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Jack Butler Yeats RHA (1871-1957)The Ring Master and the Clown (1909)Watercolour, 25 x 35cm (10 x 13¾")SignedProvenance: Peter Katz; sold to Victor Waddington, London 1967; With Victor Waddington Galleries, London, label verso Allen Figgis (owner); Waddington Galleries Montreal label verso; Sale, these rooms, 14 July, 1983; Private Collection, DublinExhibited: Dublin 1909, Aonach, Exhibition of Paintings, Cat. No.21Literature: Yeats, Jack B., Life in the West of Ireland (1912, 1915) 75; Yeats, Jack B., And to You Also (1944, 1974) 120; Pyle, Hilary, Jack B. Yeats His Watercolours, Drawings and Pastels, Cat. No.681, p.161 illusBy the time The Ringmaster and the Clown was first exhibited in 1909, Jack Yeats had already achieved a significant degree of fame and appreciation. Hugh Lane, a few years earlier, in his quest to establish a gallery of modern art in Dublin had approached artists and friends in an effort to persuade them to present works to form a nucleus of a collection. Jack Yeats, while still living in Devon presented three watercolours, The Rogue, The Melodeon Player and The Day of the Sports. By January 1908, The Dublin Municipal Gallery of Modern Art had opened at 17 Harcourt Street. According to Hilary Pyle, Jack Yeats had given what he considered his most up-to-date important work – character studies of contemporary Irishmen of the West.Pyle continues … ‘From about 1906, when Yeats was painting a little more in oil, a new spirit is noticeable in his watercolours. The images and manner are much the same as before, but they are treated more seriously, often isolated pictorially in space; and the themes generate a greater breadth of purpose. Synge’s friendship has made the artist see his Western Irish imagery in a wider context, so that landscapes and figures plumb more deeply from the particular to the universal’.Yeats writing in And to You Also in 1944, described ‘the parasol of the auditorium’ of the circus tent. ‘The sad-faced clown stumbles along on the ring-master’s left, while up above the ring-master on his right, sits the beautiful girl … on the back of a grand old cream horse … ’.  The circus life theme stayed with Yeats throughout his career, the images from his childhood life in Sligo indelibly etched on his pictorial memory, notably in The Haute École Act and That Grand Conversation was under the Rose, the oils of 1925 and 1943. In the present work the clown is, as Hilary Pyle describes ‘…. in merry mood, looking coyly at the spectator’.

William Scott RA (1913 - 1989)Still Life No.2 (1970)Gouache on paper, 59 x 78cm (23¼ x 30¾")Signed and dated 1970Provenance: Collection of R.W. Wilson, DublinStill Life No.2 (1970) is representative of the approach to such themes painted by William Scott at this time.  Over the years, Scott had explored a range of thematic subjects, from the early biblical narratives and genre scenes, to the landscapes and nudes that featured repeatedly throughout his oeuvre. However, Scott consistently reverted to still life as the primary theme of interest across his life as an artist. William Scott’s earliest still life images are relatively naturalistic, though always stylised rather than strictly mimetic. Following a series of phases of exploration, the forms in Scott’s paintings became increasingly distilled, typically based on the familiar domestic objects typical of his childhood in Greenock, Scotland, where he was born. He later moved with his family to his father’s native Enniskillen, and remained in Northern Ireland where he began his education as an artist. He continued his education at the Royal Academy Schools in London, eventually settling in Somerset. Scott was ground-breaking in creating art that combined the familiar and mundane useful object with his perspective on Modernism abstracted form.Still life has attracted artists for centuries, providing an opportunity to represent a host of significant objects. The earliest examples in western art present still life elements in religious altarpieces, particularly in Northern Europe, prioritising the potential of objects, some ordinary, others precious, to carry symbolic meaning: thus this genre provided a readable array of distinctive ‘attributes’, by which the character of religious characters could be defined - a vital visual language in an era of low literacy. Over time, still life emerged as a subject in its own right, though it continued to embody a host of readable symbols for purposes of morality, intended as reminders of the perceived wisdom at the time.  In time, still life became a celebration of the ordinary, as artists began to focus on mundane objects for their own sake, to signify the familiar and to evoke nostalgia. From the late nineteenth century, towards the emergence of Modernism, the possibilities of forms of expression that challenged academic principles, provided an impetus for alternative methods of seeing: from the colours and shapes of the objects themselves, to how they could be located in space.William Scott had the opportunity to observe methods of expression through the work of artists encountered in exhibitions and art galleries, ranging from the Renaissance to the present, from Piero della Francesca to Henri Matisse, via Jean Siméon Chardin and Paul Cézanne. His visits to the United States from 1953, for his own exhibitions there, provided unique opportunities to observe the most contemporary developments and to meet some of the leading exponents as an equal – artists like Jackson Pollock, Barnett Newman – and Mark Rothko, who visited him in Somerset some years later. Still Life No.2 (1970) demonstrates characteristics that can be observed in iconic works by William Scott, such as Still Life Brown with Black Note (1969)(1). Still Life No.2 comprises colours and forms typified by the artist at the time: a flat black profile appears suspended, suggestive of the profile of a skillet, familiar in Scott’s work. A white circular object to the left is cut off by the edge of the painting, while on the right a white jug, another form that appears in Scott’s work, is presented like a stencil against the red-brown ground. The background shows the marks of the brush, and there is a suggestion of shadows thrown by some of the objects. The slight ‘bleeding’ of paint at the edges of objects, softens their otherwise austere profiles, and indicates the hand-crafted dimension of the artwork, and introduces a human dimension to the austerity of the arrangement. The composition is spare and spacious, a marked distinction from Scott’s still life paintings of the 1950s, which featured crowded, almost chaotic, ‘table top’ images connecting the artist and viewer more closely with the domestic realities of a busy kitchen environment. The present painting reflects the more abstract and symbolic nature associated with the later works of the painter. Once he divested his repertoire of the food items (fish, eggs, vegetables) evident in his earliest work, Scott’s particular selection of items reflects his stated preference for man-made over ‘natural’ things, perhaps identifying with durability despite repeated use, over organic fragility.William Scott is recorded as commenting on his practice in a lecture delivered at the British Council in 1961 that sheds light on his approach to still life:“My pictures now contained not only recognisable imagery but textures and a freedom to distort. I again painted a profusion of objects that spread themselves across the canvas, often clinging to the edges leaving the centre open …’.(2)Dr. Yvonne Scott, January 20231 William Scott, Still Life Brown with Black Note (1969), oil on canvas, 121.9 x 183 cm, Irish Museum of Modern Art, Dublin. See Norbert Lynton, William Scott, Thames & Hudson Ltd., London, 2004, p.313.2 William Scott, British Council lecture, quoted in Sarah Whitfield and Lucy Inglis (eds.), William Scott, Catalogue Raisonné of Oil Paintings,       Vol.2, 1952–1959, Thames & Hudson,in association with the William Scott Foundation, London, 1913, p.18.Condition Report: Very good overall conditionWe have no additional documentation, the painting was consigned from a deceased estate The edges or the hand made paper are a little scuffed in places, see images

Clermont [Menon]. The Professed Cook: Or, the Modern Art of Cookery, Pastry, and Confectionary, made plain and easy. Consisting of the most approved Methods in the French as well as English Cookery. In which The French Names of all the different Dishes are given and explained, whereby every Bill of Fare becomes intelligible and familiar .... Including a Translation of Les Soupers de la Cour; with the Addition of the best Receipts which have appeared in the French or English Languages, and adapted to the London Markets, 3rd ed., revised and much enlarged, London, 1776, contemporary ownership inscription to head of title ' A. H. Penruddocke, A Gift of a Dear Friend', additionally signed bu A. H. Penruddocke to front endpaper, a few minor spots, contemporary full calf, rubbed and some wear to joints and edges, with joints partly cracked, 8vo QTY: (1)NOTE:MacLean 99. Cagle 606. Simon 355.This is in part a translation and adaption of Menon's French work 'Les Soupers de la Cour' by B. Clermont, who describes himself for the first time in this third edition as having been for 'many Years Clerk of the Kitchen in some of the first Families of this Kingdom, and lately to the Right Hon. the Earl of Abingdon'. The French names of all dishes are given and explained. It was originally published 1767 in two volumes under the title 'The Art of Modern Cookery Displayed'.

