gallery, Santa Monica; Poliforum Siqueiros, Mexico City

Contemporary silver Arts & Crafts-style bowl and cover of circular form with spot-hammered finish, on a domed circular foot, separate shallow domed cover with Art Nouveau-style finial in the form of six snakes supporting a dish, inset with an impressionistic painted enamel portrait of a lady (London 1963), Guild of Handicrafts Ltd., possibly made by George Hart, in Chipping Camden. All at approximately 9ozs, 9.5cm overall height. Provenance: The accompanying letter of provenance from George Hart implies this bowl and the enamel may be a commission CONDITION REPORT General overall condition very good with minor surface wear and scratching. Marks clear. No visible damage to enamel

Contemporary silver Arts & Crafts butter knife with spot-hammered finish and Art Nouveau-style pierced terminal (London 1957), maker F. H. All at approximately 1oz, 12.3cm overall CONDITION REPORT General overall condition good with minor surface wear. Tip of blade nibbled. Marks clear

Selection of miscellaneous silver including Edwardian silver dish with Art Nouveau trailing tendril decoration (Sheffield 1905), James Dixon & Sons, five 1960s silver teaspoons (Sheffield 1964) and two others, pair late Victorian fiddle pattern tablespoons (Sheffield 1900) and one other and a contemporary silver-handled cheese knife (Sheffield 1967). All at approximately 8.5ozs, tray 13cm wide

* Austen (David, 1960-). Untitled, 1995, ten concentric blue circles with white outlines, gouache on handmade off-white Indian paper, signed and dated in pencil 1st October 1995 to lower margin, 25 x 20cm (10 x 8ins), framed and glazed with Contemporary Art Society Market printed label to verso (1)

A Contemporary Art Nouveau Style Bronze Bust, Signed H Muller

Leybourn (William). The Art of Dialling, Performed Geometrically, by Scale and Compasses: Arithmetically, by the Canons of Sins and Tangents: Instrumentally, by a Trigonal Instrument, accommodated with Lines for that purpose..., 1st ed., 1669, folding eng. plts., one eng. diagram and numerous woodcut diagrams throughout, lacking portrait frontis., occasional minor marks and some minor dampstaining to upper margins mostly to initial leaves, single worm hole to few leaves, rear pastedown with contemporary ownership signatures of Joseph Partridge dated 1696, hinges repaired, contemp. calf, rebacked and corners repaired, slim 4to. Wing L1900. (1)

An Art Deco style chrome uplighter decorated with a stylised woman with a contemporary wall lamp in the form of a stylised sun

Andrew Macara: `Black and White Cat, Lesbos`, oil on canvas with ‘Contemporary Fine Art Gallery’ label to reverse, dated 1996

A sterling band ring, c.1960, with a continuous row of elongated oval pads, London, 1963, a contemporary sterling silver pendant by Ailsa McNicol, with a circular cabochon cornelian, rub set to a rectangular pendant, formed from coiled wire, and a sterling silver Viking longboat brooch by Celtic Art Industries, c.1940 (3)

Tracey Emin 2011 Cotton Towel, produced for the Art Production Fund 'Works on Whatever', 150cm by 178cm WOW (Works on Whatever): is part of Art Production Fund’s WOW project; a unique collection of everyday items designed by artists. APF invites artists to experiment with the latest commercial materials and techniques to bring art off the walls and into homes as everyday objects. WOW introduces contemporary art to a larger community, with revenues from sales supporting our non-profit mission.

COLLECTION OF BOOKS, INCLUDING HAMILTON PALACE LIBRARIES Catalogue of the first portion of the Beckford Library, removed from Hamilton Palace. 1882. Prices bound in at end, 4to, contemporary green half calf, rebacked; Hamilton Palace Catalogue of the collection of pictures, works of art and decorative objects, the property of His Grace the Duke of Hamilton. Portions 1-5 in one volume, annotated with prices and names of buyers, original red cloth; Sotheby`s Mentmore, the catalogue. 5 volumes. 1977. Volumes 1-4 hardback, volume 5 original wrappers; and others including books and prints relating to Hamilton Palace, Scotland, Lord Nelson, art, and leather bound legal volumes &c. (quantity) Provenance: Some items within this lot were purchased from the Cassillis House sale, Shapes, 4th July 2009.

A contemporary rectangular wall mirror in the Art Deco taste, the central bevelled edge plate within a multi-panelled surround

Winckelmann, JohannHistoire de l`art chez les anciens. Amsterdam: E. van Harrevelt, 1766. 8vo, 2 volumes, titles in red and black with engraved vignettes, 20 engraved vignettes, contemporary calf, bookplates of the `Athaendet Fra Bibliotheket`, rubbed, some annotations in ink to endpapers (2)Provenance: Property of the Trustees of Lord Gretton

Bach, Carl Philipp EmanuelVersuch über die wahre art das Clavier zu spielen. Leipzig: Wschwickertschen Verlage, 1780-97. Volumes 1 and 2 only (of 3), 4to, second edition of volume 1, volume 1 half calf, worn, cover detached, volume 2 with one plate, wrappers, some spotting, worn; Sturms, Christoph C. Geistliche Gesange mit Melodien zum Singen bey dem Claviere. Hamburg: Heroldschen Buchhandlung, 1792. 2 parts in one volume, oblong folio, title vignettes, original boards, some spotting and dampstaining; Beethoven, Ludwig von Sinfonie pour 2 violons, No 5 des Sinfonies. Leipzig: Breithopf & Hartel, [?1825]. 4to, 24 loose parts (some a single sheet), library stamps, some titles soiled, a few tears; Mozart, W.A. Idomeneo, re di Creta. Paris: Maurice Schlesinger & Berlin: A.M. Schlesinger, [c.1822]. 4to, red morocco, some spotting, worn; Mozart, W.A. La clemenza di Tito. Opera seria... aggiustata per il piano forte di A.E. Müller. [Hamburg: G.A. Böhme, c.1800]. Oblong 4to, vocal score, boards, lacks title page, some dampstaining, worn; Mozart, W.A. L`enlevement du serail (Die Entführung aus dem serail). Bonn: Simrock, [c.1799]. Oblong 4to, contemporary half calf, rubbed; Mozart, W.A. Dom Juan oder der Steinerne Gast. No. 42. Bonn: N. Simrock, [c.1797]. Oblong 4to, red half morocco, "Lady Hope, Pinkie House" inscribed on title, lacking pp.111-122 (supplied in early pen facsimile), small tear to title; Mozart, W.A. Partitions des dix principaux quatuors pour deux violins, alto et violoncelle. Offenbach: J. André, [1843]. 8vo, numbers 1-5 only, cloth; and 4 others; sold not subject to return (25)

[Michelot, Henri/ Allard, Carolus]L`art de batir les vaisseaux... Amsterdam: David Mortier, 1719. 4to, 2 volumes in one, title in red and black with engraved vignette, 22 engraved plates, mostly plain with occasional blue coloured areas and 90 plates showing flags with hand-colouring (112 plates in total), contemporary calf, bookplates of John Frodsham, Egerton Leigh, and Lord Gretton, spine neatly rebacked, covers a little rubbed, some slight dampstaining to outer margins of a few pages, small amount of repair work to some inner margins with no loss of text, `Frodsham` plate looseProvenance: Property of the Trustees of Lord Gretton

