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PHOTOGRAPHS, ITALY. An album containing albumen-print photographs. [N.p.: n.d. but circa 1880-1900.] Including views of Venice, Verona, Milan, Florence and works of art. (Some fading and creasing.) Contemporary half-morocco (scuffed and rubbed).

Edward Ardizzone (British 1900-1979), Corseted woman and four nudes, ink sketch on the rear of a private view card, initialled in ink, framed and glazed bearing Sally Hunter Fine Art gallery label, numbered 5, exhibited Edward Ardizzone with his friends and relations , Sally Hunter and Patrick Seale Fine Art, December 1986; together with an etching after Frederick Slocombe (British, 1847-1920) entitled A College Walk , signed and titled in pencil, framed and glazed and a contemporary coloured floral still life print, indistinctly signed and inscribed Proof , framed and glazed (3)" The Ardizzone ink sketch 9.5cm x 20cm, the etching, 28cm x 18cm, the coloured print, 57cm x 80cm All in good condition, unexamined out of frames. View on auctionatrium.com

A POST WAR TEA POT with a laminated rosewood handle & finial, the circular body with a cone shaped upper section and a flaring, triform spout, by Norman Poynton, London 1957; 4.5" (11.5 cms) high overall; 16 oz * Norman Reginald George Poynton registered his mark at Goldsmiths Hall 14th July 1936 giving his address as the Leicester College of Art. He made a number of civic items for the City of Leicester (some of which were designed by Kenneth Holmes, the Principal of the College, & some designed by Norman himself). One piece, a scroll holder designed by Poynton & Holmes jointly, and made in 1950 by Poynton & D.J.F. Hodge was exhibited at Goldsmiths Hall 1951 in the British Silver by Contemporary Craftsmen Exhibition.

Doyle (Richard) Bird`s Eye Views of Society. wood-engraved pictorial title 16 plates and 16 pictorial initials modern cloth Smith Elder 1864; The Foreign Tour of Messrs Brown Jones and Robinson illustrations slightly foxed lacking front and rear free endpapers label stuck to front paste-down original cloth worn joints cracked 1854; Manners and Customs of ye English illustrations slightly dusty contemporary half morocco spine becoming detatched very worn at corners n.d. § Maclise (Daniel) The Story of the Norman Conquest illustrations foxing tears in lower margins detached from binding original cloth Art-Union of London 1866 § Coleridge`s Rime of the Ancient Mariner illustrations by L.Noel Paton slight damp-stains in places and foxing original cloth joints and hinges cracked Art-Union of London 1863; and another v.s. (6)(6)

Hillier (Jack) The Harari Collection of Japanese P 3 vol. illustrations many colour and tipped in original cloth slip-cases 1970-73 § Cooke (George) Animals after the First Masters illustrations original wrappers browned some soiling [1829] § Winkles (H & B) Architectural and Picturesque Illustrations of the Cathedral Churches 2 vol. in 1 additional engraved titles numerous engraved plates and plans contemporary half morocco g.e. boards and spine detached but present 1836; and a quantity of others art reference sculpture including some loose prints v.s. (5 boxes) (5 boxes)

Meteyard (Eliza) Choice Examples of Wedgwood Art 1879; Memorials of Wedgwood 1874 together 2 vol. mounted photographic plates some foxing and marginal soiling first few leaves of first volume loose original cloth gilt second volume with illustration mounted on upper cover and rebacked both rubbed and stained § Sampson (H.) A History of Advertising from the Earliest Times folding chromolithographed frontispiece ink signature at head of title (foxed) contemporary calf spine gilt and a little faded 1875 § Sitwell (O.) The People`s Album of London Statues one of 116 copies signed by the author and artist illustrated by Nina Hammett 1928 § Hobson (R.L. editor) William Duesbury`s London Account Book 1751-1753 one of 300 copies 1930 § Green (D.) Grinling Gibbons: His Work as Carver and Statuary 1649-1721 1964 § Lee (R.A.) The Knibb Family: Clockmakers limited edition Byfleet 1964 plates and illustrations all but the third original cloth the last four with dust-jackets rubbed v.s. (7) (7)

Newlands (James) The Carpenter and Joiner`s Assist illustrations title slightly soiled some foxing and browning hinges a little weak contemporary half calf slightly rubbed [1865]; and 6 others furniture and art 4to (7).(7)

Newlands (James) The Carpenter and Joiner`s Assist engraved title illustrations contemporary calf binding detached 1869 § Nicholson (Peter) The Carpenter`s New Guide eighth edition corrected and enlarged engraved illustrations foxing throughout modern ink annotation to title library bookplate to free endpaper contemporary tree calf rebacked worn 1823 § Clutton (Henry) Remarks With Illustrations on the Domestic Architecture of France lithographed illustrations bookplate to front pastedown foxing throughout contemporary half morocco worn and rubbed lacking upper portion of spine 1853 § Cartier-Bresson (Henri) Line by Line The Drawings of... first edition illustrations original cloth dust-jacket 1999 § Hillier (J.) Catalogue of the Japanese Paintings and Prints in the Collection of Mr & Mrs Richard P.Gale 2 vol. first edition illustrations original cloth slip-case 1970 § Steingruber (Johann David) Architectural Alphabet 1773 one of 425 copies illustrations bookplate to front free endpaper original cloth library stamps to title front and verso of title The Merrion Press 1972; and a quantity of others similar on art and architecture v.s. (13 boxes)(13 Boxes)