Caylus (Anne Claude Philippe, Comte de). Recueil d'Antquities Egyptiennes, Etrusques, Grecques et Romaines,7 volumes including Supplement, mixed editions, Paris: Desaint & Saillant and others, 1756-67, volume I nouvelle edition, 1761, half titles for volumes I, III-VI, numerous (over 800) engraved plates, occasional light spotting, one or two small marginal water stains, all edges gilt, bookplate, contemporary French Cat's Paw calf gilt, joints cracked, spines and edges rubbed, 4to QTY: (7)NOTE:Blackmer 303; Cohen de-Ricci 211."This work is remarkable for its range and for the number of pieces which have been illustrated. Even more remarkable his the fact that most of the objects have been engraved after the originals and have not been taken from other illustrations. Many of the objects came from Caylus's own collection and are now in the Cabinet des Medailles of the Bibliotheque Nationale. Caylus travelled extensively in Italy and continued on to the Levant in the suite of the French ambassador to the Porte, c. 1715-20, but certainly well before 1731 when he was elected to the Academie Royale de Peinture. He was one of the most interesting figures of his time, an archaeologist, connoisseur, litterateur and a competent engraver." (Blackmer).Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.

* Ennion (Eric, 1900-1981). Ringed Plovers, watercolour and gouache on paper, signed lower right, 27.5 x 23.5 cm mount aperture, framed and glazedQTY: (1)NOTE:Provenance: Exhibited at Nature in Art, Twigworth, Gloucester, GL2 9PA. SWLA 40th Anniversary Founders Show Sept 9th - October 19th 2003; Robert Gillmor, labels to verso. From the Collection of Robert Gilmor (1936-2022).Renowned wildlife artist and author Eric Ennion assisted Robert Gillmor in organising an exhibition of contemporary bird painters at Reading Museum and Art Gallery in 1960. It was the first of its kind and a great success, subsequently touring the country, and led to the formation, in 1964, of the Society of Wildlife Artists with Eric Ennion acting as its first Chairman. (SWLA).

A modern hand blown art glass centrepiece of naturalistic form featuring a large bowl with collapsed sides, with printed contemporary pattern, on a Venetian-style organic circular stem to a concave foot, with polished pontil to the base, unsigned, height 27cm, diameter 34cm.

(Cookery, Wine and Wine Making, Confectionery), [Mr. Borella]: 'The Court and Country Confectioner: or, the House-Keeper’s Guide..., To which is added, a dissertation on the different species of fruits, and the art of distilling simple waters, cordials, perfumed oils, and essences, by an Ingenious Foreigner, now head confectioner to the Spanish Ambassador in England.', London, G. Riley et al, 1770, 1st edition, [2],ii,3,xxiii,[1],271 + 46pp 'On Distilling in General' at end, some marginal worm damage at front from title page to pp.vii (marginal, not affecting text) and from p.111 to end, contemporary calf worn. Later editions revealed the author to be Mr. Borella, head confectioner to the Spanish ambassador to England. A rare cookery title, the first English book with a whole section of ices and ice creams, including for tea ice cream.

A collection of antiquarian and leather bound volumes, including [Bulstrode Whitlocke]: 'Memorials of the English affairs, or, An historical account of what passed from the beginning of the reign of King Charles the First, to King Charles the Second his happy restauration : containing the publick transactions, civil and military : together with the private consultations and secrets of the Cabinet.', London, Nathaniel Ponder, 1682, 1st edition, 704pp, folio, contemporary panelled calf, armorial bookplate of Robert Bristow (1688-1737), MP for Winchelsea, Director of the Bank of England and East India Company, to front pastedown; Sir William Temple: 'The Works of Sir William Temple, Bart.', L, T. Woodward et al, 1750, 2 volumes, folio, contemporary calf gilt, armorial bookplates of Thomas Powys, 1st Baron Lilford (1743-1800) to front pastedowns; 'The Works of Mr Abraham Cowley', 1707-1711, 3 volumes, numerous engraved plates, uniform contemporary calf gilt; 'The Genuine Works of Flavius Josephus, The Jewish Historian', L, J. & J. Cundee, c.1812, 2 volumes in 1, numerous engraved plates, folding maps etc, thick 4to, contemporary calf gilt worn; 'The Poetical Works of Nicholas Rowe', 1715; 'The Historie of Philip de Commines. [Translated from the French by Thomas Danett.], circa 1601, a/f, lacks title page; Sidney Algernon 'Discourses Concerning Government', 1763, a/f; 'The Botanic Garden A Poem', 1799, 4th edition, etc etc. From the estate of John Richard Harding Yeoman (1916-1988), Copy Writer and Director for several Advertising Agencies, Assistant Secretary (Publicity) for the Council for the Protection of Rural England, Borough Councillor for Kensington and Chelsea, Governor of the Chelsea School of Art, and lover of art, poetry and books. John Yeoman’s first wife was Antonia Yeoman, née Beryl Antonia Thompson (1907-1970), the Australian-English commercial artist, cartoonist and illustrator who worked under the name “Anton”

ANTÓN LAMAZARES SILVA (Lalín, Pontevedra, 1954).Untitled, 1981.Gouache, ink, wax and cardboard on panel.There is a tear in the frame and some damage.Signed in the lower central area.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 126 x 122 cm; 151 x 146 cm (frame).In this piece on cardboard, the artist not only composes the work on the basis of drawing and colour, but also intervenes directly on the support by tearing and manipulating the texture of the cardboard. A characteristic that he explored in several works such as 'A Sepultura de Fiz', 1985, which belongs to the collection of the Museo de Arte Contemporáneo Artium, located in Vitoria. The expressive pictorial language with complementary colours used as a background and a figure with deformed features indicate that it is probably a work from before 1987. This is the year in which he travelled to New York and his style changed towards informalism and abstraction.A painter, sculptor and engraver with an anarchic background and an anarchic life, Lamazares has worked in Galicia, Madrid and the United States, where his expressionist, synoptic work, sometimes on perishable materials such as corrugated cardboard, is highly appreciated. Lamazares suggests ingenuities which, nevertheless, emerge from careful meditation. He became known, like so many other painters, in the group exhibitions in the Plaza de la Princesa, sponsored by the Vigo City Council, in 1973. The following year he made his individual debut in Compostela, and was also present at the first edition of Atlántica, in Bayonne (Vigo), in 1980. That same year he began to cross borders and exhibited in Buenos Aires. He obtained grants and was selected for very restrictive exhibitions, such as the one held at the Museo de Arte Contemporáneo in Madrid. His work travelled to Brazil, Germany, France, the United States... and before he was thirty years old he was already a celebrity, an essential name in the panorama of young Spanish painting. Among his numerous personal exhibitions are those held in the galleries Ánfora (Madrid, 1977), Elisabeth Franck (Belgium, 1982), Müller (Winterthur, Switzerland, 1985), Facchetti (New York, 1988), Engström (Stockholm, 1990), Citania (Santiago de Compostela, 1991) and Pelaires (Palma de Mallorca, 1992), among many others. Lamazares began with a very synthetic expressionist figuration, characterised by a great economy of means. He gradually evolved towards a more meditated, more serene and fully informalist painting, in which large black spaces and geometric structures dominate. In his paintings a random thing, a non-existent object, is installed in a neutral space, and allows the spectator an imaginary dialogue of diverse suggestions. Antón Lamazares is represented in all the contemporary art museums in Galicia, as well as in the Museo Nacional Centro de Arte Reina Sofía, the Caixanova collection and various public and private collections abroad.