EuropeWilliams, H.W. Select views in Greece. London, 1892. 4to, 2 volumes in 1, engraved title and 63 (of 64) plates, original blue cloth, covers a little soiled, spine slightly faded, hinges splitting, interior very clean; Chapman, Abel Wild Norway. London, 1897. 8vo, frontispiece, 16 plates, modern black cloth with gilt lettering, spine a little faded; Boys, Edward Narrative of a captivity and adventures in France and Flanders. London, 1831. Second edition, 8vo, 8 engraved plates, contemporary half morocco, bookplate of James Milne Stansfield, frontispiece lacking, pages 23-24 lacking, some pages and plates loose, spotting, binding rubbed, upper joint cracked; Hall, Samuel Carter Ireland... London, 1841-1843. 4to, 3 volumes, 3 frontises, 3 engraved titles, 18 maps and 46 engraved plates, contemporary morocco gilt, spines rubbed, a little foxing; Lanciani, Rodolfo New tales of old Rome. London, 1901. 8vo, plates, red cloth with gilt lion knocker motif to upper cover; James, Edith E. Coulson Bologna, its history, antiquities and art. London, 1909. 8vo, folding map at rear, original blue cloth gilt, spine a little bumped and faded; Barker, Edward Harrison Two summers in Guyenne. London, 1894. 8vo, brown cloth gilt, library sticker to upper cover, hinges weak, covers and spine a little rubbed; Warne, Frederick Picturesque England. London, 1891. 8vo, 6 colour plates, original red pictorial and gilt cloth, spine a little faded and bumped, lower joint splitting; Stewart, Hugh and Haenen, F. De Provincial Russia. London, 1913. 8vo, 32 plates (16 in colour), original red cloth gilt, spine faded; Washburn, Claude C. Pages from the book of Paris. 8vo, plates, original cloth with paste-down panel showing a young woman and two gentlemen, covers soiled; and a quantity of others

Andry de Boisregard, NicolasL`orthopédie ou l`art de prevenir et corriger dans les enfants les difformités du corps. Brussels: G. Frick, 1743. Volume 1 only, 8vo, engraved frontispiece and 13 (of 14) plates, contemporary calf, RCSI library stamp to title, some spotting, lacks upper board, lower board detached

Embalming - Sue, Jean JosephAnthropotomie ou l`art d`injecter, de disséquer, d`embaumer et de conserver les parties du corps humain... second edition, revue & considérablement augmentée. Paris: P.G. Cavelier, 1765. 12mo, contemporary calf, RCSI library stamp to title, worn, upper cover detached

A Shelley Art Deco female figurine, 20th century, seated, wearing contemporary hat and fur, holding teacup, raised upon rocky base with circular foot, 30cm high.

Adrian Ryan, British 1920-1998- Irish street scene; gouache, signed, 19x32cm: Adrian Ryan, British 1920-1998- View over Montauroux at sunset; gouache, signed, 18x23cm., (2) (may be subject to Droit de Suite) Note: Adrian Ryan was born in London in 1920, and brought up at Hintlesham Hall, Suffolk. He was educated at Eton, and the Architectural Association and Slade School of Art. Ryan was associated with the St. Ives School. He first visited Cornwall in 1943. He lived in Mousehole for twenty years from 1945, though he always retained a London studio. He was one time President of the Newlyn Painters` Association and exhibited with the influental Crypt Group. He was a lecturer at Goldsmiths College of Art, 1948-83, and at Cambridge College of Art, 1967-85, and he had his first solo exhibition at the Redfern Gallery, London, in 1943. His work is to be seen in many public collections, including the Tate Gallery, the Victoria & Albert Museum, The Arts Council, Contemporary Art Society, Manchester City Art Galleries, the Nuffield Foundation, the Sainsbury Trust, National Gallery of New Zealand, the National Gallery of Northern Ireland and the Beverly Hills Hotel.

Walter Taylor (British, 1860-1943) Interior, Brunswick Square, Brighton oils on canvas, 19 ¼" x 23 ¼", gallery label verso. Provenance: with Michael Parkin Gallery, London. Purchased by Ted Few Esq. Walter Taylor was a close friend and contemporary of Walter Sickert and went to art school in Paris and at the Royal College of Art in London. Taylor was never a member of the Campden Town Group, but worked on the peripheries of Sickert`s circle. Consequently his work was included in the significant Exhibition of the Work of English Post-Impressionists, Cubists and Others at the Brighton Art Gallery in December 1913-January 1914, organised by Spencer Gore. This exhibition marked an important transitional phase between the Camden Town and London Groups. In 1914 his connections with the avant-garde groupings were formalised on his election to the newly formed London group, which he served as Treasurer from 1916-18. However, his most important role arguably to the Fitzroy and Campden Town Groups was as a friend and patron. `To be bought by Mr. Taylor was almost equivalent to receiving a mention in the despatches of contemporary painting` (Quoted in David Buckman, Brighton Yesterdays: Douglas Fox Pitt, 1864-1922, and Walter Taylor, 1860-1943, exhibition catalogue, Maltzahn Gallery, London 1973, [p.1]). His collection included most of the major British and continental avant-garde artists of his day. This painting probably dates from around 1910-1920 when Taylor was living and working in Brighton.

Moorcroft contemporary two-handle vase, variegated blue ground decorated with cara lilies in an Art Deco style, c.2001, complete with box, 15 cm high Condition Report Fine condition

Desmond Morris (b.1928)END OF AN ERA, 2004oil on canvassigned with initials and dated lower left; inscribed with title and date [8 February 2004] on reverse; bearing Mayor Gallery [London] gallery label and exhibition label on reverse7 by 14in., 17.78 by 35.56cm.Mayor Gallery, London (2005); Private collectionDesmond Morris not only ranks among the foremost exponents of Surrealism in Britain, but he has also achieved academic success as a zoologist and celebrity status as a writer and television personality. Born in 1928, Morris spent his childhood in Wiltshire, England. As he grew up, his activities led him in two directions: that of scientist and artist. Morris`s passion for both analytic scientific investigation and the subconscious creative process developed side by side for many years. During his National Service in the army he was posted to the Chiseldon Army College as a lecturer in Fine Arts. It was during this time that Morris painted more and more, leading to his first significant exhibition of thirty-two paintings in January 1948. Art Critic Mervyn Levy attributed Morris`s creative accomplishments to `(his use of)…the merely visual world as the starting point from which he distils his own universe of shapes and patterns, colours and feelings.` After hosting the television programme `Zootime` for three years, he left to become Curator of Mammals at London Zoo in 1959. However, his obsession with art did not diminish throughout this period and he continued to paint furiously in his studio. Morris resigned his curatorship at the London Zoo in 1967 and became executive director of the Institute of Contemporary Arts. In 1968 Morris`s professional success was beginning to take its toll on his health and so he emigrated to Malta where he experienced a period of renewed artistic creativity. Over the next five years he produced many large bold works, which reflected his newfound peace of mind. After seven years in Malta, Morris moved to Oxford where he could continue to paint and involve himself in research. From here he produced a stream of work, which resulted in regular exhibitions. The year 1987 was the pinnacle in terms of Morris`s artistic achievement. He had a solo exhibition in the Mayor Gallery in London and the Keats Gallery in Belgium and a BBC television film and book were dedicated to his painting career. Subsequent exhibitions have included several solo exhibitions and two major retrospectives of his work in Swindon Museum and Art Gallery and at Stoke-on-Trent. He has also participated in a major Surrealist exhibition that toured Australia and was held at National Gallery of Australia, Canberra and at the Art Gallery of New South Wales, Sydney. Desmond Morris`s work is in many important public collections worldwide, including The Tate, London, the Yale Centre for British Art, Connecticut, The Israel Museum, Jerusalem, La Galleria Nazionale dArte Moderne, Roma, Department of Prints and Drawings, The British Museum, London and Birmingham City Museum & Art Gallery.