Ophelia Redpath (b. 1965) BUSKING AT THE BODLEIAN Signed and dated 2000 l.r., gouache 55.5 x 41cm. *Artist`s resale rights may apply to this lot. Ophelia Redpath has had a career spanning 20 years, exhibiting in over 100 shows in Britain and overseas. She was born in Cambridge, where she still lives. From 1983 to 1984 she attended the Art Foundation Course at CCAT, after which she went to Homerton College to study Music and Education. At the end of a year, she left the course to begin her career as a full-time painter, which she has been ever since. She regularly exhibits at The Wren Gallery, Burford; Cambridge Contemporary Art; the Russell Gallery, London; and the Darryl Nantais Gallery, Cambridge. She continues to draw strength from her artistic heritage provided by her grandmother, Brenda Moore, and grandfather, Leonard Campbell-Taylor. Her mother, a pianist and musician, and her father, an English Don at Cambridge, introduced her to the possibilities of music and literature, which have become strong ingredients in her work.

View on www.staceyauction.com A carnival glass fruit bowl, an amber coloured Art Deco design vase, contemporary style coloured glass vase and a contemporary style boat shaped flower vase

Contemporary Folk Art School, late 20th century- "S S Great Britain"; enamel paint on slate tile, of irregular shape, signed with monogram and dated 1977, inscribed on the reverse, 31x47cm., (max): After Albert Edelfelt, Finnish 1854-1905- Portrait of Louis Pasteur, printed by Goupil & Co., publ by M Knoedler & Co 1886 ; photogravure, in an oak frame, frame maker`s label for Richard Jeffreys 88 Bold Street Liverpool, 41x34cm., (2)

ARR: By and after Linda Le kniff (French b.1949) Coquette, lithograph printed in colours, signed in pencil and numbered 26/200, 65cms x 50cms; together with three further lithograph by Joy Brand, `Seagraves Wood`, Donald Hamilton Fraser `Dancer`; Richard Wardle `Still Water` circa 1982/3, accompanied by Christies Contemporary Art Certificates (4) PORTFOLIO STAND NOT INCLUDED

• § Kenneth Draper/Bush/signed/pastel, 17cm x 22cm (6.75" x 8.75")/Provenance: the late Lady Tumim; Contemporary Art Society Market, 1987/see illustration

Takashi Murakami (b.1963) Mongram Multicolor-White silkscreen on canvas stretched over aluminium frame 2007 signed in black ink verso numbered 15/100 published by the Museum of Contemporary Art Los Angeles in collaboration with Louis Vuitton and Takashi Murakami in good condition 400 x 400 mm (16 x 16 in)

Banksy (b.1975) Kate Moss silkscreen printed in a unique combination of colours 2005 signed dated and inscribed AP in pencil an artist`s proof aside from the edition of 50 published by Pictures On Walls London on wove paper with full margins in good fresh condition. 700 x 700 mm (27 1/2 x 27 1/2 in) Provenance: Pictures on Walls Authenticated by Pest Control Accompanied by a certificate of authenticity from Pest Control This unique image stands as yet another example of Banksy`s artistic wit and success in applying modern flavours to iconic masterpieces. In a contemporary re-working of Andy Warhol`s Marilyn Monroe Banksy illustrates his dept to the ground breaking 1960s Pop Art movement with its focus on the mass-produced visual commodities and popular culture. This screenprint originally displayed in Banksy`s 2005 Crude Oil exhibition mimics the bold flat colour in Warhol`s work evoking a mask-like quality which becomes so iconic in the Monroe series. In depicting Kate Moss arguably contemporary societies answer to the beautiful and sexualised figure of Marilyn Banksy revamps this globally recognised format into an evocation of contemporary celebrity culture. This is not however Banksy`s first encounter with the work of Andy Warhol who`s bold and often risqué depictions of popular culture were of primary influence to the development of Urban Art as a genre. His Discount Soupcan (smuggled into the New York Museum of Modern Art by the artist in 2005) also clearly refers to Warhol`s Campbell`s Soup Cans (1962) whilst making a witty critical comment on our current consumerist society. IMPORTANT: This lot is sold subject to Artists Resale Rights details of which can be found in our Terms and Conditions.

Le Clerc (Sebastien). A Treatise of Architecture with Remarks and Observations... For Young People who would apply to that Noble Art, Engraven in CLXXXI Copper Plates by John Sturt, Translated by Mr. Chambers, printed and sold by Richd. Ware, vol. 2 of two (plates only), [1732], eng. port. frontis., engraved vign. title-page (with architectural eng. on verso), 4pp. of eng. dedications, and 181 engs. on rectos and versos of ninety leaves, dusty and finger-soiled, several ms. ownership names at front and rear, eng. book ticket on front pastedown, hinges split, contemporary Cambridge pane calf, rubbed and extrems worn, 8vo (1)

Pair of contemporary Moorcroft jugs with Art Nouveau style handles decorated with Tulips. 9.50in. (24.13cm)

Collection of modern art reference books to include contemporary Indian painting.

