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Alfred Cohen (1920-2001), "Juggler", signed, dated 1985, exhibition label - 'Arts Council of Northern Ireland" on verso, ink, 28.5 x 20.5cm.; 11.25 x 8in. * Studied at the Art Institute of Chicago. In 1929 was awarded a foreign travel scholarship which took him to Europe. He continued studying in Paris at L'Academie de la Grande Chaumiere, showing his work in France and Germany. In 1960 Cohen settled in England and had a long series of shows with Roland, Browse & Delbanco. Cohen's work is in many public collections including Contemporary Art Society, Nuffield Foundation, Pembroke College in Oxford and galleries in Rye and Hull, as well as widely abroad.

Art Reference - Barrington, Mrs. R. The life, letters and work of Frederic Leighton. London, 1906. 4to, 2 volumes, number 41 of 60 copies on hand-made paper, original quarter vellum gilt, rubbed at edges; Shakespeare Head Press Ernest Gimson, his life and work. Stratford upon Avon, 1924. 4to, number 243 of 500 copies, 60 plates, contemporary boards, worn, interior clean; Hogarth, William The complete works. London, [no date]. 4to, 6 volumes, plates, original decorative cloth, some rubbing to edges; and 6 volumes of Collection Provinciales (15) Note: To be sold on behalf of Oxfam.

Faber, G.S. A dissertation on the mysteries of the Cabiri. Oxford, 1803. 2 volumes, 8vo, double-page engraved frontispiece, contemporary half calf;Dickens, Charles Master Humphrey's clock. 1841. 3 volumes, 8vo, contemporary half calf; Rogers, Samuel Italy. 1830; Poem, 1834, both 8vo, both presentation copies from the author, contemporary blindstamped morocco, gauffered edges; Tyrwhitt, R. St. J. A handbook of pictorial art. Oxford, 1868. mounted plates, contemporary maroon morocco gilt Alison, A. Travels in France during the years 1814-15. 1815. 2 volumes, 8vo, later half calf gilt; O3 volume 2 defective; Wodhull, M. Poems. 1804. 8vo, engraved portrait and engraved vignettes, modern half calf retaining original marbled boards; Dolby, A. Church vestments. 1868. 8vo, folding frontispiece and 36 plates, tan half morocco gilt by Morrell, g.e.; Hayter, C. An introduction to perspective, practical geometry, drawing & painting. 1832. 8vo, frontispiece and 23 plates, contemporary calf gilt, head of spine slightly rubbed; and 14 others (27) .

Pope, Alexander Letters. 1737. 4to, contemporary calf, worn;Fresnoy, C.A. du The art of painting. 1716. Second edition, engraved frontispiece, contemporary calf, rebacked; Harris, James Philosophical arrangements. 1775, 8vo, engraved frontispiece, contemporary calf gilt; Burrish, O. Batavia illustrata. 1731, second edition, 8vo, contemporary calf, spine gilt, slightly rubbed; Pope, A. The Dunciad. 1729. Second edition, 8vo, engraved frontispiece, 3 errata leaves at end, contemporary calf, rubbed, upper cover becoming loose; Oldham, J. The works. 1710, engraved frontispiece, contemporary calf, rebacked; Malcolm, Alexander A new system of arithmetick. 1730. 4to, contemporary calf, title torn with loss of first word, worn, upper cover detached; Sedley, C. The miscellaneous works. 1702, 8vo, contemporary panelled calf, rebacked; Steele, Richard The epistolary correspondence. 1787. 2 volumes in one, contemporary calf, rebacked, corners rubbed; Swift, J. A supplement to Dr. Swift's and Mr Pope's works. Dublin, 1739. 12mo, contemporary calf, joints split; Fielding, Henry The history of the adventures of Joseph Andrews. 1748. Eighth edition, 2 volumes, 12mo, engraved plates, contemporary calf; Keate, G. A short account of the ancient history, present government and laws of the republic of Geneva. 1761, 8vo, folding engraved map, contemporary calf, rebacked; and 19 other eighteenth century volumes, including volumes 1, 3-4 of the 4 volume 1761 John Baskerville edition of James Addison's works (33) .

[Swift, Jonathan]A tale of a tub. London, 1704. Second edition, 8vo [including] A full and true account of the Battel fought last Friday, between the ancient and the modern books in St. James's library, contemporary panelled calf, rubbed at edge; Stone, Edmund Euclid's elements of geometry. London, 1728. 8vo, advertisement leaf at rear, contemporary calf, hinges splitting, rubbed, foxing; King, W. The art of love in imitation of Ovid. London, [no date]. 8vo, frontispiece, contemporary paneled calf, hinges cracking, rubbed; Goldsmith, Oliver The vicar of Wakefield. London, 1797. New edition, 8vo, later red morocco by Riviere, rubbed at edges; Jennings, Rev. David Jewish antiquities. London, 1766. 8vo, 2 volumes, contemporary calf, hinges cracking; [Ainslie, H.] A pilgrimage to the land of Burns. Deptford, 1822. 8vo, frontispiece, eratta slip, original boards, hinges strengthened inside and out; Buxtorf, J. Synagoga Judaica. Frankfurt, 1738. 16mo, title in red and black, contemporary calf, worn, pencil notes throughout; Wierx, H. A series of 13 small engravings by Hieronymous Wierx. [No place, no date], each approx 10.5 x 7cm, modern cloth; and 5 others (13) .

PHOTOGRAPHS. – An album of mounted albumen-print photographs and prints. [N.p.: n.d. but circa 1890.] Folio (523 x 376mm.) The album containing approx 295 mounted photographs and 114 mounted prints, the majority of photographs titled in manuscript below the image. (Somewhat affected by damp, some fading and spotting.) Contemporary half-calf (worn). Note: the photographs depict views of Pompei, Gokak, Poona, Bombay, Cairo, Jerusalem, Constantinople, Athens, Cheddar and other locations in Britain, social history scenes and views of works of art.