Desmond Morris (b.1928)GREEN ROOM, 2001oil on boardsigned with initials and dated lower left; signed again, inscribed, dated [31 August 2001 / 180] and with illustration on reverse18.5 by 14.75in., 46.99 by 37.465cm.A gift from the artist to the present owner; Private collectionDesmond Morris not only ranks among the foremost exponents of Surrealism in Britain, but he has also achieved academic success as a zoologist and celebrity status as a writer and television personality. Born in 1928, Morris spent his childhood in Wiltshire, England. As he grew up, his activities led him in two directions: that of scientist and artist. Morris`s passion for both analytic scientific investigation and the subconscious creative process developed side by side for many years. During his National Service in the army he was posted to the Chiseldon Army College as a lecturer in Fine Arts. It was during this time that Morris painted more and more, leading to his first significant exhibition of thirty-two paintings in January 1948. Art Critic Mervyn Levy attributed Morris`s creative accomplishments to `(his use of)…the merely visual world as the starting point from which he distils his own universe of shapes and patterns, colours and feelings.` After hosting the television programme `Zootime` for three years, he left to become Curator of Mammals at London Zoo in 1959. However, his obsession with art did not diminish throughout this period and he continued to paint furiously in his studio. Morris resigned his curatorship at the London Zoo in 1967 and became executive director of the Institute of Contemporary Arts. In 1968 Morris`s professional success was beginning to take its toll on his health and so he emigrated to Malta where he experienced a period of renewed artistic creativity. Over the next five years he produced many large bold works, which reflected his newfound peace of mind. After seven years in Malta, Morris moved to Oxford where he could continue to paint and involve himself in research. From here he produced a stream of work, which resulted in regular exhibitions. The year 1987 was the pinnacle in terms of Morris`s artistic achievement. He had a solo exhibition in the Mayor Gallery in London and the Keats Gallery in Belgium and a BBC television film and book were dedicated to his painting career. Subsequent exhibitions have included several solo exhibitions and two major retrospectives of his work in Swindon Museum and Art Gallery and at Stoke-on-Trent. He has also participated in a major Surrealist exhibition that toured Australia and was held at National Gallery of Australia, Canberra and at the Art Gallery of New South Wales, Sydney. Desmond Morris`s work is in many important public collections worldwide, including The Tate, London, the Yale Centre for British Art, Connecticut, The Israel Museum, Jerusalem, La Galleria Nazionale dArte Moderne, Roma, Department of Prints and Drawings, The British Museum, London and Birmingham City Museum & Art Gallery.

CONTEMPORARY ART GLASS SCULPTURE SIGNED Very interesting contemporary art glass sculpture depicting various shapes applied to a cut and frosted slab. Measures 12" height x 15 3/4" width (30.4cm x 40cm). Total weight of 15.7 kilograms.

LOT OF THREE CONTEMPORARY ART GLASS PIECES Lot of three contemporary art glass vases including a translucent brown vase, spiraled case with blue and red designs. Last is a cylinder with octagonal shape having a green interior. Largest measures 10 3/4" height (27.3cm). Total weight of 6.36 kilograms.

HENRY LARK PRATT (1805-1873) VIEW OF DERBY FROM ROWDITCH signed and dated, probably, 1852, 63 x 92cm A similar view of Derby from Rowditch of virtually the same size by H L Pratt is in Derby Museums & Art Gallery. That example is from a slightly more distant viewpoint and is angled more to the North East, whereas the present picture depicts, on the extreme right hand side the Shot Tower (built in 1809, demolished 1931) and the prominent tower of All Saints, now Derby Cathedral. In the centre are the villas erected along Uttoxeter Road in the 1840s and opposite is H I Stevens` newly erected Diocesan Institution for the Training of Schoolmistresses. The support lined probably in the later 19th c. The varnish and contemporary Rossetti type gilt frame heavily encrusted with dirt and grime, the pigments on some of the foliage rather dark with the passage of time. The frame with some losses to the plaster mouldings

Antonio Pacitti (1924-2009) a stoneware vase, dated 1994, flaring cylindrical form, resist decorated with a flower stem in a matt blue glaze incised marks and date, paper receipt 26cm. high Provenance Beatrice Royal Contemporary Art Gallery, 1996

Cecil ffrench Salkeld ARHA (1904-1969) MOTHER AND CHILD oil on canvas laid on board signed lower right 17 by 14.25in., 43.18 by 36.195cm. Collection of Lady Nelson; Collection of Cyril McKeown; Private collection As a member of the Dublin Painters group, as well as a poet, playwright, dramatist, broadcaster, philosopher and owner of the Gayfield Press, Cecil Salkeld was at the forefront of the avant-garde in Irish arts and literature. He was a Renaissance man of his time who interlinked the arts in a way which he had observed in Germany but which was entirely forward-thinking for Ireland at the time. Salkeld`s mother was an actress with the Abbey Theatre as well as a poet and playwright. His daughter Beatrice was married to Brendan Behan while his other daughter also pursued a career on the stage. He was producer of radio programmes on the arts, director of cultural events for An Tostal as well as director of the Irish National Ballet. Salkeld, who was born in India, studied art in Germany at Kassell Kunstchule in the early 1920s under Ewald Dülberg, whose style was in the manner of the Rheinland Primitives. There he also came under the influence of Otto Dix and the New Objectivity movement and upon returning to Dublin, he aligned himself immediately with the modernists, adapting his style to contemporary life in the Irish capital. He exhibited with the New Irish Salon and the Radical Painters` Group among others. Both lots in this sale are painted in the artist`s usual austere manner and demonstrate his unique style and smooth handling of paint. While lot 40A demonstrates his fondness for feminine subject matter, the latter [lot 41] shows his ties to the stage. Reviewing an exhibition of his at the Victor Waddington Galleries in 1945, the Dublin Magazine commented on Salkeld`s "original, sombre palette, intellectually rather than emotionally conceived". The artist`s best known work are his murals, a triptych completed in 1942, in Davy Byrne`s pub, Dublin. "