Thackeray (W. M.) A History of Pendennis, 2 vol., first edition, illustrations, contemporary half calf, edges rubbed, 1850 § Dickens (Charles) The Chimes, original cloth, 1845; The Battle of Life, original cloth, a bit worn, 1846 § Sprot (George) The Gowrie Conspiracy, limited to 60 copies, this apparently a proof with blank leaves of art paper instead of plates, old cloth, scuffed, Roxburghe Club, presented by Andrew Lang, 1902 § Lang (Andrew) Robert F. Murray, inscribed to Margaret Murray from her father, cloth scuffed, 1894; and others, similar, sold not subject to return, v.s. (c.80)

Dormienne (Louise) Les Caprices du Sexes, number 45 of 350 copies, 13 erotic illustrations, contemporary half brown morocco, gilt, in an art deco design, original printed wrappers bound in, rubbed, Orléans, [1928] § Jeunesse, one of 60 copies, 12 erotic illustrations highlighted in colour, loose in original printed wrappers, housed in contemporary morocco-backed chemise and leather entry slipcase, gilt, slightly rubbed, [?Paris], 1933 § Bretonne (Restif de la) Le Paysan & La Paysanne pervertis, number 39 of 450 copies, colour illustrations by Jacques Touchet, uncut in original wrappers, original card chemise and slip-case worn and rubbed in places, Paris, 1948, v.s. (3) (3)

Bienville (M.D.T.de) La Nymphomanie,ou Traité de la Fureur Utérine, first edition, half-title, contemporary light speckled calf, 19th century reback, later endpapers, slightly worn and rubbed, Marc-Michel Rey, 1771 § Deventer (Hendrik van) New Improvements in the Art of Midwifery, first edition in English of the second part of Deventer`s Manuale Operatien, pagination as in the Wellcome copy, one engraved plate in text, contemporary calf, rebacked, slightly worn, a few contemporary annotations, some slight damp staining and soiling, T.Warner, 1724, 8vo (2) (2)

Levret (André) L`Art des Accouchemens, demontré par des Principes de Physique et de Méchanique, third edition, lacking half-title, engraved portrait frontispiece, 5 folding plates, minor tears near folds (no loss), contemporary mottled calf, slight cracking to upper joint and head of spine with slight loss, [cf. G&M 6153], Didot le Jeune, Paris, 1766; Observations sur les Causes et les Accidens de Plusieurs Accouchemens Laborieux, third edition, half-title, folding plate, Paris, Le Prieur, 1762 bound with Suite des Observations, 2 folding plates, ex-library copy with stamps, modern polished calf, Paris, Delaguette, 1751, 8vo (2) (2)

Levret (André) L`Art des Accouchemens, demontré par des Principes de Physique et de Méchanique, third edition, lacking half-title, engraved portrait frontispiece, 5 folding plates, contemporary signature to title, contemporary and modern signature to endpaper, some slight damp-stains, worm track almost right through at head in gutter, contemporary mottled calf, gilt, [cf. G&M 6153], 8vo, Didot le Jeune, Paris, 1766.

Thomas (B.) The Shooter`s Guide, 5 hand-coloured engraved plates, light offsetting, Boies Penrose bookplate to front pastedown, contemporary red half morocco, gilt spine, t.e.g., front cover detached, 1832 § Rawstorne (Lawrence) Gamonia, or the Art of Preserving Game, colour plates, original green cloth, gilt, slightly faded at head, 1929, 8vo and 4to (2) (2)

A FINE AND RARE VENETIAN PARADE SHIELD MADE FOR THE BODYGUARD OF WOLF DIETRICH VON RAITENAU, PRINCE ARCHBISHOP OF SALZBURG, LATE 16TH CENTURY of convex near circular form, constructed of two-ply wood covered with leather decorated on its front face, within an outer border of foliate chevrons and engrailing and an inner border of running foliage and flower-heads, with a pattern of foliate interlace and flowerheads all tooled and lacquered gold over silver, the ground of the main field additionally covered with translucent red lacquer, and the detail picked out throughout with red and green lacquer, the rear retaining traces of yellow-painted decoration, and fitted with a quilted leather arm-pad, a forward enarme and the remains of a rear enarme, the outer edge fitted with a screw and hook for suspension, (the leather covering showing some cracking and worm on both faces, as well as peripheral losses, the lacquering with areas of wear) 56.5cm; 22 1/4in wide This shield is one of a series made in the time of Wolf Dietrich von Raitenau, who ruled as Prince Archbishop of Salzburg, 1587-1612. An inventory of 1669, now in the archives of the Städtisches Museum, Salzburg, mentions 398 gilded and painted shields. Some seventy of these shields are still to be found in the Carolina-Augusteum Museum, Salzburg. When Salzburg was occupied by the Bavarian troops in 1809 a number of these shields were transferred to the main Zeughaus at Munich, and sold from there after the First World War. Other examples of this distinctive group of shields are to be found in the Metropolitan Museum of Art, New York (Acc. No. 29.158.586) the Philadelphia Museum of Art, the Art Institute, of Chicago, the Wallace Collection, London, the Historisches Museum, Dresden (Inv. No. N1), and Schloss Vaduz, Liechtenstein (cat. no. 871 & 881). Another was in the collection of Lord Astor of Hever (sold Sotheby`s, London, 5 May 1983, Lot 29). The fashion for Turkish-style arms is recorded in Europe as early as the middle years of the 16th Century. King Philip II had a `Turkish` bodyguard for his entry into Milan in 1548. The influence of Turkish taste is evident in both the style and technique of decoration of the Salzburg shields which has its origins in Turkish bookbindings of the period. During the 16th Century Venice had its own leatherworkers guild and many bookbindings as well as helmets, shields and quivers were made in this manner. For a contemporary discussion on the Venetian technique of varnishing and gilding see Leonardo Fioravanti, Compendio de` Secreti Nationali, Venice 1562 and Tommaso Garzoni, La Piazza universale di tutte le professioni del mondo, Nuovamente ristampata, posta in luce da Thomaso Garzoni da Bagnacauallo, con l`aggiunta d`alcune bellissime annotationi a discorso per discorso, Venice 1589. See E.J. Grube, 2007, pp. 231-251. Related shields of this type, but not part of the Salzburg contract are preserved in the armoury of the Palazzo Ducale, Venice (See U. Franzoi 1990, pp. 82-3). Another, set with a late 15th Century besagew in the centre and perhaps related to a group in the Correr Museum, Venice, was sold Sotheby`s, Milan, 14th October 2009, lot 1217, €17,500 (including premium).