BINDINGS. – William Harrison AINSWORTH. [The Works.] London: George Routledge and Sons, Limited, [n.d. but circa 1900.] 16 vols., 8vo (220 x 140mm.) Occasional engraved plates and illustrations after George Cruickshank and others. (Occasional spotting or browning.) Contemporary burgundy half-morocco by Bayntun of Bath, the spines gilt in two unequal compartments with a raised band, lettered in the first, the second tooled in an Art Nouveau design with stylized lotus flowers and heart motifs, t.e.g. (some spines darkened, occasional rubbing or scuffing to extremities).

Large contemporary art glass dish, pink cranberry in five star leaf form

David Hockney CH RA (Brit. b.1937)-Celia wearing checked sleeves, lithograph advertising poster for The Petersburg Press at the Chicago Art Fair, May 1981, 90 x 75cm, and David Hockney-Celia, Paris 1973, advertising poster for contemporary British Drawings at the Tel Aviv Museum, summer 1980, 68 x 48cm

Vertue (George) & Walpole (Horace) Anecdotes of Painting in England, 1862, 3 vols., plates, contemporary calf (several boards detached); The National Gallery of Pictures by the Great Masters, nd., 2 vols., small 4to., engraved plates, half morocco; Waagen (Dr.), Treasures of Art in Great Britain, 1854, 3 vols., half morocco;

A RARE INDIAN SWORD, 16TH/17TH CENTURY, with straight double-edged blade formed with a medial ridge on each face over almost its entire length and widening at the base, steel hilt comprising a pair of tapering slender panels extending over the forte, slightly up-turned broad oval guard (the edges bent), oval pommel drawn-out to a broad near-triangular finial reinforced with a shaped plate in each side, and integral waisted grip, 83cm; 32 3/4in blade, A number of swords of related form are seen on Indian sculpture of the period. Other examples are preserved in the Government Museum, Chennai, inv. no. 2056 and the Metropolitan Museum of Art, New York, inv. no. 36.25.1582 contemporary. See R. Elgood 2004, pp. 86-89, nos. 8.26 and 8.30

A RARE GERMAN EMBOSSED STEEL CARTRIDGE BOX (PATRON), CIRCA 1580, PROBABLY BRUNSWICK, with wooden body of plano-convex section, the interior with provision for four cartridges and fitted with a pierced brass top-plate, the outside almost entirely encased in blackened steel embossed with patterns of beadwork rosettes on a field of minute nodules (one very small dent), outwardly flanged at the base and decorated en suite, retaining its original leather covering on the underside and the back, fitted with matching hinged lid with button closure, a single loop for suspension, two loops for a belt, and retaining an early leather suspension and buckle, 14cm; 5 1/2in high, A very similar patron is preserved in the Landeszeughaus, Graz (inv. no. PK72). Two patrons and a powder-flask decorated in a related manner were included in the sale of Works of Art from the Royal House of Hanover, Sotheby's 2005, lots 339, 340 and 342. The treatment of these pieces is similar to the stocks of contemporary Brunswick firearms. In 1589 Andreas Krebs, a Carinthian leather-worker, delivered '200 Braunschweig boxes with wooden cartridges at 28 kreuzer each to the Landeszeughaus Graz. See P. Krenn 1990, p.22

Contemporary Art: an album of chromolithographs and engraved reproductions, published by J.B. Lippincott, 1876; sundry volumes of literature by Sir Walter Scott, Percy Shelley, etc., leather bindings, various dates. (18)

Edmund Morison Wimperis (1835-1900) - Oil painting - Landscape with cattle grazing on marshland, windmill to background, canvas 15ins x 22ins, signed and dated '61, in contemporary gilt moulded frame with acanthus leaf moulded border Provenance : Grundy & Smith, Fine Art Dealers, 4 Exchange Street, Manchester, and bearing label - Corporation of Warrington, Loan Exhibition of Paintings, October 10th - October 29th 1898

A Jean Paul Gaultier black silk and brown pin-striped reversible jacket, jacket, Femmes entre-elles (Women among Women collection Fall/Winter 1989-1990, Femme labelled, size 40, with patchworked appliques to the shoulders, chest 92cm, 36in There is an identical piece in the permanent collection of the Los Angeles County Museum of Art and documented in the book `Breaking the Mode- Contemporary Fashion from the Permanent Collection Los Angeles County Museum' of Art by Spilker and Takeda P. 63 with the following commentary: The decorative patterning of this jacket is a map of the complex infrastructure of a tailored garment:the large zigzag lines look like the catch-stitching that holds interfacing in place, and the jacket's design imitates the segments of interfacing used to create and maintain a garment's shape. The interior is the same jacket but 'finished' with it's structural details hidden from view.

Martin Kersels (American, b. 1960) Tossing a Friend (Melinda 1, 2, 3), 1996; Three c-prints on FujiFlex (framed separately); Edition 3/6; 27 1/4'' x 39 1/4'' (sight) each; Exhibition: ''Situation Comedy: Humor in Recent Art,'' Independent Curators International, New York, September 2005 - September 2007; Provenance: Sheheen Modern and Contemporary Art, Ohio (label on verso); Jay Gorney Modern Art, New York (label on verso); Private Collection, Michigan

Yoshitomo Nara (Japanese, b. 1959) Cosmic Girl (Eyes Open and Eyes Closed); Two offset lithographs in colors; From edition of 500; 28 3/8'' x 20 1/2'' (sheet) each; Publisher: Baltic Centre for Contemporary Art, Gateshead, United Kingdom; Provenance: Private Collection, Virginia

Rona Yefman (Israeli, b. 1972) Black Smiley, 2000; C-print (framed); Signed, dated, titled and numbered 1/6; 31 1/2'' x 25 5/8'' (image), 32'' x 26'' (sight); Provenance: Sommer Contemporary Art, Israel (label on verso); Private Collection, New York

Leo McDowell R.I., 20th century, "Byzantium II", signed, mixed media, 22 x 22cm.; 8.75 x 8.75in. * Leo's paintings show a clear influence of Islamic and Byzantine art. His style is between abstraction and figurative representation and uses a variety of media. A number of motifs occur such as a horse and rider, a cat or a vase of flowers, and it is Leo's arrangement, treatment and colour choices which give each work its unique feel. Leo has been a member of the Royal Institute of Painters in Watercolours since 1985. He was awarded the Windsor and Newton RI prize in 1990, and his work can be found in H.R.H The Prince of Wales' collection of British Contemporary Paintings. His work is in great demand throughout the world with sell-out exhibitions in Paris and Tokyo.

