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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.

A pair of contemporary George III style wing armchairs, by Parker Knoll, stuffed-over aubergine leather upholstery, squab cushions, 103.5cm high, 77cm wide, the seat 44cm wide and 56cm deep (2)NB - This lot is offered for sale as a work of art, the cushions may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling

A pair of contemporary drawing room sofas, in the manner of Howard & Sons, 84cm high, 136cm wide, the seat 104cm wide and 53cm deep (2)NB - This lot is offered for sale as a work of art, the cushions may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling

A contemporary four-piece drawing room suite, in the manner of Howard & Sons, comprising a pair of sofas and a pair of armchairs, the sofa 85cm high, 132.5cm wide, the seat 104cm wide and 52cm deep, the armchair 86.5cm high, 79cm wide, the seat 52cm wide and 53cm deep (4)NB - This lot is offered for sale as a work of art, the cushions may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling

A contemporary Chesterfield sofa, stuffed-over deep-button upholstery, 67cm high, 195cm wide, the seat 142cm wide and 54cm deepNB - This lot is offered for sale as a work of art, the cushions may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling

PAMELA BONE (1925-2021) Six Creative Colour Landscapes, printed or framed 2012, a set of six colour photographs, Cibachrome prints, each from (1970s?) negatives of manipulated images using pre-digital technology, some or all these prints are from multiple superimposed negatives, five signed in ink on the image, four with photographer's hand written notes taped verso regarding the images and framing, images 31cm x 29.3cm, in identical glazed frames 51cm x 49cm Note 1: These six photographs were selected by Pamela Bone and were displayed together at her in residence in Dorking, Surrey Note 2: : Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”

Tessa Beaver (Britsh, 1932-2002),"Interior With White Leaved Plant",Limited edition print on paper,Signed, titled and numbered "/150" to lower margin,Christies Contemporary Art certificate of authenticity verso,75.5cm x 57cm (sheet),Framed and glazed