Andrey M Shirokov, Russian, b.1960- "The Frozen Forest"; oil on canvas, signed and dated `04, 30x50cm, (may be subject to Droit de Suite) Note: Shirokov is a Russian contemporary impressionist artist and member of the Artists Union of Russia. He was born in Vyatka (formerly Kirov- small town 900 km east of Moscow) in 1960 into a family of painters. After graduating from the Kirov School of Painting he chose to remain in his home town and has become a central figure in the Vyatka art movement, which preserves traditions of realistic school of painting. Shirokov was influenced by the Russian artists, Repin, Serov and Nicolai Feshin. He found additional inspiration in the works of John Singer Sargent, Anders Zorn and Joaquin Sorola. Shirokov has participated in numerous artistic undertakings, both in Russia and internationally. His works have been exhibited widely in Russia and abroad including America, Italy, Greece, Japan and Poland. His paintings can be found in Russian museums and private collections, including the UK

George V silver nurse`s buckle of conventional form with pierced Art Nouveau style decoration (Birmingham 1912), together with another contemporary silver nurse`s buckle with pierced leaf decoration (Import marks London 1989) (2)

Richard Demarco, HRSA (1930-) "LOBSTER POTS AND HARBOUR, CôTES DU NORD" signed and dated 1965; with inscriptions on gallery labels verso watercolour, gouache and graphite 38 x 50.5cms; 15 x 19 3/4in. PROVENANCE: Aitken Dott & Son, Edinburgh. EXHIBITED: Traverse Theatre Club Art Gallery Edinburgh, Festival Exhibition 1965: City of Bradford Art Gallery, Cartwright Memorial Hall 1965. NB: Edinburgh-born Richard Demarco`s reputation is principally based on his career as an exhibition and theatre director, begun when he helped found the Traverse Theatre in the city in 1963. Since then he has been one of Scotland`s most influential advocates for contemporary art through his work at the Richard Demarco Gallery and the Demarco European Art Foundation, as well as his professorship at Kingston University in London. Mr. Demarco`s contribution to contemporary art internationally has been recognised on numerous occasions, receiving the Polish Gold Order of Merit, the Cavaliere della Republica d`Italia, the Chevalier des Arts et Lettres de France, and the C.B.E. The National Library of Scotland, the National Galleries of Scotland and Creative Scotland are currently working with Mr. Demarco, Edinburgh College of Art and the Scottish Government, to advise on a secure future for the Demarco Collection and Archive-an extensive of works of art, documents, photographs-currently housed at Craigcrook Castle in Edinburgh. The Artist celebrates his 80th birthday this year.

Friedman (Mildred, ed.) De Stijl: 1917-1931, Visions of Utopia, 4to, cloth, d-j, illustrations (some colour), Minneapolis MN, & New York, 1982; Alfieri (B.. ed.) Metro 3, International Magazine of Contemporary Art, folio, wrappers, plates (some colour), 1961; Victoria and Albert Museum, Modern Chairs 1918-1970, small 4to, wrappers, plates, 1970; Hurlburt (A.) The Grid, a Modular System for the Design and Production of Newspapers, Magazines and Books, folio, cloth, d-j, plates, 1979 (4).

A Whitefriars art blue glass vase, with two groups of bubble inclusions, together with an iridescent studio glass vase and a contemporary glass bird.

BRONNIKOV, FEODOR 1827-1902 Abandoned. The Vatican and Sin signed, inscribed "Rome" and dated 1872 Oil on canvas, 88 by 114 cm. Authenticity has been confirmed by the expert V. Petrov.The picture Abandoned. The Vatican and Sin is an autograph copy of one of the best-known compositions of Feodor Bronnikov, a history painter popular in the last third of the 19th century. Painted in Rome in 1872, it is a splendid example of the genre based on themes relating to the Eternal City. Bronnikov, following the classical canons, composes his painting like a stage set, on which he places his heroine in a striking and expressive position. The artist, always scrupulously accurate in his handling of detail, meticulously delineates the masonry of the parapet, the flare of distant fireworks, the ring on the heroine’s finger and her white cuffs. Beneath a surface restraint and sobriety in the portrayal, much is hidden in this painting, stemming from the contrast at the heart of this dramatic situation. Both in the technique used and in the treatment of the subject, we can detect a curious fusion of the academic tradition with the aesthetics and themes of the Itinerants. For when Bronnikov graduated from the Imperial Academy of Arts, he left Russia in 1854 on a study placement and then spent the rest of his life in Rome, rarely visiting Russia. Only in 1863 did he travel to St Petersburg, to present to the selection board of the Academy a large painting on a subject from Roman history, The Quaestor Reading the Death Sentence to Senator Thrasea Paetus for which he was named Professor of history painting. However, having arrived in Russia via an academic route, Bronnikov was quick to pick up new "populist" tendencies in the art of his native land. The artist became close to the Itinerants and, under their influence, felt an urge to do social good via his art. In his paintings a taste became apparent for portraying life in the lower strata of society, for themes and motifs "laying bare the festering sores of contemporary life". But unlike the Russian colleagues in his studio, Roman sybarite Bronnikov had lost his basis in Russian life and could not develop such themes, instead settling for "Italian" subjects. So he painted a series of genre pictures: Poor Family Being Driven from Their Lodging, An Old Beggar, Golden Wedding Anniversary, Distribution of Food in Front of the Monastery Gates, Sick Man Outside a Catholic Monastery, Artists in a Rich Man’s Parlour and Abandoned. The Russian critics, understandably, thought that Bronnikov belonged "to the earlier, `idealist` school, which holds back this artist, a sincere lover of justice, from portraying the unsavoury traits of his subject". But it was precisely that academic prettiness and a certain pathos and sentimentality, not at all detrimental to an understanding of the "unsavoury position" of his heroes, which allowed Bronnikov to create his own type of genre painting "on the topics of the day". Soon Bronnikov was admitted to the Society of Itinerant Art Exhibitions. From 1873 he showed his works at exhibitions in Moscow, St Petersburg, Kiev etc, alongside the greatest Russian masters. Bronnikov even painted an autograph copy of our painting, Abandoned. The Vatican and Sin, dated 1873, specially for the Society’s third exhibition. Reproduced in the exhibition catalogue, it made a great impression on his contemporaries and was soon bought by the mayor of Irkutsk, Vladimir Platonovich Sukachev. It is now housed in the Irkutsk Museum of Art which bears his name. As for the present, earlier version of this composition, its history is most probably associated with art collections in the West. At least, according to the Brockhaus and Efron Encyclopaedic Dictionary, "most of Bronnikov’s works are in Russia, but many have also been acquired by connoisseurs in England, America, Hungary, Italy and Denmark. Among his last works, Abandoned is worthy of note. This painting is owned by the Queen of Denmark".