Kyffin Williams, (1918-2006), Welsh, "Pontllyfni in Snow," farmer and crows in a snowy mountain landscape, coloured lithograph, signed and numbered 125/150 in pencil, 48.5 x 77cm. This edition was printed by the Curwen Press in 1974, for Christie's Contemporary Art and bears the CCA blindstamp.

GEORGE WALTON (1867-1933) ARMCHAIR, CIRCA 1897. mahogany, the square back with heart-pierced splat above later upholstered leather seat and turned and tapered legs Literature: Karen Moon 'George Walton: Designer and Architect', Oxford 1993, page 67, plate 79. Note; An example of this rare armchair can be seen in a contemporary photograph of the drawing room at Elm Bank, York which Walton & Co were asked to furnish circa 1897. In the same room can be seen the celebrated Eros panel now on display at the Hunterian Art Gallery and Museum, Glasgow.

William Woodall (1832-1901) Politician and Philanthropist, of Burslem, Stoke on Trent. A remarkable and extensive collection of letters written to him from around the 1860s to the end of the century, most pasted into ten old albums often accompanied by portrait photographs of the writers, with some loose letters in a small box. Woodall was chairman of the Burslem School Board 1870 to 1880 and the Wedgwood Institute, both bodies advancing the cause of technical education. He sat on royal commissions on technical education (1881-84) and the care of the blind and deaf mutes (1886-89). Woodall was MP for Stoke on Trent 1880-86, and was first representative for Hanley from 1885-1900. He supported home rule, and was chairman of the Central Committee for Women's Suffrage (established in 1872), and tried, unsuccessfully, to push through parliament an amendment which would allow married women to vote. In 1886 Gladstone appointed him Surveyor General of the Ordnance, and from 1892 to 1895 he was financial secretary to the War Office. Most of the letters are of a political nature (Liberal Cabinet and party members), including one from Gladstone proposing his appointment as Surveyor General of the Ordnance. Others cover his time as local MP, and in his official capacity at the Wedgwood Institute in Burslem, where he would invite speakers, often leading people of the day, for example Charles Dickens who politely declines 'to read' in a one page letter with his typical signature flourish. Three letters from William Morris on the other hand, confirm a more favourable response to an invitation by Woodall. The contemporary albums are in rather tired condition, some of covers are detached. Letters or notes in the first album include: W Gladstone, Sir Henry Campbell-Bannerman (2), J G Rogers, Sir John Hibbert, Arthur Peel, Lord Ripon, Lord Granville, etc. Album two: Sir Edward Grey, Robert Hanbury, Lord Dartmouth, George Duke of Cambridge, Lord Curzon, Sir Oliver Lodge, Shaw Lefevre, Richard Temple, Wilson Barrett (Savage Club), Herbert Beerbohm Tree, Gertrude Tennant, poem by Lady Currie (pen name 'Violet Fane'), Fridtjof Nansen signature, etc. Album three: Henry M Stanley photograph with signature below 1891, Harry Furniss, Elizabeth Lynn Linton, T P O'Connor, George Grossmith, Field Marshall Francis Grenfell, Nora Philipps, G Lawson, Richard Temple, George Russell, Princess Louise, Henry Broadhurst, the Bechuana Chiefs' signatures with press cutting (visiting Britain in 1895 to protest against the proposed annexation of their land), Henry Irving, William Martin Conway, Earl of Crewe, G A Henty, Sir Oliver Lodge, Earl of Clarendon, Emily Crawford, etc. Album four: Gladstone (3), Sir Henry Campbell-Bannerman, Sir William Harcourt, Sir Henry Roscoe, Stuart Rendel (several), etc. Album five: Arthur Peel, Lord Wolseley, Thomas Ellis, Ellen Terry, Arthur Collins, Field Marshall Evelyn Wood, Augustus Hare, Kate Greenaway, Philip Morris (artist), Lord Dartmouth, Rudyard Kipling (1890), Lord Crewe, Sir Charles Wyndham Murray, Haddon Chambers (playwright), Henry John Yeend King, Dinah Craik (author), Maud Beerbohm Tree, Sir Lewis Morris (poet), Dorothy Stanley, Campbell-Bannerman, Stanley Baldwin 1931 tls to Mr Howard Figgis, etc. Album six: Gladstone, Charles Dickens 1863, declining to read in Burslem, Garibaldi 1861 from Caprera, John Ruskin 1864 sending four of his works to the Wedgwood Institute library, Lord Granville, Thomas Carlyle 1869 blue pencil note '...the utility of your enterprise will depend mainly on yourÉ in selecting books, on your earnestly and religiously choosing books that are nourishment to the mind of a man, and vigourously rejecting what are poison (by far the more numerous class at present)'*, Samuel Smiles, John Bright, Henri d'Orleans Duc d'Aumale, William Macready (actor, x 2), Mrs Gladstone, The Duke of Devonshire, William Rathbone, John Stuart Mill, Lord Shrewsbury, John Lewis Ricardo MP 8pp als to MacIntyre (at Burslem), Lord Derby 1870, George Goschen, Sir Charles Dilke (2), Henry Stacy Marks (RA), G A Henty, William Fraser Rae, Sir Smith Child, Sir Rowland Hill (1869), etc. *Woodall actively sought books for the Institute Library, a wing of which he paid for. Album seven: Gladstone, appointing him Under Secretary of the War Department (1892), Campbell-Bannerman on the same subject, Lord Wolseley, Lord Crewe (inquiring about a plaque by Louis Solon of Minton), Harry Furniss, the Hon T F Bayard, Lord Dartmouth proposing a visit by Princess Louise to the Potteries to open the School of Art at Burslem, Lord Granville, Marquis of Lorne on the Princess's visit to Burslem, Herbert Gladstone, W St John Brodrick, Frank Topham (artist), Hubert von Herkomer, Arthur Peel, Marcus Stone (RA), Sir Edward Poynter, Ellen Thornycroft Fowler (novelist), Charles Hopwood, Miss Lydia Becker on suffrage and the amendment re married/unmarried women, Lord Dartmouth, Lord Roberts, Sir Luke Fildes, Millicent Duchess of Sutherland, Mary Howitt (author, x 2), Ughtred Kay Shuttleworth, John Toole (actor), Frederick Treves (surgeon), G A Henty (2), E Lynn Linton, Sir L Alma Tadema, Lord Kitchener, Margaret Oliphant (2), Henry M Stanley and Dorothy Stanley, Lord Curzon, etc. Album eight: W St John Brodrick, General Sir Redvers Buller, W S Caine, Campbell-Bannerman, Lord Sutherland, Herbert Gladstone, Philip Stanhope (Earl of Chesterfield), T F Bayard, George Duke of Cambridge, Margot Asquith, R W Hanbury, Sir William Harcourt, etc. Album nine: Charles Hopwood, G A Henty, Sir Ralph Knox, E Lynn Linton, Sir George Leveson-Gower, Baron Monkswell, M Oliphant, Hugh Glizean Reid, Sir Wemyss Reid, Lord Roberts, Lord Rosebery, Marcus Stone, Sir Benjamin Stone, Genevieve Ward, Evelyn Wood, Dorothy Stanley, William Howitt (author), 1924 Lloyd George tls to Henry Woodall, etc. Album ten: Lord Iveagh (to Mr Figgis 1917), 2 group photographs of Woodall with four friends, Sir John Lentaigne, John Tenniel, Frederick Barnard, Henry Pettitt, Luke Fildes, George Grossmith, Harry Furniss, Charles Dickens 1863 single page declining to read for the Wedgwood Memorial Committee, Samuel Smiles, Mark Lemon (editor of Punch), John Galsworthy (1927) 'Dear SirÉ' (a short note), Sir Swire Smith, Lucy Baldwin to Mr Figgis 1929 on 10 Downing Street paper, Frances Balfour to Lady Lucy (Baldwin), etc. Small Box of loose letters: William Morris (x 3, on travel arrangements to Burslem), E Lynn Linton, Francis Schnadhorst (founder of the National Liberal Association), Joseph Arch, George W E Russell, M Oliphant, Mary Howitt, Sidney Colvin, Gilbert Redgrave, J P O'Connor, J A Spender (editor of the Westminster Gazette), Louis Solon (with small sketch), etc