Signed 'Elizabeth Gardner' bottom right, oil on canvas39 1/2 x 29 1/4 in. (77.5 x 74.3cm)Executed in 1888.ProvenancePrivate Collection, North Carolina.Exhibited"Salon de 1888," Palais des Champs-Élysées, Paris, 1888, no. 1071. "North Carolina Collects: Traditional Fine Arts and Decorative Arts," Mint Museum of Art, Charlotte, North Carolina, July 9-September 18, 1994, no. 23.LiteratureExplication des Ouvrages de Peinture, Sculpture, Architecture, Gravure et Lithographie des Artistes Vivants Exposés au Palais des Champs-Élysées le 1er Mai 1888, Paul Dupont, Paris, 1888 (second edition), p. 87, no. 1071 (listed, not illustrated).Norma Broude and Mary D. Garrard, The Expanding Discourse: Feminism and art History, IconEditions, New York, 1992, no. 8 (illustrated).Tamar Garb, Sisters of the Brush: Women's Artistic Culture in Late Nineteenth-Century Paris, Yale University Press, New Heaven, 1994, p. 157, no. 62.Charles Pearo, Elizabeth Jane Gardner: Her Life, Her Work, Her Letters, MA Thesis, McGill University, 1997, p. 9, fig. 16 (illustrated).NoteElizabeth Jane Gardner Bouguerau was one of the most famous and successful American artists in Paris at the end of the 19th century. Dubbed an honorary French woman through her marriage to William Bouguereau, she was one of the first expatriates to be exposed to the male-dominated Parisian art market, which she learned to infiltrate and eventually master throughout her impressive fifty-eight-year career in the French capital city.Born in Exeter, New Hampshire into a family of merchants, Gardner graduated from the Lasell Seminary (now Lasell University) in Auburndale, Massachusetts in 1856. At first a French teacher, she sailed for France in the summer of 1864 along with a former teacher of hers, Imogene Robinson, and the two settled in a studio 2, rue Carnot, across the street from the highly revered and successful painter, William Bouguereau.Contrary to another famous American expatriate who arrived in Paris two years after her, Mary Cassatt, Elizabeth Gardner could not count on any financial aid from her family, and therefore did not receive private tutoring from eminent masters. Instead, she trained and made a living by copying Old Masters at the Musée du Louvre, as well as the more contemporary artists in the nearby Musée du Luxembourg. She would then sell her work to American collectors travelling through Europe, recommended to her by her own family. Yearning life-drawing classes, but denied the access to them because of her gender, Gardner joined a collective studio of women, where she studied anatomy among her peers during evening sessions. In parallel, and at the recommendation of her friend Rosa Bonheur, a true “sister of the brush and long-time career counselor” according to Charles Pearo, Gardner also joined a sketching class at the Jardin des Plantes, Paris’ Botanical Gardens and Zoo, where she painted living animals alongside the animal sculptor Antoine Barye. There, she met the famous painter Hugues Merle, who would invite her to join his studio and acted as a constant support throughout Gardner’s life, even when she decided to rally the studio of Bouguereau, Merle’s longtime rival.The life of Elizabeth Gardner is marked by a strong desire to fit in. As an American woman from the low middle-class with an everlasting sense of duty and even guilt for leaving her country, Gardner could not afford to experiment with modern trends and embrace a radical career in the form of Impressionism. Instead, she had to study the rules set by the Institution and learn to respect them to blend and succeed in a very competitive milieu. This explains the artist’s polished, impeccable style, the true expression of French Academism adopted by many other American expatriates at the time, and her association with France’s ultimate forum and official place of recognition: the Salon. Gardner participated in thirty Salons, showing thirty-six of her works between 1868 (her first try, marked by two entries) and 1914, the apex of her participations being in 1887, the year she received a bronze medal for La Fille du Jardinier, thus becoming the only American woman to ever receive a medal.The present, rediscovered work follows this immense success. Set against a homey kitchen interior marked by several utensils and a slowly burning fire, a young mother sits lovingly behind her toddler child. Next to her, in a cradle, sleeps her youngest. Playfully, she watches a family of chickens eating at her feet, thus creating a tender echo between her and the mother hen with her chicklets. The work bears close resemblance to the style of William Bouguereau, champion of the Art Pompier, and whom Gardner never felt embarrassed to channel as she proudly explained to an interviewer in 1910: “I would rather be known as the best imitator of Bouguereau than be nobody.” At the time, views of idealized peasantry untouched by modern life were popular among Victorian collectors. As Bouguereau was facing an impressive number of requests of that nature (having started the trend himself), Gardner must have understood the benefits, both academic and financial, to work within this niche market and emulate her famous master’s style to satisfy a hungry crowd. Here Gardner adopts a smooth brushwork, she creates solid lines heightened by soft glazes and soft colors. She frames her subjects in a way that makes them seem monumental and ennobling. Just like Bouguereau, she pays great attention to the rendering of the hands and feet, and depicts her peasant woman barefoot, a characteristic of the romanticized view of French peasantry outside of urban areas, and which American collectors were particularly fond of.Despite the use of certain iconographic formulas however, one notes certain particularities that make the composition truly special, and which highlight Gardner’s very own artistic gifts. Contrary to Bouguereau’s figures, which are purposefully more static, Gardener’s mother and child interact with one another. They cuddle, and as such imply an inward movement which accentuates the intimacy of the moment. None of them are looking at us. On the contrary, they are so caught in the moment and display such a strong and natural bond that neither the artist nor the viewer can interrupt it. This feeling of a warm and pure love is further enhanced by the presence of the chickens. Traditionally seen as an element of femininity, they appear regularly in Gardner’s work, unlike Bouguereau’s (see for example La Fille du Jardinier -1887, Dans le Bois -1889, or La Captive -1883). The artist was fond of birds and owned herself an aviary of about 30 poultry in her studio.Such iconography appealed to her prude, mostly feminine clientele. It also helped strengthen the moral undertones of family love and accentuate the irreplaceable nature of the mother figure in the patriarchal society. In this regard, the piece can be seen as a modern, secular version of a Madonna and Child. 

RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Musician" and "Sketch of a street scene".Mixed media on paper (recto). Pencil on paper (reverse).Signed in the lower corner.Measurements: 37.5 x 26.5 cm; 58 x 49 cm (frame).Painter, draughtsman and cartoonist. In his youth he participated in the Barcelona modernist environment, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí in the works of the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his hometown at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).