* § SHNUROV, ALEKSANDER and SITNIKOV, VASILY B. 1955 and 1915-1987 Parent`s Day indistinctly signed by A. Shnurov, also bears a signature of V. Sitnikov and dated 1978 on the reverse Oil on canvas, 101 by 76 cm. Provenance: Michael Kizhner Fine Art Gallery, Los Angeles. Acquired from the above.Exhibited: New Art from the Soviet Union. Paintings of Contemporary Artists, Heritage Gallery, Los Angeles, USA, December 1989.Literature: Art & Auction, July - August 1989, illustrated.

* DAVID HOSIE Untitled-Composite (1987) ink and gouache on on five relief panels.. Framed under glass. 111cm x 80cm ( 43 1/2 x 31 1/2 inches) Note :David Hosie has been at the forefront of Scottish art since the mid 1980`s. Graduated ECA with an MA in 1986. Major awards include : BP National Portrait Exhibition 1996, Royal Glasgow Institute 1992, George Jackson Hutchison Award (for painting) 1986, Andrew Grant Major Award 1986, Andrew Grant Travelling Scholarship 1986, Richard Ford Award (Spanish Travelling Scholarship) 1985, Royal Academy London 1985. Tutor and Lecturer of Drawing and Painting, Glasgow School of Art, 1988-91. Edinburgh College of Art, 1993-2005. Visiting Lecturer, Duncan of Jordanstone in 1990 and Berkeley University, California, 1990. Major solo exhibitions including : London, New York, Chicago, Glasgow and Edinburgh. Numerous group exhibitions worldwide. Corporate collections include :The Scottish Arts Council, The Royal Scottish Academy, City Arts Centre (Edinburgh), Bank of England, Financial Services Authority, Robert Fleming & Co, Contemporary Arts Society, Unilever PLC, Bankers Trust, Electra PLC, Allied Breweries, Price Waterhouse, Arthur Andersen, WH Smith & Son Ltd, Gartmore Investment Management.

* STEPHEN MANGAN (Scottish b 1964 - ) Symphonic Dances Oil on canvas, signed `Mangan` (lower left) Richard Hagen Gallery (London) label verso 52.5 x 55cm (20 11/16 x 21 5/8 inches). Note : Stephen Mangan has a growing international reputation as an important Scottish contemporary artist. He was born in Edinburgh in 1964 and graduated with a BA Hons degree from Duncan of Jordanstone Art College, Dundee in 1988. Since completing his post-graduate diploma in 1989, his work has been shown in numerous group and solo exhibitions throughout the UK and in New York, Hong Kong and Holland. Little of his work has appeared at auction but examples have been sold by both Sotheby`s and Christie`s achieving prices of £6000 & £6875 respectively (source www.findartinfo.com). His paintings are held in many private, corporate and public collections, including the Metropolitan Museum of Art in New York.

PALLADIO, Andrea (1508-1580). Les Bátimens et les Desseins de André Palladio recueillis et illustrés par Octave Bertotti Scamozzi. Vicenza: Giovanni Rossi, 1786. 4 volumes, 2° (460 x 320mm). Engraved portrait of Palladio, engraved vignettes to titles, 208 plates (on 210 sheets) of which 33 double-page by David Rossi, Gaetano Testolini and others. (Light crease on title of vol. IV, occasional browning, light spotting and soiling.) Contemporary red straight-grained half morocco over red straight-grained paper-covered boards (extremities lightly rubbed, corners bumped). Provenance: Bibliothèque de M. Tourton (label) -- Bruno Hessling (Berlin bookseller's ticket). The second French edition. Bertotti Scamozzi (1719-1790), who produced and illustrated this edition, was a distinguished architect and the main representative of neoclassical art in Vicenza, Palladio's home town. 'Fece cosa nobile e grandiosa nel produrre queste grandi opera Palladiane, e nell'illustrarle' (Cicognara). The Architectural Library, AL2, P171; for the first edition of 1776-83, cf. Berlin Kat. 2722, Cicognara 598 and Fowler 231. (4) View on Christie's.com