A Louis Majorelle walnut and marquetry buffet, with an arched and carved back, an inset marble top, a drawers and doors and flanking shelves, 141cm high, 156cm wide, 45cm deep Provenance: Peter Grant (1935-1995), thence by descent See: Duncan, Alastair 'Louis Majorelle: Master of Art Nouveau Design' London 1991, illus. 54 for a contemporary illustration of a dining suite including this model of buffet

Mark D (contemporary) Lilly Allen: Young Debutant Acrylic on canvas Signed with monogram lower left Signed on reverse Signed, inscribed and dated 2007 on overlap Unframed 101cm x 76cm Mark D (standing for 'degenerate') was born Mark Randall and is an artist and punk musician who played in various bands including The Fat Tulips, Confetti, The Pleasureheads and others, and is co-owner of Heaven Records. An interest in the music of Billy Childish led on to an interest in his paintings and those of others of the Stuckist group of artists. Inspired by the Andy Warhol quote 'If you want to sell paintings you have to make paintings', he began painting in 2005, with no formal training Or qualifications, and was encouraged by Stuckist co-founder Charles Thomson. His paintings make visual and verbal comments on well known figures in the art and celebrity world. His solo show: 'Mark D and the Stuckists v. Tracey Emin and Damien Hirst' was at the Art Organisation Gallery in March 2007.

An English Art Deco walnut veneer bedside cabinet and single bed manufactured for The Savoy hotel group, London, in the style of Betty Joel, angular form painted inscription and paper label to back 68.5cm. hig. The design was manufactured for the Savoy Hotel group, and can be seen in the Savoy bedrooms in contemporary photographs datable to 1931.h

LIAM SPENCER (b.1964) OIL ON BOARD Mancunian Way, Evening 7 3/4" x 9 1/4" 20cm x 23.5cm PROVENANCE: Wendy J. Levy, Contemporary Fine Art, Manchester, purchased July 2000