FRANCISCO FARRERAS RICART (Barcelona, 1927).Untitled, 1958.Mixed media on canvas.Signed and dated in the lower right corner and on the back.Presents a label from the Biosca gallery in Madrid.Measurements: 51,5 x 38 cm; 66 x 52 x 4 cm (frame).Francisco Farreras Ricart began to develop his artistic vocation at a young age thanks, at least at the beginning, to Antonio Gómez Cano from Murcia and Mariano Cossío, when he started studying at the School of Arts and Crafts in Santa Cruz de Tenerife. He continued his apprenticeship at the San Fernando School in Madrid, where he obtained the title of Professor of Drawing in 1949, and in Paris, Belgium and Holland thanks to his study trips. At the end of the 1950s his style was geometric, using thick materials; later, when he discovered silk paper, he developed the possibilities of this material, especially with a large number of collages, and his work has been exhibited, since 1954 when he began his professional artistic career, in numerous cities both in Spain and abroad (Madrid, New York, Munich, Logroño, Gijón, Elche, Lisbon, Oporto, Alicante, Berlin, Buenos Aires, Granada, Lahr in Germany, Majorca, Geneva, California, etc.). It is also held in numerous private collections around the world and in institutions such as the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Carnegie Institute of Pittsburgh in Pennsylvania, the Centro de Arte Contemporáneo de Almada in Portugal, the Honolulu Academy of the Arts in Hawaii, the Chaux de Fonds Museum of Fine Arts in Switzerland, the National Museum of Modern Art in Paris, the Museum of Contemporary Art in Madrid, the Museum of Fine Arts in Bilbao, the Patio Herreriano Museum in Valladolid, the Vienna Museum of the 20th Century in Austria, etc.

Spanish school of the late 18th-early 19th century. Circle of VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850)."Portrait of a lady, possibly of Queen Maria Cristina de Borbón".Gouache on vellum.Bronze frame.Measurements: 8,5 x 7 x 0,5 cm.We are in front of a miniature in which, most probably, Queen Maria Cristina de Borbón is represented, queen consort of Spain by her marriage with the king Fernando VII from 1829 to 1833, and regent of the Kingdom between 1833 and 1840, during most of the minority of her daughter Isabel II. The wedding portrait that Vicente Lopez Portaña painted of her in 1830, now in the Museo del Prado, bears aesthetic similarities to the present miniature. There is another portrait by Luis de la Cruz y Ríos, also in the Spanish art gallery, in which the pose and affable gesture bear close similarities to our work.Vicente López began his training as a pupil of Antonio de Villanueva at the San Carlos Academy in Valencia, where he was awarded the first-class prize in 1786 and 1789 and was granted a pension to study in Madrid. Once at court, the following year he won first place in the competition at the San Fernando Academy. There he learnt the baroque and colourist sense of composition and a taste for precise and analytical drawing. The Baroque lavishness of the frescoes of Luca Giordano and Corrado Giaquinto also had a decisive influence on his language. Now an established artist, he returned to his native city in 1792. There he received important public and private commissions, including portraits of Ferdinand VII and Marshal Soult. In his portraits López shows his Valencian heritage, the weight of the naturalism of Ribera and Ribalta, as well as his mastery in the reproduction of details and qualities. His quality in the field of portraiture led Ferdinand VII to summon him back to court in 1814, appointing him the following year as his first court painter. From then on he became the most sought-after painter by Spanish high society and alternated his work at court with teaching, official posts and private commissions. In 1823 he took over the artistic direction of the Royal Museum of Paintings, for which he painted a superb portrait of Francisco de Goya, now in the Prado. Works by Vicente López are kept in the Museo del Prado, the Museo de Bellas Artes de Valencia San Pío V, the Academia de San Fernando, the Museo Municipal de Játiva, the Museo Nacional de Arte de Cataluña, the New York Historical Society, the Indianapolis Museum of Art, the J. Paul Getty Museum in Los Angeles, the National Gallery of Modern and Contemporary Art in Rome and the Fundación Lázaro Galdiano in Madrid.