ART, GOUT, BEAUTÉ -- Les Succès d' Art, Goût, Bon ton. January-September 1921; Art, Goût, Beauté. Feuillets de l'élégance féminine. October 1921-December 1924. Paris: heirs of Albert Godde, Bedin, and Co., January 1921-December 1924. 48 parts in 4 vols, 4° (320 x 240mm). Numerous pochoir-coloured illustrations and tipped-in plates, some of these also pochoirs. (Occasional light wear, light browning and light soiling, one issue stamped 'specimen'.) Contemporary blue half roan and linen, lettered in gilt, original wrappers bound-in (wear at the spines, backstrip of one volume partly defective, occasional short tears and soiling to the wrappers). Provenance: 'A.L.' (gilt initials on vol. 1). A long run of early issues of this superb publication and essential reference for fashion of the 1920s; the English-language edition. With numerous designs by Poiret, Lanvin, Beer, Philippe et Gaston, Drecoll, Jenny, Doucet, Molyneux, Lelong, Patou, and others, in engravings after Colette, Baratin, Kita, Vitrotto, and others, many of these hand-coloured in pochoir. (4) View on Christie's.com

[BEARDSLEY, Aubrey (1872-1898)] -- LACLOS, Pierre A.F. Choderlos de. Les Liaisons Dangereuses. Brussels: J. Rozez, 1869. 2 vols in one, 16° (147 x 94mm). (Chip to half-title, one leaf repaired with slight loss, occasional light spotting.) Contemporary blue morocco-backed marbled boards, spine gilt to an art nouveau design, original wrappers bound in, top edge gilt (spine restored, extremities rubbed, front endpaper slightly damaged). Provenance: Aubrey Beardsley (signature on title; later inscription on front endpaper from his mother to): -- 'Willie King [i.e. A.W. King] ... July 21st/18' -- Robert Booth (bookplate after Beardsley). AUBREY BEARDSLEY'S COPY OF LACLOS'S EROTIC FIN-DE-SIECLE NOVEL. A.W. King, its owner after his death, was Beardsley's housemaster at Brighton, and one of the first to encourage his talent for drawing. While the artist did not take up Smither's invitation to illustrate Laclos's work, he asked Smithers to send him a copy in late 1896 and published a striking drawing of Count Valmont in the Savoy that December. View on Christie's.com

Nederlandsch bloemwerk. Door een Gezelschap geleerden. Amsterdam: J.B. Elwe, 1794. 4° (282 x 212mm). 2-page subscribers list. Engraved title with large hand-colored floral vignette by H.L. Myling after P.T. van Brussel and 53 hand-coloured engraved plates. (Occasional very light browning.) Contemporary half calf, gilt spine with green morocco gilt lettering piece, uncut (extremities lightly rubbed, corners worn, headcap splitting at joints). FIRST EDITION OF THIS IMPORTANT AND BEAUTIFUL WORK, ILLUSTRATED WITH 'DELIGHTFUL TULIPS, HYACINTHS AND AURICULAS' (Blunt). 'A SYMBOL AND REPRESENTATION OF THE ASCENDANCY OF DUTCH NURSERYMAN... AT THE END OF THE EIGHTEENTH CENTURY' (Hunt). The breeding and distribution of tulips, hyacinths and auriculas was the most lucrative area of horticulture during much of the eighteenth century, and by the closing decades the Dutch were the acknowledged leaders in this field. Arnold Arboretum, pp.512-513; Blunt & Stearn The Art of Botanical Illustration (1994) p.190; Dunthorne 215; Hunt 733; Landwehr 29; Nissen BBI 2219. View on Christie's.com

A RARE GATESHEAD ART POTTERY CHARGER painted in polychrome after a contemporary Japanese woodblock print of a woman in an interior, the full length figure in a vivid blue, green and aubergine patterned kimono, on a lime green ground, 36cm diam, painted artist`s initials (a B enclosing the letters S and C), The Gateshead Art Pottery and monogram of J G Sowerby, with feint price 5/6, c1880-84 or 85 It would be difficult to imagine a class of English Art Pottery more redolent of the Aesthetic Movement than the small surviving group of fireclay chargers decorated at Sowerby`s Ellison Glass Works. It is probable that such dishes were sold at Christopher Dresser`s Bond Street Shop and also possibly by Howell & James of Regent Street, a firm already connected with Sowerby`s pressed glass manufacture. The principal reference for this interesting but short lived factory is Simon Cottle`s Sowerby Gateshead Glass, Tyne and Wear Museum Service, 1986, pp 88-92. A very similar dish was in the A W Coysh Collection (Cottle, p92). ++One or two spots of flaking on the rim only and in altogether fine condition. No restoration.

† BUSHELL (S W) CHINESE ART, GORDON M FORSYTH`S COPY two volumes, illustrated, green cloth, one signed on the endpaper, the other inscribed Artist`s Room and both with oval ink stamp of Pilkington`s Tile and Pottery Co Ltd, Clifton Junction, and eight others, contemporary, including several by Lewis Foreman Day, various editions (10) ++++

Waring (J.B.) Masterpieces of Industrial Art 3 vol. text in English & French chromolithographed additional decorative titles and 301 plates by W.R. Tymms Albert Warren and G. Macculloch printed by Day & Son plate guards some foxing contemporary red half morocco gilt gilt decorated spines a little rubbed folio by Cox & Wyman for Day & Son 1863. *** A superb compendium of over 1000 objects that were presented at the International Exhibition 1862.