HENRY HERBERT LA THANGUE R.A. (BRITISH, 1859-1929) A Sussex Hayfield at Graffham, 1912, signed 'H. H. LATHANGUE' lower left, oil on canvas, 25 ½" x 29 ¼" (see illustration) Provenance: Purchased by Moses Nightingale Esq. (possibly from the Leicester Galleries, London, 1914); thence by descent Exhibited: London, Leicester Galleries, Exhibition of Pictures by H. H. La Thangue, R.A., April 1914, no. 41 Brighton, City Art Gallery and Museum, Memorial Exhibition of Works by the Late H. H. La Thangue R. A., September 1930, no. 24 Literature: Walter Sickert, 'Mr La Thangue's Paintings', The New Age, vol XV, no. 1, 7 May 1914, p. 18 Anon, Watercolours and Oils at Hazeldene, Crawley, Sussex, 1919, no. 108 as Sussex Hayfield at Graffham, Sussex, 1912 Osbert Sitwell ed., A Free House! Being the Writings of Walter Richard Sickert, 1947 (MacMillan), p. 272 Anna Gruetzner Robins, Walter Sickert: The Complete Writings on Art, 2002, (Oxford University Press), pp. 364-365 While he spent his winters during the Edwardian years in Provence and the regions of northern Italy, La Thangue returned to England to work in the fields around his home at Graffham in Sussex between hay cutting in June and the grain and fruit harvests of September. He had moved the relatively short distance from Bosham to Graffham in 1898 because the new location offered a greater range of possibilities, and immediately he began a series of striking figure pieces with Love in the Harvest Field, shown at the Royal Academy in 1899 (unlocated). La Thangue first moved to Sussex in 1890, on the advice of James Charles, who also lived at Bosham. Charles, a figure and landscape painter from Warrington in Cheshire, shared La Thangue's early Bradford patrons. Both artists looked to France for inspiration and both were influenced by work of Bastien-Lepage and Léon Lhermitte, also popular with West Yorkshire collectors. Lhermitte in particular set out to document la vie rustique and by 1900, was in the midst of a long series of harvest scenes that La Thangue would have been familiar with (fig 1). Known primarily as a figure painter, La Thangue closely observed the freer and more informal style in Charles' harvest scenes around the turn of the century. Suspicious of the picturesque seductions of his more conventional contemporaries like Alfred East and David Murray, he slowly developed his own approach to landscape painting after he moved away from Bosham. By the time of his solo exhibition at the Leicester Galleries in 1914, this process was complete and the rich texture of works like A Sussex Hayfield at Graffham separates it from the looser paint structures of Charles's Windy Weather, (fig 2). Where most landscape painters, including Charles and Lhermitte, favoured open country, La Thangue used foreground trees to help place his figure and take the eye successfully to the hay-cart in the middle distance. Moses Nightingale, a Sussex corn merchant, having purchased two pictures, On Lavington Down and A Ligurian Mill Race, shown at the Royal Academy in 1901 and 1905 respectively, returned to collecting around 1914. La Thangue, who by then had secured full membership of the Royal Academy, was staging a solo exhibition at the Leicester Galleries. An earlier generation of Nightingales, hailing from Rotherham, had donated a substantial collection to the town, including an early Landscape Study by the artist. However, Moses Nightingale was to become La Thangue's most important patron, listing twenty-three works in a catalogue of the watercolours and oils at Hazeldene, his house in Crawley. Following the painter's death, Nightingale lent generously to his memorial exhibition at Brighton Art Gallery and the Royal Academy 'Late Members' exhibition in 1933. Thereafter he split his collection between members of his family. Coming three and half years after Roger Fry's celebrated Manet and the Post-Impressionists exhibition, and coinciding with the scandalous exposure of the Vorticists and the Italian Futurists, La Thangue's Leicester Gallery landscapes must have looked traditional, even by Camden Town School standards. Despite their compositional strength, his landscapes were greeted with faint praise in The Times (20 April 1914, p. 12) and attacked by Laurence Housman in The Manchester Guardian (18 April 1914, p. 10). While reservations were also expressed by The Athenaeum and The Connoisseur, The Academy praised La Thangue's honesty and the 'daring' of his 'handling and mastery of colour' (McConkey, 1978, p. 13). It was Walter Sickert however, who cited the present work in a glowing review that swept away all reference to the current turmoil in contemporary art. What would have appealed to Sickert in the present work? In his review, Sickert referred to Monet and Cezanne, now familiar to British audiences. La Thangue was not their follower, but he did possess their dedication to developing 'a series of colour relations…grading from russet towards ruby' on which he was able to 'build…a series of beautiful and interesting sensations of nature'. This was his unique discovery, and it did not depend on clever quotation from 'the gamut of Monet'.

STUKELEY (WILLIAM) - ITINERARIUM CURIOSUM OR AN ACCOUNT OF THE ANTIQUITIES AND REMARKABLE CURIOSITIES IN NATURE OR ART OBSERVED IN TRAVELS THROUGH GREAT BRITAIN, second edition, folio, two vols, plates, some folding after Stukeley, contemporary calf with greek key and gilt border skillfully rebacked, the spine in compartments, aeg, London: Baker & Leigh, 1776 (2). ++++

GIORGIO SOMNER, ACHILLE MAURI and other Photographers - AN ALBUM OF PHOTOGRAPHS OF ITALIAN CITIES, ART AND ARCHITECTURE, one hundred whole plate [19 x 24cm & circa] mounted albumen prints, contemporary vellum, gilt; Francis Frith & Co and anonymous Photographers possibly including I M Burton - an album of Victorian photographs of York, Lincoln, Winchester, Wales, abbey ruins and several archery contests, albumen prints, various formats up to whole plate, some loose, signed on the endpaper Inger M Burton [see lot 803] Ilkley Sept 24th 1875; a small album of photographs of British Guiana, c1900 (3 albums). ++++

Lawrence Stephen Lowry, RA (1847-1976) - Punch & Judy, reproduction lithographed in colour by The Baynard Press, No 21 of the series published by School Prints Ltd, c1949, 49 x 76cm, unframed The innovative series of School Prints published in the 1940s involved the participation of the most important artists of the day. The artists were commissioned to produce a picture which would then be published in a large edition of colour lithographs to be sold cheaply, and exclusively to schools, thereby bringing inspirational contemporary art to children in the bleak post war years leading up to the Festival of Britain in 1951. Some of the thirty subjects have become scarce. ++One of the scarcest of the School Print Series; in excellent condition