MARIANO ANDREU ESTANY (Mataró, Barcelona, 1888 - Biarritz, France, 1976).Untitled.Pencil on paper.Signed in the lower left-hand corner.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 46 x 36 cm; 63 x 53 cm (frame).Classical or Renaissance-inspired characters are a constant in Mariano Andreu's work. In this particular case, the mask worn by the main character indicates that he is the mythical character from Commedia dell'Arte, Arlechino.A painter, draughtsman, engraver, sculptor, decorator and set designer, Mariano Andreu began his career in the world of art attracted by the visual arts. Mainly self-taught, he sporadically attended Francesc A. Galí's academy. He studied in London at the Municipal School of Arts & Crafts, where he was fascinated by the style of Aubrey Beardsley and by Pre-Raphaelite painting. On his return to Barcelona he joined the Decadentist group, the first manifestation of Noucentisme. In 1911 Andreu exhibited his work for the first time in a group exhibition organised at the Faianç Català. The following year he moved to Paris, where he was always a great success with critics and the public, although he returned to Barcelona intermittently. Later he travelled to Italy to study the works of the Renaissance, an event that would have a definitive influence on his work. He held several exhibitions in Barcelona, Paris, Munich, Tokyo, Osaka, London, Brussels, New York, Los Angeles and Buenos Aires. He is represented in the Museums of Theatre and Contemporary Art in Barcelona, as well as in various public and private international organisations.

MARIANO ANDREU ESTANY (Mataró, Barcelona, 1888 - Biarritz, France, 1976).Untitled.Pencil on paper.Signed in the lower area.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 46 x 36 cm; 63 x 53 cm (frame).Painter, draughtsman, engraver, sculptor, decorator and set designer, Mariano Andreu started in the world of art attracted by the plastic arts of the spectacle. Mainly self-taught, he sporadically attended Francesc A. Galí's academy. He studied in London at the Municipal School of Arts & Crafts, where he was fascinated by the style of Aubrey Beardsley and by Pre-Raphaelite painting. On his return to Barcelona he joined the Decadentist group, the first manifestation of Noucentisme. In 1911 Andreu exhibited his work for the first time in a group exhibition organised at the Faianç Català. The following year he moved to Paris, where he was always a great success with critics and the public, although he returned to Barcelona intermittently. He later travelled to Italy to study the works of the Renaissance, an event that would have a definitive influence on his work. He held several exhibitions in Barcelona, Paris, Munich, Tokyo, Osaka, London, Brussels, New York, Los Angeles and Buenos Aires. He is represented in the Museums of Theatre and Contemporary Art in Barcelona, as well as in various international public and private institutions.

CHEMA MADOZ (Madrid, 1958)Untitled, 2000.Positive bromide virado. Copy 3/15.With the label of the Galería Moriarty (Madrid) on the back.Signed, dated and justified on the back.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 60 x 50 cm; 81 x 71,5 cm (frame).The Patio Herreriano Museum in Valladolid has the first copy of this series. In its cataloguing the museum states "In 1995 Madoz took a photograph of a real cactus planted in a sewing thimble. The association of the spiky plant with the thimble triggered in the observer the hypothetical effect of a finger entering the thimble. In this photograph the cactus has become stone. Madoz has replaced the fleshiness of the plant with the inert hardness of the boulders. He composes his objects, but never disguises the nature of each one. That thimble was perfectly legible as a thimble; in this photograph the pot and the stones are also fully identifiable. This play with the recognisable makes the effect of surprise provoked by the union of disparate and even antithetical elements even more intense, because it places us before concrete and familiar fragments of reality. The artist proposes a certain distancing from the motif captured, which generally appears with a carefully prepared mise-en-scène. This scenographic distancing is not objective, because it seeks to provoke subjective reactions from the gaze that the photographer and the camera have decided to fix on paper".Visual paradox is the fertile ground in which Chema Madoz moves. The way he interprets art through photography and his poetic vision make Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths. Playing with the everyday, generating associations, metamorphoses, in a playful background, he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or the logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Prize and the PHotoEspaña Prize in 2000, and the Culture Prize of the Community of Madrid in the category of Photography in 2012, among others.

CHEMA MADOZ (Madrid, 1958)Untitled (Árbol Piedras), 2000.Positive bromide virado. Copy 3/15.With label on the back of the Galería Moriarty (Madrid).Signed, dated and justified on the back. Provenance: private collection conceived since the 70s between London and Madrid.Size: 60 x 50 cm; 81 x 71 cm (frame).The Telefónica Foundation dedicated an exhibition to the artist, called Telos. It brought together a selection of works from 2000 to 2004, dedicated to nature. This "Tree Stones" belonged to the aforementioned group of which the artist commented: "I have chosen a series of images with common interests: their axis is nature and for this reason they are more distant from other series of objects from everyday life. I also make use of matter that comes from nature itself and lacks that objectual character, be it grass, water or sand, in an attempt to access the idea of landscape in other images".The way he interprets art through photography and his poetic vision make Chema Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths, there is always an undercurrent of play. Playing with the everyday, generating associations, metamorphoses, in a playful background he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or the logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Prize and the PHotoEspaña Prize in 2000, and the Culture Prize of the Community of Madrid in the category of Photography in 2012, among others.

CHEMA MADOZ (Madrid, 1958)Untitled, 2000.Positive bromide virado. Copy 3/15.With label of the Galería Moriarty (Madrid) on the back.Signed, dated and justified on the back.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 60 x 50 cm; 81 x 71,5 cm (frame):Naturgy's Spanish Contemporary Art collection owns the first copy of this same photograph. Visual paradox is the fertile ground in which Chema Madoz moves. The way he interprets art through photography and his poetic vision make Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths. Playing with the everyday, generating associations, metamorphoses, in a playful background, he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or the logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Prize and the PHotoEspaña Prize in 2000, and the Culture Prize of the Community of Madrid in the category of Photography in 2012, among others.

MANUEL ÁNGELES ORTIZ (Jaén, 1895 - Paris, 1984)."Walk under the trees".Cut-out paper.Work reproduced in "Manuel Ángeles Ortiz. Homage Exhibition. Spanish Museum of Contemporary Art, 1980. Fig 132.Signed in the lower right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 61 x 47 cm; 90 x 74 cm (frame).A representative of the Spanish School of Paris, Manuel Ángeles Ortiz began his training in Granada, in the studio of José Larrocha. He later completed his studies at the Escuela Superior de Artes Industriales in the city and then moved to Madrid, where he continued his training in the studio of Cecilio Plá. In 1915 he made his debut in a group exhibition, receiving very good reviews in the local press. At the same time, he began to produce drawings for various publications. In the early 1920s, following the death of his wife, the painter moved to Paris. There he painted frenetically, with Picasso as his main supporter and first enthusiast. His painting abandoned cubic forms to focus on fully dreamlike images, which he presented in Paris in his first one-man show, held at the Quatre Chemins gallery in 1926. In 1932 he returned to Spain, but his anti-fascist stance led him to take refuge in France once again at the end of the Civil War. After a brief stay in Paris he went to Buenos Aires, where he became fully integrated into the artistic scene and lived until 1948, when he returned to Paris for good. He is currently represented in the Museo Nacional Reina Sofía in Madrid, the ARTIUM in Vitoria, the Patio Herreriano in Valladolid, the Museo de Arte Contemporáneo in Seville, the Museo de Bellas Artes in Grenoble, the Federico García Lorca, Mapfre and Telefónica Foundations and the Bargera gallery in Cologne, among other public and private collections.