Early twentieth century Danish silver serving spoon of Art Nouveau-style with large oval bowl, the stem surmounted by stylised water spout motif. Hand finished overall with engraved dedication to reverse of bowl, together with a pair of early Victorian silver sugar tongs (London 1840) and a contemporary silver whisky label (London 1955) all at 5oz, spoon 26cm (3)

Audsley (George Ashdown) The Ornamental Arts of Ja 2 vol. in 4 number 86 of 500 copies for American subscribers this copy for the Boston Art Club 2 lithographed frontispieces in red and black 105 plates 70 chromolithographed & many heightened with gold some heliogravure tissue guards all mounted on stubs upper hinge of vol.4 broken book-label of the Boston Art Club on front pastedowns contemporary half morocco t.e.g. a little worn folio New York 1883-84.

Du Sartel (O.) La Porcelaine de Chine 32 plates 18 chromolithographed illustrations text foxed contemporary half morocco spine torn Paris 1881 § Jacquemart (A.) & Edmond le Blant. Histoire Artistique Industrielle et Commerciale de la Porcelaine 28 etched plates bookplate removed from front pastedown contemporary half morocco spine gilt t.e.g. others uncut spine ends a little worn Paris 1862 § Audsley (G.A.) & James L.Bowes. Keramic Art of Japan 32 plates some chromolithographed leaves browned and brittle at edges (chipped) one or two becoming loose original pictorial cloth gilt spine faded slightly rubbed and stained 1881 § Davies (G.R.) Collection of Old Chinese Porcelains 25 colour plates bookplate of Annesley T.Warre original cloth uncut spine torn at head New York 1913; and a duplicate of the third 4to (5)

Nicholson (William) Almanach de douze Sports Etude sur William Nicholson et son Art par Octave Uzanne limited edition 12 colour plates by Nicholson illustrations lightly offset contemporary cloth spine worn and defective original pictorial wrappers bound in (upper lacking tip of lower outer corner) 4to 1898.

A Collection of Decorative Arts Related Books, including Art of the Modern Potter, by Tony Birks, Country Life 1979, Robin & Lucienne Day Pioneers of Contemporary Design, by Leslie Jackson, Mitchell Beazley 2001 and other subjects (19)

Lord Frederick Leighton PRA, RWS, HRCA, HRSW (Baron Leighton of Stretton) (1830-1896) Portrait of Mrs Sutherland Orr, sister of Lord Leighton, in profile, wearing classical dress Extensively inscribed on old exhibition labels verso, oil on canvas, circular, 41cm diameter Exhibited at the Royal Academy of Arts Winter Exhibition 1960 "Italian Art and Britain", no.114; also the RA Winter Exhibition 1956-1957 "British Portraits"; and Sheffield City Art Galleries September/November 1968 "Victorian Painting" Provenance: Sir Michael Leighton, Loton Park, Shrewsbury, Shropshire Leighton was born in Scarborough. He received his artistic training in Europe, from Eduard Von Steinle and Giovanni Costa. In Florence he studied at the Accademia di Belle Arti and painted the procession of the Cimabue Madonna through the Borgo Allegri. He lived in Paris from 1855-1859, where he met Ingres, Delacroix, Corot and Millet. In 1860, he moved to London, where he associated with the Pre-Raphaelites. He designed Elizabeth Barrett Browning`s tomb for Robert Browning in the English Cemetery, Florence in 1861. In 1864 became an associate of the Royal Academy and in 1878 its President (1878-96). His 1877 sculpture, Athlete Wrestling with a Python, was considered at its time to inaugurate a renaissance in contemporary British sculpture, referred to as the New Sculpture. His paintings represented Britain at the great 1900 Paris Exhibition. Leighton was knighted at Windsor in 1878, and was created a Baronet whilst living at Holland Park Road, Kensington, eight years later. He was the first painter to be given a peerage, in the New Year Honours List of 1896. The patent, creating him Baron Leighton, of Stretton in the County of Shropshire, was issued 24 January 1896; Leighton died the next day. As he was unmarried, after his death his Barony was extinguished after existing for only a day; this is a record in the Peerage. His house in Holland Park , London has been turned into a museum.

An Important Chinese Imperial Jade Five-Dragon Brushwasher. Ming/Qing dynasty, 17th/18th century, 37.5cm, (weight 12kg approx), with a superb contemporary hardwood stand. This massive jade brushwasher is of monumental size. The body is well hollowed and deeply carved with five scaly sinuous five-clawed dragons, which writhe partially hidden beneath layers of ruyi-shaped cloud scrolls. Their heads with long moustaches, emerging at the rim beside two flaming pearls of wisdom. The base of the bowl fringed with breaking waves becomes a whorl, which diminishes to the centre. The stone is of a pale grey-green celadon colour. The stand is carved with a whorl, waves and cloud scrolls, which elegantly complement the washer. Provenance: The 3rd Baron Alington of Crichel (1896-1940), the Hon. Mrs Mary Anna Marten OBE (1929-2010), Crichel House, Dorset. Exhibited:Chinese Jade Throughout the Ages, an exhibition organised by the Arts Council of Great Britain and the Oriental Ceramic Society, May-June 1975, Victoria and Albert Museum, catalogue no.356, described in the exhibition catalogue as 17th century. Illustrated : J P Palmer, Jade, London 1967, pl 21 & 22. Catalogue note: The subject of this extraordinary washer creates a most auspicious Imperial work of art and illustrates the dragon’s ability to create clouds, wind and rain, elements of great importance to an agricultural economy. Furthermore, the dragon symbolizes the Emperor, and the number five represents the five blessings (wufu) of old age, wealth, health, virtue and peaceful death. The base formed as a whirlpool of water symbolizes the basic element in Chinese cosmology-the water that becomes the symbol of full life. The earliest example of this form is the celebrated Jade Jar of Dushan, (Dushan Dayu Hai), one of the Wonders of the Mongol court, which weighs 3.5 tons and was used as a wine vessel. It is believed to have been commissioned by Khubilai Khan, the founder of the Yuan dynasty for use following his military victories, and can hold 1.5 tons of wine. This extraordinary vessel, now kept in the Beihai Park in Beijing, was the earliest large-scale jade carving in China and marked a milestone in the development of jade working. For a similar five-dragon brushwasher, cf. L Yang and E Capon, Translucent World, Chinese Jade from the Forbidden City, p.202. For a smaller dragon brushwasher with a similar whirlpool base, carved with three dragons, cf. Christie’s Hong Kong, Important Chinese Jades from the Personal Collection of Alan and Simone Hartman, Part II, 27 November 2007, lot 1504; also, see Sotheby’s Hong Kong, Yuanmingyuan, The Garden of Absolute Clarity, 9 October 2007, lot 1335 for a white jade dragon washer; see also S C Nott, Chinese Jade, pl.C1, and another, with a six character Qianlong mark, is in the Hermitage Museum collection. Estimate: Refer department.