Baily (John). Central America: Describing ...Guatemala, Honduras, Salvador, Nicaragua, and Costa Rica, 1850, 3 litho plates, cloth (lacking map, staining); Voyages in the Arctic Seas, from 1821 to 1837, 1848, cloth; Rowe (G.). The Colonial Empire...The East Indian Group, nd., cloth; Willard (Emma). History of the United States, 1846, 11 maps, half calf; Burn (Richard). The Justice of the Peace, and Parish Officer, 1770, 4 volumes, contemporary calf (worn); Wellbeloved (Charles). A Descriptive Account of the Antiquities in the Grounds and in the museum of the Yorkshire Philosophical Society, 1869, cloth backed wraps (dust marked); Taxidermy: or The Art of Collecting, Preparing, and Mounting Objects of Natural History, 1835, five engraved plates, cloth (dust marked); The Literary Miscellany, 1795, title pages throughout, contemporary half calf (11)

Terry Duffy (1948-), "Lower Pennine", signed and dated '7/91', titled on verso, mixed media, 32 x 37.5cm.; 12.5 x 14.75in. *He was Liverpool chairman of the British Art and Design Association. Duffy's mixed show appearances included Contemporary Art Society art market; the Francis Graham-Dixon and Benjamin Rhodes Galleries; and in 1991-2 John Moores Exhibition, Liverpool. He showed solo at Air Gallery, 1981; Harris Museum and Art Gallery, Preston, 1984; Laing Art Gallery, 1989; and The New Millennium Gallery, St Ives, 1997.

A silver and gold contemporary design corkscrew, by Sir John Cass, London 1996. This was the winning design by Youjin Kim for a competition set at the Sir John Cass department of Art, Media & Design. Sponsored by Peter Coldicott and judged by Theo Fennell.

Bordeaux, Seville, Madrid, Algeria An album of 49 albumen prints, pasted to both sides of card leaves, 27.5 by 21cm wide, including 5 views of Bordeaux, 5 views of Seville, 8 views of the Alhambra, 12 views of Flemcen, 2 views of Madrid, quantity of art views by Laurent, contemporary half morocco gilt, some fading to board edges; and 2 others albums of albumen prints of European sites [including Pisa, Rome, Florence, Milan], some considerable damp stains, album worn and faded (3)

WEMYSS RARE GARDEN PLAQUE, CIRCA 1894. of heart shape, inscribed by Karel Nekola in blue enamel and reserved on a white ground with the legend; ""Safe thou art on every/ side/ Friendship nothing finds to hide."" 15cm wide, 15cm high Provenance; Mr Randolph and Lady Lillian Erskine-Wemyss, for the Friendship Garden at Chapel Gardens, West Wemyss, circa 1894. Lady Victoria Erskine-Wemyss Thence as a gift to the present owner. Literature; Andrew S. Cunningham 'Randolph Gordon Erskine Wemyss: An Appreciation', published Leven 1909. Peter Davis and Robert Rankine 'Wemyss Ware', presented by Victoria de Rin and David MacMillan, pub. Edinburgh 1986. Note:The patronage of the Wemyss family at nearby Wemyss Castle was an enormous contribution to the success that Robert Heron & Son enjoyed with Wemyss Ware. Indeed as a tribute to the family two vases in the range were named for Randolph Erskine-Wemyss' sister Lady Henry Grosvenor (Grosvenor vase) and for his second wife Lady Eva Wellesley (Lady Eva vase). From the beginning of the project and throughout its heyday at the turn of the 20th century their continuing support ensured the success of the range. The following lots bear testament to their support as they were specially commissioned from Robert Heron & Son by the Erskine -Wemyss family to decorate the Friendship Garden which had been created within The Chapel Garden in 1894 by Mr Erskine Wemyss and his then wife Lady Lillian Wemyss. Each is painted by Karel Nekola, chief decorator at Robert Heron & Son, with a motto pertaining to friendship and can be seen in contemporary photographs attached to a tree in the middle of the garden (see illustration left and overleaf). Accompanying documents with these plaques show photographs of the completed garden as well as a list of donors to the garden and the plants donated dated 1894. The photographs show borders of donated plants surrounding the central tree and each donors plot is marked with a heart-shaped plaque - one of which survives in this group (lot ) and is inscribed 'Dowager Countess of Airlie'. The Chapel Garden had been created in 1894 by Randolph Gordon Erskine- Wemyss adjacent to the burial ground he had created for his family by the ruined chapel nearby in the same year. Andrew S. Cunningham in his 1909 publication 'Randolph Gordon Erskine Wemyss: An Appreciation' writes about the garden; "The garden is situated in a semi-circular creek in Red Rocks Bay, to the west of the village of West Wemyss….To get to the place of burial one has to pass through a pergola of ivy and hops and pretty creeping hops, and at every turn he meets rustic gateways and pretty creeping plants. In a pond constructed in the red rock there are some rare specimens of plants and roses grow in profusion. The old dovecote which takes the name of the East Tower, has been converted into a summer house, and above the entrance are carved the words: "I wish the sun would shine on all men's fruits and flowers as well as mine""

AN EARLY XX CENTURY POSTCARD ALBUM CONTAINING APPROXIMATELY 185 CONTEMPORARY POSTCARDS, MOSTLY WITH PRE-WW1 POST STAMPS, WITH SUBJECTS INCLUDING ART STUDIES, CHURCHES AND ABBEYS, COASTAL SCENES ETC.

AN EARLY XX CENTURY POSTCARD ALBUM CONTAINING APPROXIMATELY 360 CONTEMPORARY CARDS, SOME UNUSED, OTHERS WITH PRE-WWI POSTMARKS. BAMFORTH, SEASIDE AND OTHER HUMOUR, COMIC ART, TOPOGRAPHICAL AND SENTIMENTAL SUBJECTS.