JOSÉ HERNÁNDEZ MUÑOZ (Tangiers, Morocco, 1944 - Málaga, 2013)."Boundary Nature I", 1987.Oil on canvas.Presents label of the Biosca Gallery (Madrid).Signed and dated in the lower right corner.Size: 38 x 46 cm.In the eighties, the work of José Hernández undergoes a formal purification. He abandoned the fantastic characters with which he became known and explored the plasticity of metaphysical natures full of enigma. This work is an example of this evolution.José Hernández is one of the great references of contemporary Spanish art. His work is one of the most personal and brilliant contributions to fantastic art in recent decades, both as a painter and draughtsman, illustrating the works of Buñuel, James Joyce, Rimbaud, Gustavo Adolfo Bécquer and Akutagawa, as well as designing scenery and costumes for works by García Lorca, Calderón de la Barca, Cervantes, Francisco Nieva and Carlos Saura. His first individual exhibition took place in Tangiers in 1962, and two years later he showed his work again at the Edurne gallery in Madrid. From 1966 onwards he held personal exhibitions and took part in international fairs both in Spain and in Paris, Brussels and Tokyo, among other cities. His intense creative work extends over five decades, making up one of the most outstanding careers, not only in the Spanish art scene, but also in the world, given his significant international projection. Throughout his career he has received awards for his work in painting, drawing, engraving and scenography in Spain, Germany, Poland, Bulgaria, Italy, Norway and Yugoslavia, with special mention for the National Prize for Plastic Arts (Madrid, 1981), the International Biella per L'Incisione (Italy), and the Medals of Honour of the International Exhibition of Modern Ex Libris in Malbork (Poland) and the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. His work is represented in numerous public collections and museums in Spain, Germany, the United States, Finland, Luxembourg, Chile, Poland, Norway, Bulgaria, Mexico, France and Italy.

RAFAEL DURANCAMPS I FOLGUERA (Sabadell, 1891 - Barcelona, 1979)."Capea in the village. Thunder at the fair".Oil on canvas.Signed in the lower right corner.Measurements: 37,5 x 84,5 cm; 59 x 105,5 cm (frame).Rafael Duran i Camps, better known as Durancamps, was a disciple of Vila Cinca in the Industrial School of Arts and Crafts of Sabadell. He later met Joaquín Mir, with whom he established a close relationship, and whose style influenced the colourful language of Durancamps' first period. He exhibited for the first time in 1917 at the Galerías Layetanas in Barcelona, and his success encouraged him to continue painting despite his family's opposition. He spent several periods in Madrid, where he studied the masters of the Prado Museum, and then travelled to Italy. He returned to Barcelona and took part in various competitions, winning important prizes such as the Masriera medal in 1920, as well as holding several exhibitions at the Sala Parés. In 1921 he travelled to Paris for the first time. His work at this time is close to Impressionism, but also shows the influences of Zurbarán, El Greco and Venetian colourism, combining the precision of the drawing with the gravity of the colour. In 1926 he returned to France and settled in Passy, where he lived until 1939. During these years he met Picasso, who encouraged him to hold exhibitions at the Zak gallery, where he enjoyed considerable success, which increased with his successive exhibitions. He returned to Spain and settled in San Sebastián, but continued to work closely with the Sala Parés, where he continued to hold exhibitions until his death. He also held various exhibitions in Madrid, Sabadell, Bilbao, Valencia, London and Philadelphia. Although his first period was influenced by Mir, Durancamps soon evolved towards a more personal conception, giving special prominence to the constructive line and a peculiar colouring of sober beauty. His still lifes, which he treated with a profusion of line and transparency, are a prodigy of serenity and elegance, with such a personal stamp that they escape any contemporary classification. His landscapes and genre scenes, especially the "capeas" in various Spanish villages, are highly emotive. The "skies of foreboding" that express the drama of the fiesta evoke his acute lyrical sense. He is represented in the Museums of Contemporary Art in Barcelona, Madrid, San Sebastián and Buenos Aires, as well as in a large number of Spanish and foreign collections.