JOHN PIPER (1903-1992) Clamecy. Burgundy, pencil signed and numbered 36/100 (Levinson 375), screen print in colours (1985), apparently in good condition, but unexamined out of frame Pl 30 1/2 x 23 1/2in; and a colour Print published by Christies Contemporary Art, depicting Vaux Le Vicomte, pencil signed, numbered 55/70, with blind stamp,and significant general paper discolouration, particularly in margins (2)

A Swedish contemporary style glass fish ornament, a contemporary style coloured glass vases and a yellow coloured art vase with multi coloured rim View on www.staceyauction.com

Meese (Jonathan). Mama Johnny, pub. Contemporary Fine Arts, Berlin, 2007, num. col. illusts. from photos, orig. laminated boards, folio, together with Martin Barré, pub. Galerie Daniel Buchholz, 2008, num. col. illusts., orig. cloth in d.j., square 4to, and other modern art, both hardback and softback publications, many in foreign language, all VG (3 shelves)

Winckelmann (Johann Joachim) Histoire de l`Art che 2 vol. in 1 first French edition half-titles engraved title-vignettes and 20 head- & tail-pieces a little foxed mostly at beginning and end modern ink inscription on front free endpaper bookplate of Earl of Mansfield contemporary calf worn broken and loose [Cohen-de-Ricci 1068; PMM 210] 8vo Paris Saillant 1766. *** “This was indeed the first work in the German language to achieve universal acclaim. Winckelmann had drawn attention for the first time to the importance of Greek ideals for the modern world and with his unique acquaintance with the surviving examples of classical art amplified by wide and specialized reading his authority was unquestioned.” - PMM.

Scott (John) Paris Revisited in Paris by way of Brussels original boards paper spine paper lettering label chipped and worn 1817 § Baines (Edward) History of the Wars of the French Revolution 2 vol. frontispiece illustrations maps plans and charts contemporary tree calf joints cracked worn book plate to front paste-down 1817 § Turpin (Count) An Essay on the Art of War 2 vol. folding maps and plans contemporary tree calf signs of worming contemporary signatures to front paste-downs and title A Hamilton 1791 § Clarke (Francis L.) The Life Of Wellinton 3 vol. frontispieces and engraved titles folding map [c. 1820]; and a large quantity on the art of war and similar v.s. (Qty.) (Qty)

Booth (David) The Art of Wine-Making... first edition illustrations 8pp. publisher`s catalogue at end ink signature on front free endpaper contemporary cloth-backed boards corners bumped 8vo 1834.

Phillips (Henry). History of Cultivated Vegetables; Comprising their Botanical, Medicinal, Edible, and Chemical Qualities; Natural History; and Relation to Art, Science and Commerce, 2 vols., 2nd ed., 1822, bound without half titles, one or two spots, bookplates, contemporary half calf, a little rubbed and scuffed, 8vo (2)

Marie Walker-Last (1917-), Abstract, initialled, inscribed on verso, mixed media, 24 x 26.5cm.; 9.5 x 10.5in. * She trained at the Chelsea School of Art, under Vivian Pitchforth and, later under Sir Terry Frost and Robert Medley. She and her husband were great friends of Ben Nicholson and Dame Barbara Hepworth, and she mixed in London with many of the great painters of the day; she also met Alfred Wallis, who was such a great influence on the work of Ben Nicholson. In her earlier days, she exhibited world-wide, with Exhibitions in London, Paris, Athens, Florence and Australia, and in 1988, she won First Prize in the Druce Constable Award at an exhibition of contemporary British landscape painting in the Camden Arts Centre. Her works are in the Collections of the Bank of England, the Halifax Building Society, Granada Television, the Arthur Haigh Collection, the Open University, Yorkshire Television, Bradford Art Galleries and Museums and the Universities of Leeds, Bradford and York.

V Gorsky; contemporary pop art acrylic on canvas, portrait of Paul McCartney, signed in blue lower right, 60.5x61cm (illustrated)

After Linda Le Kinff (b1949). Les Deux Amies, coloured lithograph, signed and numbered 196/200, 46.5cm x 63cm, framed and glazed, Christies Contemporary Art certificate accompanies this item.

Three whale`s teeth, to/w various contemporary stone and bone Eskimo art box

Peter Howson (born 1958); pastel drawing "Come On Then", signed lower right and with label verso for The Contemporary Fine Art Gallery, Eton, 29.5 x 22cm, framed. p