HERNANDO VIÑES SOTO, (Paris, 1904 - 1993).Untitled, 1931.Watercolour on paper.Signed and dated in the lower left corner.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 31 x 24 cm; 44 x 52 cm (frame).Born into an upper-class bourgeois family, Viñes was introduced into the Parisian artistic circle by his uncle, the pianist and composer Ricardo Viñes. During the First World War he settled in Madrid, returning to Paris in 1918. There Pablo Picasso, a friend of his uncle's, after seeing his first drawings, advised him to continue along the same path and to perfect his knowledge as a self-taught artist. Viñes followed Picasso's advice, first entering the Academy of Sacred Art in Paris, where he was a pupil of Maurice Denis and Georges Desvallieres and then, in 1922, completing his training with André Lothe and Gino Severini. The following year he participated as a decorator in Manuel de Falla's "El retablo de Maese Pedro" and exhibited for the first time at the Salon d'Automne. That same year, 1923, he came into contact, through his friend Manuel Ángeles Ortiz, with the circle of young Spanish artists living in Paris: Francisco Bores, Luis Buñuel, Joaquín Peinado, Francisco García Lorca, Pancho Cossío, Rafael Alberti, Ismael de la Serna, etc. At the age of twenty he decided to devote himself fully to painting, and immediately obtained the support of two important critics, Tériade and Zervos, the latter being the director of "Cahiers d'Art". From then on he exhibited regularly at the Percier and Max Berger galleries in Paris. After the Second World War a very difficult period began for the painter, in which, despite numerous group and solo exhibitions, he did not achieve the notoriety that his brilliant beginnings had promised. It was not until 1965 and the major retrospective devoted to him by the Madrid Museum of Modern Art that he was finally recognised as one of the most brilliant painters of his generation. From that moment on, exhibitions followed one after the other in leading galleries all over Spain, such as Théo (Madrid and Valencia), Dalmau (Barcelona) and Ruiz (Santander). In the early eighties, important retrospective exhibitions were held at the Casa de España in Paris, the Museum of Fine Arts in Santander and the Bonnat Museum in Bayonne. In 1988 he was awarded the Gold Medal of Arts and Letters by King Juan Carlos I. At the same time, his international fame grew as a result of exhibitions held in Germany, Denmark, the United States, Czechoslovakia, England and Japan. Far from schools and any hint of boastfulness, Viñes's work continued its path in France, and museums all over the world began to acquire his works. He is currently represented in the Reina Sofía Museum in Madrid, the Georges Pompidou Centre in Paris, the Museums of Albi, Castres and Saint-Ouen in France, the Fine Arts Museums of Tel-Aviv, Buenos Aires and Prague, the Patio Herreriano Contemporary Art Museum in Valladolid and the ARTIUM in Vitoria, among many others.

JUAN BORDÉS CABALLERO (Las Palmas de Gran Canaria, 1948).Untitled.Coloured pencils.Signed in the lower right area.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 20 x 29 cm; 44 x 53 cm (frame).This work reproduces the famous piece by Thomas Gainsborough "Mr and Mrs Andrews". Juan Bordés Caballero began his training in 1957 when he started studying sculpture at the Luján Pérez School in Las Palmas. Later in 1965 he moved to Madrid, attending the Escuela Técnica Superior de Arquitectura de Madrid, the Escuela Cerámica Moncloa and the Círculo de Bellas Artes, where he studied drawing. In 1986 he obtained his doctorate at the University of Madrid, and in 1988 he was awarded his professorship. His works are currently part of important collections of artists such as the Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria; the Museo de Arte Contemporáneo, Caracas (Venezuela); the Museo de Arte Contemporáneo, Seville; the Biblioteca Nacional de España, Madrid; Colección Renfe, Madrid; Mapfre Collection, Madrid; Fenosa Collection; University of Valencia; Contemporary Art Collection, Castilla-La Mancha; Museo Popular de Arte Contemporáneo, Vilafamés, Castellón de la Plana; Asociación Canaria de Amigos del Arte Contemporáneo, Santa Cruz de Tenerife; and Colegio de Arquitectos, Las Palmas de Gran Canarias.

VICTOR VASARELY (Pécs, Hungary, 1908 - Paris, 1997)."Multicheyt", 1973Oil on canvas.Signed in the lower margin. Signed, dated and titled on the reverse.Provenance: Theo Gallery, Madrid; Private collection.Exhibitions: Madrid, Galería Theo, "Vasarely", May 1975.Bibliography: Catalogue of the exhibition "Vasarely", Galería Theo, Madrid, 1975, pg. 309.Auctions: at Alcalá Subastas, "Multicheyt" in Madrid fetched an auction price of 95000 euros (08/06/2017).Provenance: private collection conceived since the 1970s between London and Madrid.Size: 120 x 120 cm.The painting "Multicheyt" belongs to the Vega series, one of Victor Vasarely's most emblematic, which the Franco-Hungarian artist, the father of Op Art, produced at the height of his career. Vasarely chose for this series the name of the star Vega, the brightest star on summer nights in the northern hemisphere. It is based on the discovery that the deformation of a two-dimensional grid can generate an abstract three-dimensional landscape, with elevations and depressions, where squares are transformed into rhombuses and circles into ellipses. Thus, the illusionistic effect that combines convexity and concavity with dilation and contraction, contains a meditated cosmic symbolism, evoking the rhythm born of the stars, as well as the formation of galaxies by the expansion of the universe as a whole. Multicheyt's polychrome grid, composed of irregular octagons and rhombuses, manages to simulate a subjugating dynamic three-dimensionality.Considered the father of Op Art, Victor Vasarely began his artistic training at the Muheely school, founded in Budapest by a Bauhaus pupil. He settled in Paris in 1930, where he produced what is now considered the first Op Art work, "Zebra" (1937). In Paris he worked as a graphic designer for advertising agencies. During this period his artistic style shifted from figurative expression to a type of constructive and geometric abstract art, and he became interested in the representation of perspective without vanishing points. Between 1936 and 1948 he participated regularly in the Salon des Surindependants and the Salon des Nouvelles Réalités. From 1948 onwards he exhibited regularly at the Denise René gallery. In the 1950s his work moved towards the use of new materials and supports such as aluminium and glass. He also began to produce works that integrated with space, such as Homage to Malevich. In the 1960s he took part in numerous group exhibitions, such as The Responsive Eye at the Museum of Modern Art in New York, as well as solo exhibitions in Europe and America. Among the numerous awards he received during his lifetime, the Guggenheim Prize (1964), the Brussels Art Critics' Prize and the gold medal at the Milan Triennial are particularly noteworthy. In 1970 he was made a Knight of the Order of the Legion of Honour. He is represented in the museums dedicated to him in Aix-en-Provence, Pécs and Budapest, but also in the most important contemporary art centres in the world, such as the Tate Gallery in London, the MoMA in New York, the Guggenheim in Venice and the Reina Sofía in Madrid.

LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura", 1939.Ink and pencil on card.Slight damage to the paper in the corners.Signed and dated in the lower right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 65 x 50 cm.A desolate face opens its mouth in an expression of pain, captured by a great technical handling of the artist who manipulates the brushstrokes in a horizontal way, and manages to capture the breathing of the protagonist. This work is part of an exceptional and unique period in which the artist approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. However, his grandfather died shortly afterwards, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.

LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura con sombrero y flor en la boca (Figure with a hat and flower in its mouth), 1939.Charcoal on paper.Slight damage to the paper in the corners.Signed and dated in the lower left-hand corner.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 62,5 x 48 cm.In this portrait we can appreciate a clear influence of the surrealist movement where the forms have been reinterpreted by the artist in a free way without abandoning the figuration. This work is part of an exceptional and unique period in which the artist approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. His grandfather died shortly afterwards, however, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.

LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura", 1939.Charcoal on paper.Slight damage to the paper in the corners.Signed and dated in the lower left-hand corner.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 62,5 x 48 cm.This work is part of an exceptional and unique period of the artist where he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. However, his grandfather died shortly afterwards, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.

LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura", 1939.Charcoal on paper.Slight damage to the paper in the corners.Signed and dated in the central area.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 62,5 x 48 cm.This work is part of an exceptional and unique period of the artist where he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. However, his grandfather died shortly afterwards, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.

LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Female Figure", 1939.Watercolour and pencil on paper.It has slight damage to the paper in the corners.There is a slight yellowing in the lower part of the paper.Signed in the lower left corner. Dated in the upper right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 65 x 50 cm.The present drawing shows the clear influence of Picasso's work, especially in the torso of the protagonist and in the faceted way in which the artist treats the face. However, Fernández's personality transcends cubism, providing a lyrical and symbolic value of great delicacy. This work is part of an exceptional and unique period of the artist's career in which he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. His grandfather died shortly afterwards, however, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.

GUILLERMO PÉREZ VILLALTA (Tarifa, Cádiz, 1948).Untitled, 1985.Lithograph on paper. Copy 32/75.Signed and justified in pencil.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 51 x 70 cm (print) 55 x 76 cm (paper); 65 x 85 cm (frame).Pérez Villalta was one of the leading representatives of the New Figuration in Madrid. He was awarded a scholarship by the Ministry of Culture in 1975, by the Juan March Foundation in 1980, and by the Ministry of Foreign Affairs for the Spanish Academy in Rome in 1989. His awards include the Premio Nacional de Artes Plásticas in 1985, and the Medalla de Andalucía in 1989. Since his solo debut in 1972 at the Amadís gallery in Madrid, Pérez Villalta has held numerous solo exhibitions in such prominent venues as the Juana de Aizpuru, Vandrés, Soledad Lorenzo, Rafael Ortiz and Soledad Riera galleries, the National Library, the Estampa fair, the Banco Zaragozano and the Bilbao Fine Arts Museum. He has participated in group exhibitions at the Metropolitan Museum in Tokyo, the Guggenheim in New York, the Gulbenkian Foundation in Lisbon and the Musée d'Art Moderne in Paris, among many others. Pérez Villalta is represented in the Museo Nacional Centro de Arte Reina Sofía, the Artium in Vitoria, the Patio Herreriano in Valladolid, the Centro de Arte Contemporáneo in Málaga, the Fundación Juan March in Palma, the Centro Andaluz de Arte Contemporáneo in Seville, the Fundación Suñol in Barcelona, the Centro Atlántico de Arte Moderno in Las Palmas, the Museo Colecciones ICO in Madrid and the Museo de Bellas Artes in Bilbao, among other leading contemporary art collections.

GUILLERMO PÉREZ VILLALTA (Tarifa, Cádiz, 1948) .Untitled, 1976.Ink on paper.With an information label on the back from the Galería Colón XVI (Bilbao).Signed and dated in the lower right-hand corner.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 42 x 31 cm; 57 x 45 cm (frame).Pérez Villalta was one of the most important representatives of the New Figuration in Madrid. He was awarded a scholarship by the Ministry of Culture in 1975, by the Juan March Foundation in 1980, and by the Ministry of Foreign Affairs for the Spanish Academy in Rome in 1989. His awards include the Premio Nacional de Artes Plásticas in 1985, and the Medalla de Andalucía in 1989. Since his solo debut in 1972 at the Amadís gallery in Madrid, Pérez Villalta has held numerous solo exhibitions in such prominent venues as the Juana de Aizpuru, Vandrés, Soledad Lorenzo, Rafael Ortiz and Soledad Riera galleries, the National Library, the Estampa fair, the Banco Zaragozano and the Bilbao Fine Arts Museum. He has participated in group exhibitions at the Metropolitan Museum in Tokyo, the Guggenheim in New York, the Gulbenkian Foundation in Lisbon and the Musée d'Art Moderne in Paris, among many others. Pérez Villalta is represented in the Museo Nacional Centro de Arte Reina Sofía, the Artium in Vitoria, the Patio Herreriano in Valladolid, the Centro de Arte Contemporáneo in Málaga, the Fundación Juan March in Palma, the Centro Andaluz de Arte Contemporáneo in Seville, the Fundación Suñol in Barcelona, the Centro Atlántico de Arte Moderno in Las Palmas, the Museo Colecciones ICO in Madrid and the Museo de Bellas Artes in Bilbao, among other prominent contemporary art collections.

GUILLERMO PÉREZ VILLALTA (Tarifa, Cádiz, 1948).Untitled, 1984.Gouache on paper.Slight roughness on the paper.Signed and dated in the lower right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 49 x 33 cm; 71 x 53 cm (frame).The exceptional nature of this work lies both in its subject matter and its aesthetics. Pictorial portraits are not frequent in the work of Pérez Villalta, who works in a broader way with the insertion of complete figures in a space. For this reason, bust portraits, as in this case, are not common in his painting. Furthermore, the technique in this work is much freer. He still maintains the monumental features which are based on the influence of the classics, but the use and play of colour predominate over the drawing. In the solo exhibition dedicated to the artist at the Sala Alcalá 31 (2021), the way in which the artist portrayed the figures was explored, describing him in this way: "At times, in their anatomies there is the memory of Michelangelo and in their faces there is the eternal gaze of a Byzantine Pantocrator, the distant attitude of a surrealist type, or the temperance of a little Frenchman de Chardin".Pérez Villalta was one of the leading representatives of the New Figuration in Madrid. He was awarded a scholarship by the Ministry of Culture in 1975, by the Juan March Foundation in 1980, and by the Ministry of Foreign Affairs to the Spanish Academy in Rome in 1989. His awards include the Premio Nacional de Artes Plásticas in 1985, and the Medalla de Andalucía in 1989. Since his solo debut in 1972 at the Amadís gallery in Madrid, Pérez Villalta has held numerous solo exhibitions in such prominent venues as the Juana de Aizpuru, Vandrés, Soledad Lorenzo, Rafael Ortiz and Soledad Riera galleries, the Biblioteca Nacional, the Estampa fair, the Banco Zaragozano and the Museo de Bellas Artes in Bilbao. He has participated in group exhibitions at the Metropolitan Museum in Tokyo, the Guggenheim in New York, the Gulbenkian Foundation in Lisbon and the Musée d'Art Moderne in Paris, among many others. Pérez Villalta is represented in the Museo Nacional Centro de Arte Reina Sofía, the Artium in Vitoria, the Patio Herreriano in Valladolid, the Centro de Arte Contemporáneo in Málaga, the Fundación Juan March in Palma, the Centro Andaluz de Arte Contemporáneo in Seville, the Fundación Suñol in Barcelona, the Centro Atlántico de Arte Moderno in Las Palmas, the Museo Colecciones ICO in Madrid and the Museo de Bellas Artes in Bilbao, among other leading contemporary art collections.

GUILLERMO PÉREZ VILLALTA (Tarifa, Cádiz, 1948)."La muerte de formalisme", 1982.Mixed media on paper.Signed and dated in the lower right-hand corner. Titled in the lower area.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 69 x 49 cm; 82 x 63 cm (frame).The eighties were a period of reflection for Gordillo, who intensified his meditation on the nature of painting and the figure of the artist. Stylistically, this is probably the most naturalistic period of his career in terms of representation, and it coincides with the end of a period which he has described as "mannerist".Pérez Villalta was one of the leading representatives of the New Figuration in Madrid. He was awarded a scholarship by the Ministry of Culture in 1975, by the Juan March Foundation in 1980, and by the Ministry of Foreign Affairs to the Spanish Academy in Rome in 1989. His awards include the Premio Nacional de Artes Plásticas in 1985, and the Medalla de Andalucía in 1989. Since his solo debut in 1972 at the Amadís gallery in Madrid, Pérez Villalta has held numerous solo exhibitions in such prominent venues as the Juana de Aizpuru, Vandrés, Soledad Lorenzo, Rafael Ortiz and Soledad Riera galleries, the National Library, the Estampa fair, the Banco Zaragozano and the Bilbao Fine Arts Museum. He has participated in group exhibitions at the Metropolitan Museum in Tokyo, the Guggenheim in New York, the Gulbenkian Foundation in Lisbon and the Musée d'Art Moderne in Paris, among many others. Pérez Villalta is represented in the Museo Nacional Centro de Arte Reina Sofía, the Artium in Vitoria, the Patio Herreriano in Valladolid, the Centro de Arte Contemporáneo in Málaga, the Fundación Juan March in Palma, the Centro Andaluz de Arte Contemporáneo in Seville, the Fundación Suñol in Barcelona, the Centro Atlántico de Arte Moderno in Las Palmas, the Museo Colecciones ICO in Madrid and the Museo de Bellas Artes in Bilbao, among other leading contemporary art collections.