Cecil ffrench Salkeld ARHA (1904-1969) THE AUDITION oil on canvas board signed lower left 17.25 by 21.25in., 43.815 by 53.975cm. Collection of Lady Nelson; Collection of Cyril McKeown; Private collection The location for the scene is thought to be the Abbey Theatre, Dublin. As a member of the Dublin Painters group, as well as a poet, playwright, dramatist, broadcaster, philosopher and owner of the Gayfield Press, Cecil Salkeld was at the forefront of the avant-garde in Irish arts and literature. He was a Renaissance man of his time who interlinked the arts in a way which he had observed in Germany but which was entirely forward-thinking for Ireland at the time. Salkeld`s mother was an actress with the Abbey Theatre as well as a poet and playwright. His daughter Beatrice was married to Brendan Behan while his other daughter also pursued a career on the stage. He was producer of radio programmes on the arts, director of cultural events for An Tostal as well as director of the Irish National Ballet. Salkeld, who was born in India, studied art in Germany at Kassell Kunstchule in the early 1920s under Ewald Dülberg, whose style was in the manner of the Rheinland Primitives. There he also came under the influence of Otto Dix and the New Objectivity movement and upon returning to Dublin, he aligned himself immediately with the modernists, adapting his style to contemporary life in the Irish capital. He exhibited with the New Irish Salon and the Radical Painters` Group among others. Both lots in this sale are painted in the artist`s usual austere manner and demonstrate his unique style and smooth handling of paint. While 40A demonstrates his fondness for feminine subject matter, the latter shows his ties to the stage. Reviewing an exhibition of his at the Victor Waddington Galleries in 1945, the Dublin Magazine commented on Salkeld`s "original, sombre palette, intellectually rather than emotionally conceived". The artist`s best known work are his murals, a triptych completed in 1942, in Davy Byrne`s pub, Dublin. "

After Henry Moore OM, RA (1898-1986) ``Sketchbook 1980`` Limited facsimile edition, number C82/350; together with a Book written by Ann Garrould with a forward by Bernhard Baer and an Exhibition Catalogue published by the Berkeley Square Gallery, London, 14th November - 7th December, all contained within a specially made and presented box, overall size 27cm by 21cm Provenance: CCA Galleries, Christie`s Contemporary Art, 8 Dover Street, London Sold with the original invoices, dated 21st April 1987

John Piper LG (1903-1992) ``Stansfield, Suffolk`` Signed artist`s proof, limited edition 98/100, published September 1987, colour screen print, 94cm by 53cm Provenance: CCA Galleries, Christie`s Contemporary Art, 8 Dover Street, London Sold with a copy of the original invoice dated 9th March 1987 and a John Piper Exhibition catalogue, Berkeley Square Gallery, 23a Bruton Street, London, 5th December 2000, see item 40; and ``The Complete Graphic Works, Catalogue Raisonne, 1923-1983``, compiled and edited by Orde Levinson See illustration

"Folio of Contemporary Art" , unframed prints from galleries & private collections in Great Britain.