JUAN ALCALDE (Madrid, 1918-2020)."San Sebastián".Oil on canvas.Signed in the lower corner.Presents label of the gallery Biosca of Madrid.Measurements: 97 x130 cm.Port view of the city of San Sebastián, in which the painter reduces the reality to elementary geometries, remaining nevertheless within the margins of the figuration.A member of the Spanish School of Paris, Juan Alcalde trained at the School of Arts and Crafts in Madrid, at the Museum of Artistic Reproductions and at the Círculo de Bellas Artes, later enrolling at the San Fernando School of Fine Arts. In 1960 he travelled to Paris, and in 1963 he took part in the collective exhibition "Artistes Espagnoles á París". From then on he exhibited his work regularly in Spain, London, Zurich, Caracas, Sweden and Paris. His work is clearly marked by expressionism and metaphysical painting. Since his first exhibition, held in 1940, he has presented his work in various European and American cities. His painting is a national sign of contemporary art, and he represented Spain in official exhibitions in Paris, Caracas, Madrid, Barcelona, Valencia and London. He is represented, among many others, in the Museo del Dibujo Castillo de Larrés in Huesca, the Museo de la Universidad de Puerto Rico, the Museo de la Villa in Paris, the Saint Queen in France and the Museo de Arte Contemporáneo in Madrid.

CIRILO MARTÍNEZ NOVILLO (Madrid, 1921 - 2008)."Embarcadero".Oil on canvas.Signed in the lower right corner.Measurements: 73 x 92 cm; 91 x 109 cm (frame).Cirilo Martínez Novillo is one of the most outstanding representatives of the so-called School of Madrid, city where he begins his training in the School of Arts and Crafts. During the Civil War he entered the Escuela Superior de Pintura and attended the studio of Daniel Vázquez Díaz, who became his teacher and supported him throughout his career. In his studio Martínez Novillo met some of the painters linked to the Madrid School: Álvaro Delgado, Gregorio del Olmo, García Ochoa and San José. In 1946 he presented his work for the first time as part of a group exhibition held at the Bucholz gallery in Madrid. The following year he held his first individual exhibition at the same gallery. In 1948 he held an exhibition in the prints room of the Museum of Modern Art in Madrid, the critics began to echo his work and he was selected to take part in the exhibition "Arte Español", held in Buenos Aires and organised by the Ministry of Education. From then on he exhibited in various Spanish cities and in France, and took part in group exhibitions such as the Venice Biennial (1950) and the Salón de los Once (1951). Between 1952 and 1953 he travelled to Paris three times thanks to various grants. His period of maturity began with a new visit to Paris at the beginning of the sixties, after which he travelled to Switzerland, Germany, Holland and Belgium, winning several medals at the National Exhibitions of Fine Arts, as well as the Painting Prize at the Hispano-American Biennial in Cuba. Although he did not belong to the Second Vallecas School, Martínez Novillo's painting is aesthetically close to that of the group. His production is mainly centred on landscape painting and still lifes, although at first he also devoted himself to the figure. The painter produced his landscapes through direct contemplation of nature, not by copying it, as he then made a selection of what interested him in his studio. Cirilo Martínez Novillo is represented in the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art in Madrid, the Bilbao and Oviedo Fine Arts Museums, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.