GUILLERMO PÉREZ VILLALTA (Tarifa, Cádiz, 1948)."Sisyphus", 1981.Mixed media on paper.Signed and dated in the lower right-hand corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 73 x 103 cm; 84 x 116 cm (frame).In this work we can appreciate Villalta's mastery in portraying architecture. Two different worlds come together to form a whole. The expressiveness of colour coexists with the sobriety and precision of the drawing whose protagonist holds the lunette through which the spectator accesses a world of free chromaticism. The artist plays with perspective, creating a trompe l'oeil where the limits of the work and the frame dialogue with each other, blurring before the spectator. This same resource can be seen in the work, also from 1981, "El políptico largo (Melancolía)", which is in the collection of the Reina Sofía Museum and Art Centre in Madrid.Pérez Villalta was one of the leading representatives of the Nueva Figuración Madrileña. He was awarded a scholarship by the Ministry of Culture in 1975, by the Juan March Foundation in 1980, and by the Ministry of Foreign Affairs to the Spanish Academy in Rome in 1989. His awards include the Premio Nacional de Artes Plásticas in 1985, and the Medalla de Andalucía in 1989. Since his solo debut in 1972 at the Amadís gallery in Madrid, Pérez Villalta has held numerous solo exhibitions in such prominent venues as the Juana de Aizpuru, Vandrés, Soledad Lorenzo, Rafael Ortiz and Soledad Riera galleries, the National Library, the Estampa fair, the Banco Zaragozano and the Bilbao Fine Arts Museum. He has participated in group exhibitions at the Metropolitan Museum in Tokyo, the Guggenheim in New York, the Gulbenkian Foundation in Lisbon and the Musée d'Art Moderne in Paris, among many others. Pérez Villalta is represented in the Museo Nacional Centro de Arte Reina Sofía, the Artium in Vitoria, the Patio Herreriano in Valladolid, the Centro de Arte Contemporáneo in Málaga, the Fundación Juan March in Palma, the Centro Andaluz de Arte Contemporáneo in Seville, the Fundación Suñol in Barcelona, the Centro Atlántico de Arte Moderno in Las Palmas, the Museo Colecciones ICO in Madrid and the Museo de Bellas Artes in Bilbao, among other leading contemporary art collections.

Barry Robinson (Local contemporary) scratch art/scraper board depiction of a cheetah, signed within a card mount and slender metallic frame under glass, 29cm x 24cm & 41.5cm x 36cm

A large assortment of fine art and jewellery catalogues, mainly Sotheby’s, including ‘Magnificent Jewels’, Contemporary Art and Scottish Art. In four boxes

** Jeff Koons (b.1955)Balloon Dog (Magenta)Limoges porcelain plate with chromatic coating, 2015, signed on label affixed verso, numbered from the edition of 2300, manufactured by Bernardaud, Limoges, published by the Museum of Contemporary Art, Los Angeles, overall size 266 x 266 x 127mm (10 1/2 × 10 1/2 × 5in)This lot is currently stored in Europe and shipping quotes will be from there rather than from the U.K.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

Tobias Harrison (Cumbrian, Contemporary) An art pottery lustre glazed shallow bowl, circular with pronounced everted planar rim, the latter radially decorated in a series of stylized organic motifs, labelled, inscribed and numbered 016, 27 cm [Son of the artists Audrey Johnson and Claude Harrison. Tobias was introduced to pottery at school, achieved an art foundation at Lancaster University, graduated at Central College London and went onto become a thrower at Chelsea Pottery. He established this first studio in 1974 and spent the next 30 years creating art.]

Adam Aaronson (Contemporary): A Tall Studio Glass Vase, with silver leaf decoration, signed to the base Adam Aaronson Collection,1997. (c) Made in England, 30cm high; a studio pottery stoneware vase, tenmoku glaze with drips, painted monogram HFJ and dated 74, 36cm high; a German Art Pottery Thurin ware studio design vase, faint mark, 24.5cm high; and another vase, 35cm high (4)Small chip to the blue vase (third one along in the main image), otherwise all items appear in good condition.

Enid Marx (1902-1998), limited edition patterned fabric for slipcase for An ABC of Birds and Beasts, 12cm x 17.5cm. From the special edition of 75, numbered I to LXXV, this fabric is from set no. XL.. Published by Douglas Cleverdon for Clover Editions, London 1985. Provenance – Betty Evans Collection, former President of the Contemporary Art Society for Wales

NO RESERVE Women & Education.- [More (Hannah)] Essays on various subjects, principally designed for young ladies, new edition, half-title, 8pp. advertisements at end, occasional spotting or light staining, contemporary dark green mottled calf, gilt, spine lacking label and with small piece of leather excised, corners little worn, rubbed, Printed by Whittingham and Rowland; for Sharpe and Hailes, 1810 § Ferguson (James) and David Brewster. The Art of drawing in perspective made easy to those who have no previous knowledge of the mathematics, new edition, the first revised by Brewster, half-title, 4 folding engraved plates, offsetting, occasional spotting, original boards, original printed label to spine, archival tape repairs to spine ends, joints little chipped, but holding firm, rubbed, Edinburgh, Printed for Stirling and Slade; and G. and W. B. Whittaker, London, 1823; and 10 others, similar, v.s. (12)

R WESTNEY: THE WINE AND SPIRIT DEALERS AND CONSUMERS VARD-MECUM CONTAINING INSTRUCTIONS FOR MANAGING FLAVOURING COLOURING PRESERVING AND RECOVERY WINES AND SPIRITS WITH A COLLECTION OF APPROVED RECEIPTS FOR MAKING BRITISH WINES..., London, Lackington & Co, 1817 new edition, 12mo, original printed boards v worn and soiled, lacks back strip plus FREDRICK ACCUM: A TREATISE ON THE ART OF MAKING WINE FROM NATIVE FRUITS... London, Longman Hurst Rees Orme Brown & Green, 1823 second edition, lacks ffep, 12mo, contemporary boards, lacks back strip, disbound (2)

Vinyl - Jazz / Bop - 9 albums by Ornette Coleman and Wes Montgomery, to include: Ornate Colemen - Tomorrow Is the Question (UK original, Contemporary Records, LAC 12228) VG+ / EX-. This Is Our Music (USA Atlantic Records, Green Orange labels, 1353) sleeve EX (still in shrink), vinyl EX, Modo Beta (USA, Artists House, AH 1), The Art Of The Improvisers (USA), The Ornate Coleman Quartet (USA). Milt Jackson - Ballads & Blues (UK, London Records, LTZ-K 15064) 2 Copies, Soul Meeting (EU, Not Now Music), Bags Meets Wes (UK Riverside Records). Condition generally VG / VG with many higher examples

Vinyl - Jazz / Bop - 13 original UK pressings on various labels, to include: Art Pepper - Intensity (original UK, Contemporary Records, LAC 553) VG / VG+, The Elliot Lawrence Band – Plays Tiny Kahn And Johnny Mandel Arrangements (original UK, Vogue Records, LAE 12101) VG+ / VG++, Frank Morgan With Conte Candoli And Machito's Rhythm Section – Gene Norman Presents Frank Morgan (original UK, Vogue, LAE 12012) VG / VG, Vince Guaraldi – In Person (original UK, Vocation Records, LAE-F 597) VG+ / VG++, The Chico Hamilton Quintet , Featuring Buddy Collette – Chico Hamilton Quintet, Larry Sonn And His All-Star Band, Gene Quill, Don Eliot, Coleman Hawkins, Tony Fruscella – The East Coast Jazz Scene - Vol. 1, Howard Rumsey's Lighthouse All-Stars – Sunday Jazz A La Lighthouse, Vol. 1, Chico Hamilton Quintet, Bill Harris, The Mastersounds, Buck Clayton, Hampton Hawes and others. Condition generally VG / VG