JENNIFER WOOD (SCOTTISH, CONTEMPORARY) STILL LIFE, FISH AND LEEKS Oil on board 71cm x 61cm (28in x 24in) Provenance:Bourne Fine Art, Edinburgh

Jenny Wheatley RWS NEAC (British b1959- ) Banana Palms watercolour, signed and dated '85 53cm x 72cm Note: Highly successful exhibitor including RA, RSA, RWS, NEAC, The Scottish Gallery, Christies Contemporary Art London & Tokyo, Chris Beetles Galleries etc. Her work is in the collections of HM The Late Queen Mother, ICI, British Gas, Arthur Andersen, Deloitte, John Lewis, Hilton Hotels etc.( The gallery price for a Wheatley watercolour of this size would be in region of £2000)

Claude Harrison A.R.C.A., R.P. (b.1922) "Cythera" Signed and dated "98" (1998), also inscribed with the artist's name and date, tempera on board, 51cm by 76cm; together with Original Preparatory Pencil and Watercolour Sketch Squared for transfer, dated 30th December 1997, 15cm by 21cm (2) Painting contained within the artist's original hand painted frame. Claude Harrison studied at Preston School of Art 1939-41, Liverpool School of Art 1941-42, and the RCA 1947-50. He had numerous solo shows including Contemporary Fine Art Gallery, Eton, 1992. He exhibited regularly at the R.A., the R.P. and in group exhibitions, and has held solo exhibitions in Europe and the USA. His work is represented in public and private collections. He is married to Audrey Johnson (see lot 1407). See illustration

Jack Hellewell (British, 20th Century) Abstract signed lower left 'Jack Hellewell' gouache on paper 39 x 53 cm Provenance: Broughton House Gallery, Cambridge (label verso) Jack Hellewell was born in Yorkshire and studied at Bradford College of Art where he was a contemporary of David Hockney. His influences are from his native country of Yorkshire as well as his travels in Australia, Italy, North Africa, Russia and Scotland. Hellewell experiments with different styles and techniques. He is known for his bold and unusual landscapes and occasionally still lifes or flowers.

Two contemporary white metal shield shaped plaques depicting Petra, Jordan, in art-nouveau style pewter strut frames, height 36 cm, together with two contemporary plated and enamel circular plates depicting Omani forts in high relief, all in fitted presentation boxes, (4).

Four contemporary glass paperweights, one Medina in the form of a seahorse, a small Caithness weight, a mushroom and iridescent weight, to/w a hand-blown globular vase decorated with toning blue and white feathering, two perfume bottles and 1970's art glass bowl (8)

ARR - JACK COULTHARD (BRITISH CONTEMPORARY), Cold Mountain: Prologue to Act One Scene One; Act One Scene Three; Act One Scene Five; Act One Scene Six; set of four, gouache, signed and captioned, 26cms x 39cms.. Member of the Somerset Art Gallery Trust

Art & Antiques Reference Catalogue of the collection of pictures, works of art and decorative objects, the property of his grace the Duke of Hamilton. London, 1882, 8vo, 5 parts in 1 volume, illustrated, contemporary red cloth gilt, prices inscribed ink later, faded backstrip; Cushion, John & Margaret A collector's history of British porcelain. London, 1992, 4to, dustwrapper; Coysh, A.W. & Henrywood, R. The dictionary of blue & white printed pottery 1780-1880. London, 1982, 4to, 2 volumes, dustwrappers; Jackson, Sir Charles English goldsmiths and their marks. London, 1964, 4to. dustwrapper, fading; and 64 others (69)

Lutyens--Butler, A.S.G. The architecture of Sir Edwin Lutyens. Country Life, 1950, first edition, folio, original cloth, dust-jacket; Cook, Theodore A. Twenty-five great houses of France, [c.1917], folio, half cloth; Foster, Birket Pictures of English landscape, [1881], 4to, India Proof edition limited to 1000 copies, 30 India Proof plates, cloth, library stamp on title and plate versos; Knight, C. Old England, 1845, 4to, 2 volumes, plates, illustrations, contemporary half calf, joints splitting, slight spotting; Strange, T.A. English furniture, decoration, woodwork & allied arts, [c.1903], 4to, illustrations, original cloth, title repaired, rebacked, corners rubbed; Poulik, J. Prehistoric art, [n.d.], 4to, dust-wrapper, slipcase (7)

Stewart, David Sketches of the character, manners and present state of the Highlanders of Scotland. Edinburgh, 1822, 2 volumes, 8vo, folding coloured map, contemporary half calf, rebacked, map repaired on verso; Balfour, Sir James The historical works. Edinburgh, 1825, 4 volumes, 8vo, contemporary calf, two joints split; Grant, Anne Essays on the superstitions of the Highlanders of Scotland, 1811, 2 volumes, 12mo, contemporary half calf, tear to head of volume 1, some spotting; Cardonnel, Adam de Picturesque antiquities of Scotland, 1788, part 1 only, 8vo, etched illustrations, contemporary calf, neatly rebacked; James VI, King The essayes of a prentise in the divine art of poesie, 1814, 4to, O1-2 blank but apparently nothing missing, contemporary calf, joints cracked, new labels; Robertson, J.D. A handbook to the coinage of Scotland, 1878, 4to, quarter morocco, head of spine torn; [Law] A collection of decisions of the Lords of Council and Session, 1701, 4to, new morocco-backed cloth, spine gilt, title repaired in inner margin (12)

Saxe, Maurice, comte de Reveries or memoirs upon the art of war. London: J. Nourse, 1757, 4to, 34 (of 40) engraved plates, contemporary calf, light soiling to first two leaves, rebacked

Thoms, W.J. The history of Reynard the fox, 1844, 8vo, half morocco; Taplin, W. The sporting dictionary, 1803, 2 volumes, 8vo, frontispieces, contemporary calf, spotted, rubbed; Millais, J.G. Life of Frederick Courtenay Selous, 1919, third impression, half calf, spine faded; Cox, E.H.M., editor. The plant introductions of Reginald Farrer, 1930, 4to, plates, original cloth, slightly soiled; Scrope, W. Days and nights of salmon fishing, 1885; Days of deer-stalking, 1883, 2 volumes, 8vo, uncoloured plates, half morocco, spines faded; [Naval] A vocabulary of sea phrases and terms of art used in seamanship, manuscript copy, volume 1 only, 8vo, contemporary calf; Heath. Heath's picturesque annual for 1837, 1837, 8vo, additional title and 19 plates, original green cloth, spine faded, and 7 others (16)