JUAN MANUEL DÍAZ CANEJA (Palencia, 1905 - Madrid, 1988)."Still life".Oil on canvas.Signed in the lower right corner and on the back.Measurements: 60 x 73 cm; 69 x 82 cm (frame).Juan Manuel Díaz Caneja was a cubist painter, known and appreciated, above all, for his settings in the Castilian landscape. In 1923 he began studying architecture at university in Madrid, and attended classes in Daniel Vázquez Díaz's studio to prepare for the subject of drawing. He soon discovered his passion and left his studies to devote himself to painting. He took an active part in avant-garde cultural life, especially while living in the Residencia de Estudiantes in the capital. In 1927 he met the members of the Vallecas School Benjamín Palencia and Alberto Sánchez Pérez.He saw and studied Cubism at first hand when he spent the winter of 1929 in Paris. In 1930 he settled in Saragossa, where he shared a studio with Manuel Corrales and González Bernal. A year later, in Madrid, he published with Herrera Perete an anarchist, Dadaist and surrealist magazine called "En España ya todo está preparado para que se enamoren los sacerdotes" ("In Spain everything is ready for priests to fall in love"), and began his long list of exhibitions with his first solo exhibition three years later. After meeting his future partner Isabel Fernández Almansa, he joined the Communist Party of Spain, an affiliation he would maintain throughout his life, and joined the National Confederation of Labour. He served on the Republican side during the Civil War, after which he lived and worked in Madrid. In order to avoid censorship, his main subject was landscape, for which he would become so well known. He was arrested and imprisoned in 1948 for his links with the Republicans, spending three years in prisons (Carabanchel and Ocaña), but never stopped painting. His work was, however, recognised with various awards (National Painting Prize in 1958; First Medal at the National Exhibition of Fine Arts in 1962; Spanish National Plastic Arts Prize in 1980; Castilla y León Prize for the Arts in 1984) and with the creation in Palencia in 1995 of a foundation named after him, which has its headquarters in the city's Museum of Contemporary Art. His work has been exhibited in Madrid, Santander, Bilbao, Paris, Copenhagen, Zaragoza, Pamplona, León, Valladolid, Rome, etc., and is held in important private collections all over the world and in leading institutions (his aforementioned foundation, the Museo Centro de Arte Reina Sofía in Madrid, the Guggenheim Museum in New York, the Museo Patio Herreriano in Valladolid, the Museo de Bellas Artes in Bilbao, etc.).

Books. Potter (Beatrix), twelve titles, early 20th century and later, all post 1919 with Frederick Warne & Co Ltd imprint, original boards, some with dustjackets, 16mo, [Terence], Publii Terentii Afri Comoediæ Sex, Glasguae [i.e. Glasgow]: Roberti Foulis, 1742, engraved frontispiece, red-ruled throughout, broad-margined copy, contemporary speckled calf, disbound, 8vo, Ovid's Art of Love, London: J. and R. Tonson, 1747, contemporary calf, disbound, 12mo, Mayor's Elements of Natural History, sixth edition, London: Richard Phillips, 1811, contemporary sheep, tired, 8vo, (15).

Reg Butler (1913-1981) - Seated Girl, RB 192, Garlick 212, bronze and patina, signed and dated Butler 62 and inscribed MORRIS SINGER FOUNDERS LONDON, 95cm h; 67.5 x 120.5cm Provenance: Victoria MacEwan, by whom sold in situ with her house and grounds in the South of England to the father of the present vendor in 1973; or alternatively acquired elsewhere although soon afterwards (c.1973-1975) by the vendor's father Conceived between 1959 and 1961 to be published in an edition of eight, casts were exhibited by Butler's dealer, Pierre Matisse, in 1962 (Catalogue 27), at Hanover in 1963 (Catalogue 4) and at The J B Speed Art Museum, Kentucky in 1963 (Catalogue 95). Seated Girl is an exceptionally large figure in Butler's oeuvre. Lacking the monumentality of the one or two other larger bronzes of the '50s, such as Bride (1954-1961) and Manipulator (1954-1956), Seated Girl, in which the arms have been dispensed with altogether, follows Girl Looking Down (1956-1957). In both, the viewer's attention is drawn down the body, where shape and form, outline and texture lead to long, tapering legs.  These were conceived at the peak of his greatest fame and success, when Butler rejected architecture for sculpture and, with Moore and Hepworth, Chadwick and Armitage had become one of the most distinguished contemporary sculptors. Seated Girl is also rare, from which one might conclude that it is likely fewer than the projected eight were cast. In 2022 the work was returned to Morris Singer Art Foundry for restoration and is now in good condition. Entirely fresh to the market; not hitherto offered for sale

Wyld (Samuel) The Practical Surveyor, or, The Art of Land-Measuring Made Easy, 2nd edition, London (no date), e. 1730, 8vo., contemporary full calf, neatly re-backed, plates correct although worn and repaired, with 5 others relating to surveying and measurement CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

BOOKS & MAPS, four boxes containing approximately ninety-five book titles in hardback and paperback formats, subjects include art, cookery, crafts, guides classic or contemporary fiction, together with forty+ maps, mostly local ordnance survey

CONTEMPORARY SCHOOL PRINTS, a pair, art of dressage, framed, 90cm x 60cm each. (2)