Vinyl - Jazz / Bop - 18 original USA / UK pressing albums on Riverside Records, Prestige Records and Contemporary Records, including early pressings and rarities, to include: Nat Adderley - Work Song (original UK 1st pressing, white and blue print labels, Riverside Records, 12-318) VG+ / VG++. The Prestige All-Stars – Soul Jazz Volume One (original USA Pressing, Prestige records, 1009) VG+ / EX-. Johnny "Hammond" Smith – Black Feeling! (original USA, blue labels, Prestige Records, PR7736) VG++ (still in shrink), VG+. Tadd Dameron – Dameronia (original USA pressing, Prestige / New Jazz Records PR 16007 / NJ 8300) VG / VG+, Charlie Byrd – The Guitar Artistry Of Charlie Byrd (US Riverside) + UK Riverside copy, Coleman Hawkins (Prestige), Nat Adderley - In The Bag (USA Riverside), Clark Terry (UK Riverside 1st pressing, white & blue print labels), Clifford Brown (USA Prestige), Oliver Nelson (USA Prestige), The Poll Winners – Ride Again! (USA Contemporary records), Harold Land (USA Contemporary), Art Pepper (USA Contemporary) 2 Different albums, Leroy Walks - 2 USA Contemporary Records albums, The Billy Taylor Trio With Candido. Condition generally VG+ / VG+ with many higher examples

Celia Washington (b.1959). Jonah, artist signed limited edition print no. 2/9, 24cm x 32cm. Label verso, work purchased at York Contemporary Art Fair '88.

A large contemporary oil painting on canvas. by Margaret Turner Petyarre this work of art an example of Australian Indigenous design incorporating Mythological Dreamtime. The painting titled Bush Medicine Dreaming. 95cm x117cm with Valuation Certificate.

A collection of studio contemporary ceramics and a modern glass art vase.

Art Books - a vast collection of art reference books, mostly hardbacks including works by the classics e.g Monet, Picasso and more contemporary artists including Paula Rego, Matisse, some exhibition ephemera, (6 boxes)

A collection of assorted Mid Century ceramics. Including Poole Pottery dish, an art studio pottery jug, a European pottery jug, a slip vase plus a contemporary green glass vase H24cm

The Sir Nicholas Goodison Collection of Automata & Moving Toys (lots 91-160)Sir Nicholas Goodison (1934 2021) was a well-respected businessman, scholar, patron of the arts, polymath (he held a Ph.D. in Architecture and Art History), and philanthropist. He had a remarkable presence in the two worlds of banking and the arts; he was a highly respected chairman of the London Stock Exchange (1976-1986), chairman of the TSB Group (1988-1995), and deputy chair of Lloyds TSB (1995-2000). Outside of his finance, Goodison chaired leading cultural institutions such as the Courtauld (1982-2002), the Art Fund (1986-2002), and the Crafts Council (1997-2005).The collection includes hundreds of traditional mechanical and hand-operated toys from many countries, ranging from commercial toys dating from the 1950s onwards, to major contemporary pieces by leading modern British makers. These mechanically minded artists share a delight in the absurd and the ridiculous, creating toys which occupy the strange, shifting ground between folk art, kinetic sculpture, toy-making, satire and mechanics.Alongside the humorous mechanical sculpture are a large number of toys many of them traditional in design and made in countries all over the world, some hand-crafted, some mass-produced, which either move by themselves (once set off) or can be made to move by anyone with a hand or two. They were all collected by Sir Nicholas over a fifty year period from 1953 during his extensive travels throughout the world.Tony Mann, 1927-2013, Wooden Waves with White Words, a hand wound-automaton, painted wood, hardboard, wire, metals, cotton fabric, string, signed to the front of base Tony Mann 05 and under the base Tony Mann 05 Wooden Waves with White Words, 40cm high, 61cm wide, 31cm deepSir Nicholas Goodison noted: the eight wave pieces rock to and from, driven by a Meccano wheel connected by band to a smaller Meccano wheel on the main shaft. The left end of the eight waves have the painted words Swell, Swirl, Splish, Squish, Swoosh, Slap, Splosh, Splash, all indicative of the wetness of ocean sailing. The right hand ends have the words Squall, Sparkle, Spume, Shine, Salt, Sun, Spray, Surf, other characteristic of the open ocean. The yacht rides on the Swoosh/Salt wave, connected to it loosely by screw and rolling owing to a wire connection to an eccentric pin on the drive wheel at the rear. Thus it rolls as well as pitches, but the single-handed yachtsman looks undismayed. The gulls ride freely, attached by wire and with weights to ensure that they ride on the waves convincingly. The purpose of the red-topped post is not clear, but at least the yacht has cleared it, one hopes to portProvenance: Purchased Tony Mann, British Toymakers Guild, Oxo Tower, London, November 2006.Note: Tony Mann, 1927-2013, worked for 20 years as an industrial designer before turning his creative energy into automata. Each is a one-of-a-kind piece and show his love of bright colours.He was voted Toymaker of the Year by the British Toymakers Guild for both 1987 and 1988.Roseberys do not guarantee the working order of any automata or toy.Condition Report: In good condition consistent with use. Bearing Sir Nicholas Goodison's inventory number. 

CONTEMPORARY ART DECO DESIGN CARPET, 370cm x 270cm.

A small collection of mainly contemporary jewellery to include silver examples together with an art glass paperweight and bowl.

Two Royal Doulton Figurines Noelle and Top O the Hill. Together with two contemporary art deco themed lady figurines

Jan Sweeney, M.R.S.S., S.A.A. (British, Contemporary) - two 20th century animalier bronzes: a crouching fox and a resting hare, both unsigned. (The fox 20 cm and the hare 12 cm)The daughter of an Irish vet, Jan Sweeney grew up in the open countryside of East Anglia, on the east coast of England.  Her early training was at Colchester Art School, and she followed this with three years working in Verona, Italy, under sculptor Mike Noble.  She first visited Africa in 1985, where the African scene and wildlife had a powerful influence on her work.

A contemporary Art Glass vase, of compressed ovoid form internally decorated with smoky blue to black and cased in clear crystal, unmarked, height 18cm.

STUART MCALPINE MILLER (SCOTTISH, CONTEMPORARY) - 'Cry Baby', oil on canvas, signed with monogram, framed, 77cm x 61cm, frame size 79cm x 63cm. Provenance - Purchased by the vendor at Castle Fine Art, Birmingham, 2015. NB - This lot may be subject to Artist's Resale Right levy.

STUART McALPINE MILLER (SCOTTISH, (CONTEMPORARY) - 'Revealed - A Personal Study', the set of four limited edition giclee prints on paper comprising Resistance is Futile, My Life is Mayhem, Sunshine Rays from a Far-away Land and Stretching the Boundaries, each signed in pencil and numbered 9/95, published by Washington Green Fine Art, 2013, with COAs, unframed, sheet size 71.2cm x 49.5cm, in original printed black card portfolio. NB - This lot may be subject to Artist's Resale Right levy.

StonewareImpressed "WEDGWOOD"(H: 8 3/8, Dia: 4 3/8 in.)Qty: (1)ProvenanceCollection of Dr. Ellis F. Rubin and Suzanne Borow RubinLiteratureAdams, Elizabeth Bryding, The Dwight and Lucille Beeson Wedgwood Collection, Birmingham Museum of Art, Birmingham, 1992, p. 217, cat. 173Buten, Harry, Wedgwood Rarities, Buten Museum of Wedgwood, Merion, 1969, p. 313 (for a discussion of this body)Edwards, Diana, Black Basalt: Wedgwood and Contemporary Manufacturers, Antique Collectors' Club, Woodbridge, 1994, p. 99 (for an earlier example of the same form)Examined under UV light with no evidence of restoration. No condition issues noted.