DUNCAN SHANKS ARSA, RGI (SCOTTISH, B. 1937) TREES NOCTURNE Signed, gouache and mixed media on paper 46cm x 64cm (17.25 in x 25 in). Exhibited: The Fine Art Society Ltd London Contemporary Scottish painting May/June 1983.

after Henry Spencer Moore O.M. (1898-1986) "Balancing Lintel" artist's signed proof, also numbered "59/60", black and white lithograph, 45.5cm by 51.5cm the work is sold together with a certificate of authentication from Christie’s Contemporary Art, together with an old type-written document on print techniques

Don Cordery - 'Screech Owls', lithograph in colours No. 57/150, pencil signed by the artist, published for Christies Contemporary Art, 19" x 24 1/2" and 'Ducks' by Michael Warren (2).

stourton (P.C.) Songlines and Dreamings, Contemporary Australian Aboriginal Painting, 1996 4to., dw.; Langley (R.) Walter Langley, Pioneer of the Newlyn Art Colony, 1997, dw.; Macmillan (D.) Scottish Art, 1460-1990, 1996, 4to., dw.; with A Quantity of Volumes relating to art and artists

Four: Surgeon W. Y. Jeeves, Royal Artillery, late 38th Foot crimea 1854-56, 3 clasps, Alma, Inkermann, Sebastopol; Turkish Crimea 1855, British issue, these two both unnamed as issued; Indian Mutiny 1857-59, no clasp (Asst. Surgn. W. Y. Jeeves, 11th Bde. Rl. Art.); Legion of Honour, Knight’s 5th class breast badge, silver, gold and enamels, all fitted with silver ribbon buckles and mounted in a contemporary carved wood frame, the last with enamel damage, otherwise toned, good very fine (4) £1000-1200 sold with 3 original commissions as Assistant Surgeon to the Forces (1 August 1856), Assistant Surgeon in the Royal Artillery (9 January 1857), and Surgeon to the Forces (21 November 1864); two letters of thanks for services in the Crimea, one signed by Sir John Hall, Inspector General of Medical services in the Crimea; and three portraits of the recipient’s father, John Jeeves of Sheffield, one particularly fine in oils on card and contained in a contemporary carved wood frame. william Younge Jeeves was born at Sharrow Grange, Yorkshire, in February 1829, and was appointed an Assistant Surgeon in the 38th Foot on 7 April 1854. He served in the Eastern Campaign of 1854-55, including the battles of Alma, Inkermann and siege of Sebastopol, seeing service in the trenches, and also took part in the assault and capture of the cemetery, 18 June 1855, for which he was mentioned in despatches (Medal and three clasps, Turkish Medal, and Knight of the Legion of Honour). major-General Eyre’s despatch stated ‘Assistant Surgeon Jeeves of the 38th, whilst exposed to a most galling fire, having exerted himself in the field in attending to the wounded in so zealous and humane a manner as to call forth special notice’. jeeves was appointed on the Staff in August 1856, and to the Royal Artillery in January 1857, subsequently seeing service with the 11th Brigade R.A. during the Indian Mutiny. He became Surgeon in November 1864, was appointed to the 2/25th Foot in 1865, and retired on half-pay in 1872. Surgeon William Jeeves died at Northallerton, Yorkshire, on 7 March 1875. £1000-£1200

ELIZABETH FRINK (1930-1993) 'Three Horsemen', lithograph, signed and numbered 16/100, 22" x 30" (see illustration). Christie's Contemporary Art Certificate of Authenticity verso.

JOHN PIPER (1903-1992) View of a Gatehouse, lithograph in colours, numbered 8/120, pencil signed by the artist, published by Christies Contemporary Art, 22 1/2" x 17 1/2" (see illustration).

* Two contemporary art glass vases possibly French by Le Loup, circa 1990, the first of squat form the blue ground with abstract murrine design, the second of compressed fan shape, the frosted ground with pink and coloured murrine design, both signed to undersides, largest 34 cm in length.

Hawkesworth (John) ALMORAN AND HAMET, half-titles, 2 vol. contemporary calf, rubbed, spines gilt, morocco spine lables, top board vol. 1 detached, others loose, for H. Payne and W. Cropley, 1761; [Bramston (James)] THE ART OF POLITICKS IN IMITATION OF HORACE'S ART OF POETRY, FIRST EDITION, engraved frontispiece, engraved vignette on title, modern sheep-backed boards, for L. Gilliver, 1729; Manuscript.- ?J[acobi]. C[ruci].- MISCELLANIES IN PROSE AND VERSE ORIGINAL AND SELECTED BY J. C., title with vignette painting, contemporary ink throughout, bookplate on front pastedown, contemporary half calf over patterned boards, rubbed, [c.1828]; and 22 others, similar, 8vo.

James C. Tarr (British, 1905-1996) A Game of Badminton in High Summer signed lower left "James Tarr" oil on board 23 x 34cm Jack Tarr was a near contemporary of Bawden and Ravilious at the Royal College of Art. After leaving college he became Painting Master at the Gloucester School of Art, and painted many good watercolours of the Gloucestershire countryside and had a number shown at the Royal Academy. He later succeeded Stanley Lewis, ARCA, MBE (b.1905) as Principal of the Newport School of Art.

Edward Bevan (1854-1898) PANNING OUT THE GOLD signed and dated 1895, with contemporary inscription on the label of Edward Parkers Fine Art Gallery and Artist's Depository, Cheltenham "Wash Dirt" and "Panning our the Gold" artist Edward Bevan £26.5.0, pencil and watercolour heightened with white, 55.5 x 88cm ++In fine condition, free from fading with very mild odd spots of foxing in the sky which are hardly noticeable. Undisturbed in the original giltwood and composition Rosetti frame