"AN IMPORTANT IMPERIAL RUSSIAN ICON TRIPTYCH, FABERGÉ & SIGNED N. EMELIANOV, CIRCA 1912 The central reserve displaying a finely painted image of The Serafimo-Ponetaevskaya Sign Mother of God, characteristically painted with a gem and pearl encrusted veil. The Christ Child as well as the head of the Virgin, encircled with ornate silver repousse haloes, the Virgin’s halo embellished with cabochons. Both hallmarked St. Petersburg, and with Cyrillic maker`s mark FABERGÉ beneath the Imperial Warrant and workmaster`s initials TR for Phillip Theodor Ringe. Below the Virgin are inscribed the standard troparion (left) and kontakion (right) celebrating icons of the “Sign”. And further still lower right the icon is signed in Cyrillic “Painted by N. Emelianov”. Above the Virgin on either side are painted two full length images identified by inscriptions as Angels of the Lord. To the Virgin’s right (viewers left) a vertical panel divided into six sections each depicting a church feast day or other related event. From top to bottom they are; The Birth of the Mother of God, The Entrance of the Mother of God Into the Temple, The Translation of the Relics of Saint Alexander Nevsky from Vladimir to St. Petersburg, Saints Peter and Paul, The Appearance of the Wonderworking Icon of Kazan, and The Translation of the Relics of Saint Theodore Stratelates. To the Virgin’s left (viewers right) a similar vertical panel divided into five sections depicting the following iconographical subjects; The Resurrection, The Transfiguration, The Apostle and Evangelist Saint Matthew, The Dormition, and The Assembly of the Archangel Michael. Further out, the left wing depicts a finely painted full length image of Saint Nicholas whose head is encircled by a silver repousse halo stamped with the workmasters initials TR and who stands beneath an image identified by the Slavonic inscription as the Not-By-Hand-Made Image of Our Lord. Below Saint Nicholas is a reserve divided into four sections depicting various subjects. Clockwise from upper left they are; The Transferring of the Vladimir Mother of God Icon, Saint George, Saints Konstantin and Helen, and the Translation of the Relics of Saint Nicholas. The right wing depicts a finely painted full length image of Saint Seraphim of Sarov whose head is also encircled by a silver repousse halo stamped with the workmaster initials TR and who stands beneath an image of The Old Testament Trinity. Below Saint Seraphim a reserve divided into two sections depicts the following subjects; The Discovery of the True and Life-Giving Cross and an image of The Kazan Mother of God. Each shaped panel separately painted and set into the ornately carved one piece frame displaying an eight-sided cross finial atop the left and right wings and the central section surmounted by a similar cross flanked by a pair of six-winged Seraphim. The wide lower margin with two medallions carved in high relief and depicting Saint George (left) and The Archangel Michael (right). The verso of carved frame lined with brass edging around the border and the entire back covered in kid leather and stamped in Cyrillic ?.??????? beneath the Imperial Warrant and with St. Petersburg address. Height 23.3 inches (59.4cm).Width 16.4 inches (41.5cm).Provenance:Colonel Dmitrii Nikolaivich Loman, circa 1912, presumably a gift from Empress Alexandra Feodorovna. With Bowater Gallery, London, where acquired by Mrs. Harold Leather of Hamilton, Ontario, Canada, accompanied by original receipt of purchase dated August 10, 1970. Thence by descent to her son, Sir Edwin Leather (1919-2005) former Governor of Bermuda, and acquired by the present owner from the estate of Sir Edwin Leather.The Mother of God of the Sign icon known as the Serafimo-Ponetaevskaya was imbued with particular significance for Tsar Nicholas II and his wife Alexandra Feodorovna. As the last icon of this iconographic type to be declared miracle-working in Russia (1885), it became for the Imperial couple a symbol of Holy Rus reborn and triumphant in the modern age, and a direct link to the miraculous powers and protection of Saint Serafim of Sarov, to whom the Empress Alexandra was especially drawn. When the couple attended the celebrations marking the canonization of the Nizhnii Novgorod saint in 1903, the Ponetaevskaya icon was one of three venerated for their connection to Serafim’s life and work. The Empress was given a copy to mark the occasion and this icon accompanied her until her final days and death in Ekaterinburg in 1918. The Ponetaevskaya icon was particularly associated with Tsarskoe Selo, which in 1901 became the official Imperial residence and from 1909 was the site of the Fedorovsky Gorodok, an elaborate complex intended to recreate the spirit and culture of an idealized Russian past in a modernized idiom. It is with Colonel Dmitrii Loman, the driving force behind the construction and conception of the Fedorovsky Gorodok and a trusted member of the Imperial family’s inner circle, that the offered lot is associated.The icon’s name derives from the Serafimo-Ponetaevskaya convent, established in 1864 in memory of Saint Serafim (1754/9 - 1833), whose hermitage was located at nearby Sarov. The convent was famous for its icon painting workshops, and in 1879, a novice named Klavdia Voiloshnikovna made a copy of an icon of the Sign that had been acquired from the artist Pavel Sorokin who oversaw the painting studio. In addition to the canonical features of Sign icons - the half-length figure of the Mother of God with her hands raised in prayer and the Christ Child encircled by a nimbus within Her womb - the icon that Voiloshnikovna copied had several distinctive features. The Mother of God’s eyes are lifted to heaven and a pearl and gem encrusted veil sheathes her head and shoulders, imparting to her face a teardrop-shaped contour. The faces are rendered in the painterly style popular in the nineteenth century and have a certain sentimental sweetness. On May 14, 1885 the icon performed the first of many miracles and by the end of the year was officially proclaimed miracle-working by the Holy Synod.In 1909 an exact copy of the icon arrived at Tsarskoe Selo as a gift from the Abbess of the Ponetaevskaya convent. That same year, Tsar Nicholas II approved construction of a temporary church to serve the devotional needs of His Majesty’s Own Regiment, who were permanently stationed there. Dedicated to Saint Serafim of Sarov, the church was an experiment in resurrecting an idealized Russian past. It was appointed with an iconostasis designed by Prince Mikhail Putyatin (see fig. #3 & #4) and filled with icons painted by noted iconographer Nikolai Emelianov executed in the 17th century style. The Ponetaevskaya icon occupied a place of honor in the church, along with relics associated with Saint Serafim.At the same time Nicholas and Alexander gave permission and funds to build a permanent cathedral on the grounds of the Alexander Palace at Tsarkoe Selo, where their family might worship surrounded by their most devoted troops as well as their favorite sacred images. Consecrated in 1912, the cathedral contained two churches. In the upper church dedicated to the Feodorovskaya Mother of God icon, a five-tiered iconostasis was installed, filled with new icons painted by Emelianov in the same 17th century style and lavishly adorned with silver basma. On the lower level, space was carved out for a crypt church and it was here that the temporary church’s altar, icons, relics and fixtures were transferred. To the Ponetaevskaya icon was added a copy of the Umilenie Mother of God that had been Saint Serafim’s personal icon, together with an icon of the saint himself. A second Ponetaevskaya icon hung nearby in the empress’s own private chapel, donated by the empress’s sister, Grand Duchess Elizaveta Feodorovna in 1912 and adorned with a sumptuous silver oklad and costly embroidered veil (Fig.1).The offered triptych of the Ponetaevskaya Mother of God with Saints Nicholas and Serafim can be securely traced to Dmitrii Loman (1868-1918), a Colonel in His Majesty’s Own Regiment, whose energy and organizational talents made him an indispensable and sympathetic aide to the Imperial couple and was by all accounts very close to the Empress, who was the Godmother of Loman’s son, Yuri. A contemporary photograph dated to 1914 shows the icon hanging in the upper corner of Loman’s office located in the refectory at Tsarskoe Selo (Fig.2). Colonel Loman served in countless capacities that reflected the Emperor and Empress’ trust. In addition to being churchwarden of the cathedral, during WWI he served as the Empress’ representative on the Tsarskoe Selo Military Hospital Train No. 143 and similar trains under the protection of the grand duchesses. He was also on friendly terms with Grigorii Rasputin (Fig.3) who was a frequent visitor and was one of the few people actually present at his burial. Loman’s great passion was the preservation of early Russian art, music, and popular culture, and his collections of liturgical and folk art were intended to serve as inspiration for the revival of a single national style in all facets of contemporary life. In 1915, he was instrumental in creating the Society for the Renaissance of Artistic Rus, a group that included the leading artists and architects working in a neo-Russian style. The society’s goals included the study and preservation of Russian antiquities, the revival of pre-Petrine aesthetic traditions adapted to contemporary conditions, publishing textbooks on Russian art for schools, and restoring the purity of the Russian language. The complex of buildings that grew up around the Feodorovsky Cathedral, the Feodorovsky Gorodok, was to be a prototype for the realization of these goals on a national scale.In every sense the offered triptych is a microcosm and memento of the Feodorovsky Cathedral whose construction and decoration Loman oversaw. The painting is the work of the Palekh- trained Moscow-based court iconographer and restorer Nikolai Sergeevich Emelianov. Having proved his ability to interpret the spirit of 17th century icons in a modern idiom with the iconostasis for the temporary church, Emelianov was among a select group of iconographers (including Mikhail Dikarev) commissioned to provide icons for the cathedral’s upper church (Fig.4). Emelianov also prepared the drawings for the mosaic icons that marked the multiple entrances to the cathedral. In addition to the iconostasis, in 1910-11 Emelianov painted 102 icons for the cathedral itself, including “an icon of the Mother of God of the Sign with attendant angels,” of which the present icon may have been the model for the Loman triptych. Icons by Emelianov from the Feodorovsky Cathedral and other late Imperial churches are preserved in the State Museum of the History of Religion and, like the present icon, are generally signed in the lower right corner. So pleased were the royal family with his work, that Emelianov was awarded a silver medal on a Vladimir ribbon for his icons in the Feodorovsky Cathedral together with the Emperor’s “personal thanks.”The elegantly elongated figures of the two attendant saints - the tsar’s name saint Nicholas and Saint Serafim himself - and the miniature painting of the marginal scenes of festivals and saints are subtly adapted to the distinctly modern features of the Ponetaevskaya Mother of God. An exceptionally rich visual rhythm is created by the variations in scale and size of the scenes that flank that central image and create a continuous horizontal band along the lower edge. The three panels are set within a carved wooden framework that echoes the elongated gables of the iconostasis designed by Vladimir Pokrovsky for the upper church (Fig 5.). The carved relief roundels on the lower margin reference the mosaic icons of Saint George and Saint Michael that Emelianov designed to mark the north and south entrances into the cathedral (St. George appropriately designated the officers’ entrance). Reflected in the cabochon-studded haloes is the rich intricacy of 17th century devotional icons that established the aesthetic ideal espoused by enthusiasts like Prince Shirinsky-Shikhmatov and Loman himself. The fact that they were made in the workshops of the Imperial silversmith Fabergé reflect the status and importance of the person who commissioned the offered triptych. The carving borrows some of the stylized folk motifs from the furnishings designed for the cathedral by Nikolai Bartram and executed in the workshops of the Moscow Zemstvo at Sergiev Posad. Here too a balance is sought between the lushly ornamented upper half in the neo-Russian style and the neoclassical simplicity of the lower section, so typical of Fabergé’s work in burl and Karelian birch.Clearly, the triptych is a testament to Loman’s deeply held conviction - one he shared with the Imperial couple - that a renaissance of Old Russian values in contemporary life was a goal within reach. In the absence of a presentation plaque or other documentation we can only speculate as to its origins. It would certainly have been a fitting gift of appreciation and remembrance from the Empress for whom Loman had proved so indispensable. It is displayed in Loman’s office near an assortment of personal photographs depicting Tsar Nicholas II and the Empress of the type known to have been given by the royal couple to those whom they held in high esteem. However, perhaps the best clue as to who might have commissioned this icon rests in the fact that it was decorated by the firm of Fabergé. For it is well known that when the Tsar and Tsarina wanted to favor someone special with an extraordinary gift they would call upon the workshop of Fabergé to fulfill such requests. When all known facts are taken into consideration, Imperial silversmith Fabergé, court iconographer Emelianov, and the triptych being situated in the office of dutiful royal confidant and administrator Dmitrii Loman, it is fair to presume that the offered lot was indeed a gift from Nicholas and Alexandra to Loman most likely upon the completion of the cathedral in the fall of 1913 which Loman oversaw, including the task of primary fundraiser. After decades of decay and destruction, in 2009 a concerted restoration of the Feodorovsky Cathedral at Tsarskoe Selo was undertaken and the iconostasis reconstructed on the basis of several surviving icons by Emelianov. Loman’s son Yuri (1906-1988) survived the times or terror, successfully adjusted to communist rule and towards the end of his life penned a biography, “Memories of the Empress’ Godson”. The Society for the Renaissance of Artistic Rus of which Loman was instrumental, ceased its activities in October 1917. Loman perished (was shot) during the terror of 1918 and by 1928 the old icons from the Feodorovsky Cathedral had been dispersed, some made their way to the Russian Museum, while others, including some painted by Emelianov went to the State Museum of the History of Religion. Others, like the offered lot, thankfully found safe haven elsewhere and after decades of silently preaching in places far removed from the splendor of Tsarskoe Selo, are now being enjoyed by a new generation of enthusiasts who have come to appreciate the true geniuses of those artisans who created a unique Russian style that has now risen from the ash heap of history to reign again in splendor."