Early 19th Century Folk Art, American School 'Young Girl with long Ringlets, wide Collar, white Shirt and blue Jacket, with Handbag over her Shoulder and Riding Crop in hand,' O.O.C., approx. 64cms x 51cms (25' x 20'), in contemporary gilt frame. (1)

Moller (Georg). Beiträge zur Kenntniss der deutschen Baukunst des Mittelalters, Darmstadt: Heyer and Leske, 1821, 72 engraved plates, fore and bottom edge untrimmed, lightly spotted, contemporary half calf gilt over green marbled boards, joints weak, rubbed, folio, together with:Society of Antiquaries of London. Vetusta Monumenta quae ad rerum Britannicarum memoriam conservandam Societas Antiquariorum Londini sumptu suo edenda curavit, volumes 4 & 5 only [of 6], London: 1815, 84 engraved plates, armorial bookplate of F.E. Sotheby to front pastedown, lightly dust-soiled, hinges repaired. later blue half morocco gilt, rubbed, folio, with another relatedQTY: (3)NOTE:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.

Tillander (Herbert). Diamond Cuts in Historic Jewellery, London: Art Books International, 1995, black & white illustrations throughout (including frontispiece), neat ownership inscription to front free endpaper, original blue cloth gilt, 8vo, with original blue cloth slipcase, together with:Bauer (Max). Precious Stones, a popular account of their characters, occurrence and applications, translated from the German with additions by L.J. Spencer, 1st edition, London: Charles Griffin and Company, 1904, half-title, colour frontispiece (with captioned tissue-guard), illustrations throughout (some full-page, some colour & tissue-guarded), 'Imperial Institute Scientific Department' stamps throughout, light dust-soiling & spotting, contemporary red half morocco gilt, worn, large 8vo,Gübelin (Eduard J, John I. Koivula). Photoatlas of Inclusions in Gemstones, presentation copy, Zurich: ABC Editions, 1986, inscribed to Roger Harding by both authors to title, colour illustrations throughout, original pictorial black boards, rubbed, 8voQTY: (3)

Facsimile Atlas. Ptolemy (Claudio), Geographia Ptolemaeus Auctus Restitutus Emaculatus, cum tabulis veteribus ac nobis, West of England Press Ltd. Tavistock, 1975, printed title and introduction, 47 double-page uncoloured maps, limited edition 61/250, signed by the Lord Mayor of Plymouth, publisher's morocco gilt, folio, contained in the publisher's red cloth slipcase, together with Rocque (John). An Exact Survey of the Cities of London and Westminster, The Borough of Southwark..., Harry Margary, Lympne Castle, Kent, 1971, double-page title and introduction by James Howgego, 41 uncoloured double-page maps, publisher's red cloth, with title label to the upper siding, folio, plus a separately bound index, with Morgan (William). London &c. Actually Surveyed and a Prospect of London and Westminster..., Harry Margary, Lympne Castle, Kent, in Association with the Guildhall Library, 1977, double-page title and introduction by Ralph Hyde, 12 uncoloured double-page maps, publisher's red cloth, with title label to the upper siding, folio, with Ogilby (John). A Large and Accurate Map of the City of London..., Harry Margary, Lympne Castle, Kent, in Association with the Guildhall Library, 1976, double-page title and introduction by Ralph Hyde, 21 uncoloured double-page maps, publisher's red cloth, with title label to the upper siding, folio, plus Stanford (Edward). Stanford's Library Map of London and its Suburbs, Harry Margary, Lympne Castle, Kent, in Association with the Guildhall Library, 1980, calligraphic title, introduction by Ralph Hyde, key plate and 24 uncoloured map sheets, publisher's red cloth, with title label to the upper siding, oblong folio, with another unbound copy, loose and rolled, and Poley (Arthur F. E.). St. Paul's Cathedral London, Measured, Drawn & Described, Archive facsimile edition, Barracuda Books, 1984, black & white plates and plans, limited edition, number 58, top edge gilt, publisher's half morocco gilt, slight dust soiling to the boards, large folio, together with:Cellarius (C.). Geographia Antiqua: Being a Complete Set of Maps of Antient Geography..., C & J Rivington, Longman, Hurst, Rees, Orme, Brown and Green, 1824, double-page calligraphic title page, contents list, 33 (complete as list) uncoloured double-page maps engraved by R. W. Seale and W. H. Toms, very slight spotting, near contemporary ownership signature to the verso of the title page, later endpapers, modern half calf gilt, 4to, plus:The Times Atlas. 1896, title and index, 116 colour printed lithographic maps (complete as list), index bound at rear, presentation inscription to the rear of the front endpaper, all edges gilt, contemporary half morocco gilt, worn and frayed, folio, George Philip & Son Ltd (publishers). Philips' International Atlas, 1931, title, preface and contents list, double-page frontispiece of the flags of all nations, 158 maps (complete as list) index bound at rear, presentation inscription to the front endpaper, contemporary cloth with gilt title to upper siding, spine faded, folio, with Ordnance Survey Office (publishers). Ordnance Survey Atlas of England & Wales, 1922, printed title, 24 double-page colour lithographic maps, laid on linen, index bound at rear, bookplate of the Flyfishers' Club, pastedowns stained, hinges and joints broken, preliminaries and first few leaves detached, text block and boards near detached, lacking spine, heavily worn and frayed, oblong folio, plus Yriarte (Charles). Venise. Histoire - Art - Industrie - La Ville - La Vu, Paris, 1878, additional half-title, numerous wood engravings throughout, top edge gilt, contemporary half morocco gilt, worn and frayed at extremities, spine faded, folioQTY: (13)

Boutcher (William). A Treatise on Forest-Tress:..., Edinburgh: printed by R. Fleming, 1775, engraved half-title, some light spotting & toning, front board & endpapers detached, rear board & endpapers partially detached, contemporary full calf, boards & spine rubbed with some loss, 4to, together with:Tullii (Marci), Ciceronis de Officiis, de Amitcitia et de Senectute Libri, Paris: Antonium Augustinum Renouard, 1796, engraved title page, bookplate to the front pastedown, front gutter cracked, some minor toning, contemporary red half morocco, boards & spine rubbed with some loss, folio, plusMabill (D.), Iter Italicum Litterarium Annis MDCLXXXV & MDCLXXXVI, circa 1637(?), 244 pages, engraved plates, period inscription to the foot of pp.3, bookplate to the front pastedown, some toning & minor spotting,contemporary limp vellum, slightly rubbed & faded, 4to, and other 17th-19th-century literature & art reference, mostly leather bindings, some original cloth/boards, overall condition is generally good, 8vo/folioQTY: (3 shelves)

* Architectural drawings. A group of 8 plans, drawings and elevations, by Mervyn Handley, mid-20th century, including designs for: Institute of Contemporary Art in Russell Square (dated 1949); Factory at New Cross for Messrs Avern & Bucknall Ltd; Perspective Sketch of Medical Officers House (1947); Design for a Town Square (1948); Labour Saving Kitchen (1948), all with hand-colouring in gouache or watercolour, 7 on thick wove paper, one on thin wove paper laid down on board, 7 in pen & black ink, some pencil, all but one signed, 6 dated, generally dusty, few edge losses and tears, one with staining to lower right corner, affecting signature, sheet sizes 54 x 75 cm and similar, the largest 50 x 86 cmQTY: (8)

* Miller (Stewart McAlpine, 1964-). Comic Faced Chick, giclee on canvas, depicting a woman surrounded by D.C. Comic characters in an abstract composition, titled on canvas, monogrammed to lower left, signed lower right, image size 101.6 x 76.2 cm (40 x 30 ins), framed (121 x 142 cm)QTY: (1)NOTE:Miller studied at the Glasgow School of Art. He was Artist-in-residence at Kimpton Charlotte Square Hotel, Edinburgh in 2021 and has exhibited at The Savoy Hotel in 2018, HG Contemporary in 2016, Halcyon Gallery in 2015 and State-of-the-Arts Gallery in 2011.