ARR Jane G Gibson (Scottish Contemporary) `Japanese Azalea` Pastel, signed `96 bottom right, label verso `Dumfries & Galloway Fine Art`

* HUGH MCINTYRE (1943-) `SUNSET ABSTRACTION` oil on canvas, signed and dated `92 120cm x 110cm note : McIntyre`s work is included in the collections of H.R.H. The Prince and the Late Princess of Wales, The British Linen Bank Headquarters, Edinburgh, The Bank of Scotland, Galerie Chomarat, Lyon, Galerie Maison Jardin, Lyon, P.D.C, New York, Ashai Optical Co.Ltd, Tokyo, Brunel University, Hilton International, Albert Fisher Group PLC, Tommy Hilfiger and many other public and private collections. Exhibits widely and has been represented by Contemporary Fine Art (Eton) since 1990.

A PAIR OF `ANT CHAIRS`, DESIGNED BY ARNE JACOBSEN, shaped plywood seat on three steel legs. Arne Jacobsen was a Danish architect and designer. Though associated primarily with prestige in his most famous architectural designs the legacy of his entry in decorative art is one surrounding the popular mass production of this `Ant Chair`. The unpretentious `Ant Chair` design became internationally famous only months following its first showing at furniture titan Fritz Hansen`s 80th birthday. The design proved to be Jacobsen`s big break and the design of this chair has endured into the present time from the compositional inception in 1952. Jacobsen was an avid supporter of ultramodern architecture and design and had an intuitive understanding of contemporary movements. This no doubt greatly inspired the use of tripod legs which were becoming ever more fashionable into the 1950`s. Though other designers of Jacobsen`s era preoccupied themselves with functionalism, often at the expense of decor. Jacobsen himself was concerned with translating contemporary innovations and combining them with functional furniture, though by no means at the expense of originality. The fashionable plywood seat and steel tripod legs hark back to the 1950`s and nod to the chairs following of furniture connoisseurs as well as displaying the functionality desired by the consumers of the era. In this way the `Ant Chair` appealed to both the market for fashion and exclusivity as well as explaining its enduring replication in the consumer market of mass production.

Sarah Graham, British, late 20th/early 21st century- "Sweet Mayhem"; colour print on box canvas, signed and numbered 29/95, publ. Washington Green, 2010, with certificate, 75.8x111cm, (unframed), (may be subject to Droit de Suite) Note: Sarah Graham`s paintings are in private collections across the world, including the USA, Europe, Australia, Abu Dhabi, Dubai, China and South Africa. Her paintings are also produced as limited edition prints, by the UK fine art publishers Washington Green and are available from galleries across the UK. Her work is also owned by Standard Chartered Bank, who commissioned a self portrait for their vast global collection of contemporary portraits. For further information see www.sarahgraham.info

John Sergeant, British b.1937- Untitled; charcaol on buff paper, 23.5x32cm Exhibited: Hazlitt, Gooden & Fox, London, John Sergeant, Recent Drawings 8 November-1 December 2000: John Sergeant, British b.1937- "Poor Man`s Sulpture 1"; charcoal on buff paper, 31.5x31.5cm. Exhibited The Fine Art Society Plc, London, John Sergeant, Recent Drawings, 2000: together with a watercolour study of a still life subject by the same hand, 25x29cm. Exhibited: Hazlitt, Gooden & Fox, London, Three Contemporary Masters, John Sergeant, Jehan Daly, John Ward RA, 2-25 November 1994 cat 24, (3) (may be subject to Droit de Suite)

A pair of modern pyramidal open bookcases by David Hicks, each with five tiers to a base drawer, on cabriole legs, 77in (195.7cm) h, 33.25in (84.3cm) w, 18.75in (47.8cm) d. (2) David Nightingale Hicks (25 March 1929 - 29 March 1998) was an English interior decorator and designer, noted for using bold colours, mixing antique and modern furnishings, and contemporary art for his famous clientele.

BINDINGS. Chambers`s Encyclopaedia… revised edition. London & Edinburgh: 1881. 10 vols., 8vo (251 x 171mm.) Maps and illustrations. (Some spotting and browning.) Contemporary half-calf (scuffed and rubbed). - And a quantity of others, most leather-bound, including bound copies of `Country Life` and `The Art Journal` (a quantity).

Islamic Afghan Ceramic Green-Glazed Incense Burner12th-15th century AD A tubular monochrome-glazed incense-burning vessel with openwork walls and rim, the top formed as a conical dome surmounted by a pointed knop; a pentagonal aperture in the wall with hatched surround; the shape reminiscent of a contemporary mosque. Cf. Watson, O. Ceramics from Islamic Lands, p.163. 1.2 kg, 20 cm. (8"). The former property of a Harley Street professional; a collection of Islamic art acquired before 1990. [No Reserve]Fine condition, chipped rim.Starting Price: £5

Seán Keating PRHA (1889-1978) The Tipperary Hurler Pencil and charcoal on card, 51 x 34.2cm (20 x 13½") Signed and inscribed with title This is a study for the iconic work "The Tipperary Hurler" which is in the The High Lane Gallery,Dublin Collection and is currently on exhibition at "Seán Keating: Contemporary Contexts"at The Crawford Gallery Cork and runs until 27th October. Interestingly it is an amalgam of two Tipperary men one being John Joe Hayes a star hurler of the super successful Tipperary team in the 1920's and Ben O'Hickey who looked very like him and was a student of the Metropolitan School of Art. Keating attended Croke Park in 1925 where according to Hayes family he sketched Hayes,the man from Ballerk,as he was coming off the field. Keating was involved in producing his series for "The playboy of the Western World" at this time so did not return to those sketches for several years. In the meantime O'Hickey had joined the school and he was uncannily like Hayes even down to the mop of strong dark hair. O'Hickey had been a founder member of the Bansha Branch of the IRA and had served time in prison in England. He was also one of the subjects in another of Keating's iconic works "The Race of the Gael". "The Tipperary Hurler" is symbolic of the new Irish Free State and is one of the few depictions of our National Sport in art at this time. Our thanks to Dr Éimear O'Connor for her help and research which were invaluable in cataloguing this lot.

Jack Butler Yeats RHA (1871-1957) The Boat Builder, 1923 Oil on board, 23 x 35.5cm (9 x 14") Signed Provenance: Sold by the artist to Alfred R. De Lury, University of Toronto, August 1923 Exhibited: 1923 Dublin "Drawings and Pictures of Life in the West of Ireland", Jack B. Yeats Exhibition, Stephen's Green Gallery, Catalogue No. 5; 1930 Toronto "Paintings by Homer Watson and a Collection of Paintings by Contemporary Irish Artists", Group Exhibition, Toronto Art Gallery, Catalogue No. 44 Literature: 1930 Exhibition Catalogue, Toronto Art Gallery, illustrated; "Jack B. Yeats - A Catalogue Raisonne of the Oil Paintings" by Hilary Pyle, London 1922, Catalogue No. 199 A man seated in a súgán chair watches two men building a boat. A young woman in a red skirt stands looking on. It is a bright summer's day with views of the islands and coastlines of Connemara extending into the background. A traditional whitewashed cottage, evidently the home of the man and his companion, completes the scene. Yeats was fascinated by boats and boat building. In 1905 he visited Carna Co. Galway with the writer J.M. Synge when the two men collaborated on a series of articles for the Manchester Guardian. Synge was also interested in boats and sailing and he devoted a section of one of his articles to the subject of boat building in the West of Ireland. Yeats supplied an illustration depicting the boat yard at Carna with a similar scene of two men working on the hull of a traditional local boat. The Boat Builder painted nearly twenty years later clearly recalls part of that memorable visit. Synge describes the process of boat building in this remote region. The timber was purchased in Galway and brought by hooker to the commissioner's homestead. A carpenter, a highly skilled craftsman, was employed to build the boat, a task that usually took six weeks to two months and for which he was paid two pounds. The carpenter or boat builder was assisted by a helper who 'must stand holding boards and handing nails, and if he doesn't do it smart enough you'll hear the carpenter scolding him and making a row'. The boat builder in this painting is clearly not the one described by Synge and depicted in Yeats's earlier drawing for he 'was rather remarkable in appearance, with sharply formed features and an extraordinarily hairy chest showing through the open neck of his shirt'. The boat builder in this painting is nonetheless presented as absorbed in his work, planning a wooden plank of the hull. His masterful pose is contrasted by that of his companion who stands with a board at the ready. The intricacies and skill of their task is a source of great curiosity as Yeats shows through the engrossed expressions of their patron and the young woman. The painting is an intriguing vignette into the social structure of Connemara life which was already vanishing in the 1920s when the work was painted. The detail of landscape and the simplicity of the setting add to the poignancy of the subject. Dr. Róisín Kennedy Dublin 2012 1. J. M. Synge, Complete works of J.M. Synge, Wordsworth edition, 2008, p.209. 2. Ibid, p.210.

Paul Henry RHA RUA (1876-1958) The Bog at Evening Oil on Canvas, 76 x 91cm (30 x 36") Signed Provenance: Combridge's Fine Art Dublin, Henry Lee Shattuck, Boston Exhibited: "Exhibition of Pictures by Paul and Grace Henry", Magee's Gallery Belfast, April, 1923; "Paul Henry", NGI, Dublin, 19 February - 18 May 2003, Catalogue No. 71 Literature: S.B. Kennedy, "Paul Henry", NGI, Dublin, 2003, pp. 100-2, illustrated; S.B. Kennedy, "Paul Henry - Paintings, drawings, illustration", Yale, 2007, Catalogue Raisonne No. 591 As with many artists, a good number of Paul Henry's paintings are known by more than one title. This often makes for difficulties in precisely identifying them, although contemporary press reviews (which are usually more detailed than those of today) of the artist's exhibitions often help in this regard, Thus, for example, the "Northern Whig" (12 April 1923) in its review of Henry's 1923 Exhibition at Magee's Gallery, Belfast, commented on a composition called "The Bog at Evening" in a manner which exactly describes this picture: "the black peat-stacks", it said, "stand out against the dim brown of the bog, and the curves of their shapes are repeated and magnified in the curves of the mountains, and of the clouds that tower above them". It continued: "The repetition of these curves gives a sense of rhythm to the design, and the fine purple of the mountains is enriched by the contrast with the blacks and browns of the foreground". Despite also being known as "Evening on an Achill Bog" (a label on the reverse of the frame, but not in the artist's hand, bears this title), it seems likely that this picture is indeed "The Bog at Evening" which Henry exhibited in 1923. The first owner of the picture, H. L. Shattuck, who also owned another Henry painting, "A Mountain Village" (no in the Museum of Fine Arts, Boston), almost certainly acquired it from the exhibition of "Contemporary Irish Art", held at Grace Horne's Gallery, Boston, in May 1929. At any rate, "The Bog at Evening" shows Henry at the height of his powers. There is an absence of all human activity, his attention is focused firmly on the landscape and his handling of paint and treatment of the scene have become slightly codified, with a suffuse sense of stillness, even of timelessness - in this respect compare, for example, his "In the West of Ireland" (National Gallery of Ireland), which also dates from the 1920's - in a manner that typifies much of his oeuvre hereafter. Although one cannot be certain, the setting is most probably Connemara, and my be Achill Island. The size of the composition is unusual for Henry, as is the degree of impasto employed throughout, but these elements serve to illustrate confidence and vigour of the artist's early years in Dublin, The handling of colour is particularly subtle, the pinks and warm creams in the cloud formations contrasting with the cooler cobalt blues elsewhere in the sky, while the juxtaposition of the purple mountains and the yellow cornfield in the middle distance is distinctly Post-Impressionist in concept and recalls the artist's time in Paris. The foreground, too, despite, the predominance, of the umbers, browns and blacks of soft earth, is a myriad of pinks and other hues and the reflections in the foreground pool lead the eye back into the composition and ultimately splendour of the sky. A label on the reverse of the frame notes: 'Museum of Fine Arts, Boston, T.L. 3682, H.L. Shattuck.' Dr. S.B. Kennedy

Aloysius O'Kelly (1853-1936) The Game of Chess Oil on board, 21 x 32cm (8.25 x 12.5") Signed Aloysius O'Kelly painted many versions of this subject, variously exhibited at the Royal Academy (1889); the Royal Institute of Painters in Watercolours (1892); the Royal Hibernian Academy, Dublin (1896); The Royal Society of British Arts (1893); the Walker Art Gallery, Liverpool (1894) and two of these have previously been sold in these rooms, lot 205, 8th Dec 2009 and lot 80 5th Dec 2011. A further version was painted in the name of Oakley, one of O'Kelly's aliases, and submitted in 1893/4 to the Royal Society of British Arts.(i) The number of paintings of this subject is significant. Directly after painting 'Mass in a Connemara Cabin' (1883) (National Gallery of Ireland), which O'Kelly consigned to the Communard, Henri Rochefort to submit to the Paris Salon on his behalf, he went to Egypt and Sudan, with his brother, the Fenian, gun-runner, journalist and Member of Parliament, James J. O'Kelly. There they mixed with a group of French Socialists and Egyptian nationalists, and took up the cause of the Mahdi in Sudan, in an effort to embroil the British in the colonies, so as to create opportunities for Irish insurrection back home. Ciaro became an increasing subject of anxiety to the colonial authorities. And cafés were considered sites of political intrigue where the lower orders engaged in seditious behavior. According to a contemporary writer, there 'the rabble gathers...in a space so confined that the occupants are almost overcome by the fumes that rise from the stoves and the smoke of the pipes and nargilehs...It is a source of numerous infections and diseases, and a refuge for the unemployed and indolent, particularly in those places known for the consumption of hashish.'(ii) The pipe thus came to symbolize reflection and pleasure, as well as trouble. Given the ban on alcohol, hashish was thought to calm the nervous system, sharpen the intellect and lead to a state of intoxication called 'kayf'. an in this state, the native was considered highly unstable indeed. During the decade in which O'Kelly's café scenes were exhibited, the number of cafés where draughts/chess were played increased, a fact which was used to confirm the indolence of the Egyptians. Defining the defects of his character was considered the most effective way to accustom the native to his subordination. For these reasons, those who frequented cafés were considered suspect. But unlike most of his contemporaries, O'Kelly's was emphatically on the Egyptian nationalist side. Although less detailed than the other verions, compositionally this painting is the prorotype for those that followed. The three figures seated on the floor are engrossed in their game, the various elements of Egyptian dress, interior design and still life are all present, although they are much expanded in the later versions. Undoubtedly, the painting is indicative of O'Kelly's skills and interests, albeit in a preliminary form. - Prof. Niamh O'Sullivan (i) See Niamh O'Sullivan, 'Aloysius O'Kelly: Art, Nation, Empire' (Field Day, 2010), passim. (ii) Quoted in Timothy Mitchell, 'Colonising Egypt' (California, 1988),p. 117.

Carey Clarke PRHA (b.1936) Still Life with Donatello Angel (1990) Oil on canvas, 71 x 91.5cm (28 x 36") Signed Provenance: The Solomon Gallery, November 1990, Cat. No. 2, illustrated Exhibited: Irish Museum of Modern Art, November 2005-February 2006, SIAR 50:50 Years of Contemporary Irish Art Literature: Martello, 1991, illustrated p132; Miller's Picture Price Guide, 1995, illustrated p526

SERGIO GAGGETTA (1927-) FISHING HUT ON THE VENETIAN LAGOON signed, with inscription and date 1963 verso, panel, 19.5 x 29.5cm In fine condition beneath glass in fabric covered mount and plain black painted boxwood frame with on the reverse two Italian labels including one of that of the contemporary Venetian art dealer Orler Ermanno

A 59 PIECE VINTAGE PORCELAIN GROUP, 20TH CENTURY. Comprising 33 piece Noritake "The Monterey" dinnerware, green Jasperware heart shape box, etched gold cream and sugar, German Art Deco mold three handle toothpick, remembrance cups, salt and pepper shakers, and a contemporary Famille Rose table lamp.

A COLLECTION OF NINE VINTAGE GLASS LAMP SHADES, EARLY 20TH CENTURY. Including pressed and acid finish, clambroth lamp sconce shade, scalloped Art Deco shades, a milk glass flat spherical shape together with a contemporary lily form shape. The largest 16 inches diameter.

2 SHEETS ANDY WARHOL S&H GREEN STAMPS 1965 S & H Green Stamps, 1965; Offset lithograph in colors (folded); From the edition of 6000 that was used as an invitation. Sheet Measures 23" x 22 3/4" (58.4cm x 57.7cm). Printer: Eugene Feldman, Philadelphia; Publisher: Institute of Contemporary Art, Philadelphia; Literature: Feldman-Schellman 11.9; Private Collection

`Yachts & Yachting in Contemporary Art` by B. Heckstall Smith, limited print run of 1000 (however not numbered), published by The Studio Ltd., London, with black and white plates and coloured tipped in plates

Twenty three books on Contemporary Art, including Damien Hirst (2), Chapman Brothers, Bob Dlyan, etc and Tracey Emin towel

Dickens (Charles) The Short Stories of Charles Dickens, 1971, Limited Editions Club, illustrated by Edward Ardizzone, numbered ltd. edition of 1500, signed by the artist and the designer-printer, half cloth, slipcase; idem, The Adventures of Oliver Twist or The Parish Boy`s Progress, nd., Chapman & Hall, 24 tipped-in plates after Cruikshank, quarter cloth; idem at el, The Piccadilly Annual of Entertaining Literature, Retrospective and Contemporary, nd., John Camden Hotten, includes `Hunted Down` by Dickens, original wraps (spine worn and broken); Dexter (John F.) et al, Dickens Momento, .. Catalogue ... of the Pictures, Drawings and Objects of Art of the Late Charles Dickens, sold by auction in London, by Messrs. Christie, Manson & Woods on July 9th, 1870, 4to., original cloth; (4)

A continental metalwares four-piece tea and coffee set, possibly Swiss or Dutch, c.1950, of panelled form, with ebonised handles, the milk and sucrier with gilt interiors, coffee pot 23.5cm high. Born in Amersfoort, Netherlands, in 1949, Jan van Nouhuys trained as a goldsmith at the Middelbare Technische School, Vakschool Schoonhoven (1968-71). From 1971 to 1974, he worked as a goldsmith in The Hague, after which he worked for several major silversmiths in London. Between 1976 and 1978, he ran his own studio in the Hague and then returned to Schoonhoven, where he has been teaching at his former school and running his own highly successful studio. In 1990, I was selected by a silk and garment company, Ravissant, in collaboration with a Swiss investment Bank, Alliance, to come to New Delhi to be put in charge of setting up a silversmithing workshop: Setting up the place, the layout, the tools etc. Training the appointed silversmiths to work according to the quality desired in the world. Providing the workshop with designs along which the skills could be gained and improved. Bringing about a discipline of working promoting an art focus into the whole concept of the silver work, for this company. Initially we got started with 7 silversmiths. Within a year we moved towards 20 silversmiths. The first sales took place in Bombay. In the three days for 100,000 Guilders was sold and commissioned. An unprecedented phenomena in those years, where the Western public did have no interest in contemporary silver what so ever.’