After Don Cordery, (b. 1942), Goshawk, limited edition lithograph no. 31/150, signed to the margin, with Christies Contemporary Art certificate verso, 62 x 42cm, together with one other lithograph, Eagle no. 52/200, signed, 30 x 23cm. (2)

Rory McEwen (Scottish 1932-1982): 'Spring Wind' - Daffodils, coloured aquatint signed titled dated '78 and numbered 27/150 in pencil, with Christie's Contemporary Art blindstamp 24cm x 57cm

George Guest (British 1935-): 'Great Barn' and 'Balk Water', two limited edition lithographs pub. Christie's Contemporary Art signed, titled and numbered 4/200 and 21/200in pencil, respectively, with blindstamps 33cm x 47cm and 43cm x 34cm (2)

λ MIKE HEALEY (BRITISH B. 1951)POPPIESOil on canvas Signed (lower right), further signed, titled and inscribed (verso)71 x 66cm (27¾ x 25 in.)Provenance:Ainscough Contemporary Art, London Please note measurements do not include the frame unless otherwise stated. Condition Report: In good original condition. Condition Report Disclaimer

Confectionery.- Abbot (Robert) The Housekeeper's valuable present: or, lady's closet companion. Being a new and complete art of preparing confects, according to modern practice, first edition, woodcut floral tail-pieces, some spotting and staining, lightly browned, contemporary sheep, spine gilt, spine with basic repair to head and foot worn, joints split, but holding, some worming to upper cover, small area of red wax to lower cover, corners worn, rubbed, [Cagle 528; Maclean p.1; Oxford p.126; Simon BG 1], 8vo, Printed for the author; and sold by C. Cooke, no. 17, Pater-Noster Row; and all other booksellers in town and country, [c.1790].⁂ Rare at auction. We can trace only a handful of copies since 1969. Institutional holdings are also scarce. The title tells us that Abbot had been an apprentice at the leading confectioners Negri & Gunter, of Berkeley Square.

Confectionery.- Nutt (Frederick) The Complete Confectioner: or, the Whole Art of Confectionary Made Easy: also Receipts for Home-Made Wines, Cordials, French and Italian Liqueurs, &c., seventh edition, half-title, engraved frontispiece and 10 plates, of which 3 folding, 2 publisher's advertisement ff. at end, plate 9 torn and repaired, without loss, stained, some spotting, contemporary diced calf, gilt, sympathetically rebacked, spine in compartments and with double leather labels, head of spine chipped, upper cover detached, corners worn, rubbed, [Bitting p.347 (note); Simon BG 1109; cf. Cagle 906-909; Vicaire 634], Printed for Samuel Leigh, 1815 § Jarrin (William Alexis) The Italian confectioner; or complete economy of desserts, according to the most modern and approved practice, new edition, engraved portrait frontispiece and 2 folding plates, 6 full-page bills of fare, endpapers foxed, some spotting or light foxing, occasional staining, contemporary burgundy half straight-grain morocco, spine gilt, spine faded, corners worn, rubbed, [Simon BG 884; cf. Bitting pp.244-245; Cagle 776 & Oxford p.149], E.S. Ebers, 1844; and 17 others, Confectionery & Baking, v.s. (19)

Thacker (John) The Art of Cookery. Containing above Six Hundred and Fifty of the most approv'd Receipts, first edition, woodcut illustrations, 32pp. letterpress bills of fare at end, errata slip mounted on final blank, S2 [i.e. S1] piece from upper margin torn away, water-stained, some spotting or mostly light staining, lightly browned, contemporary blind-stamped calf, spine in compartments, spine ends and corners worn, joints splitting, but holding, water-stained, rubbed, [Bitting p.458; Cagle 1019; Maclean pp.140-141; Oxford p.88], 8vo, Newcastle Upon Tyne, Printed by I. Thompson and Company, 1758.⁂ Thacker was cook to the Dean and Chapter of Durham Cathedral and opened a cookery school in the city in 1742. The influence of French cookery is evident in the collection.Provenance: 'Anne Williamson' (later ink signature to head of title); Mary Chadsey (modern bookplate to front pastedown).

Woolley (Hannah) The Ladies delight: or, a rich closet of choice experiments & curiosities, containing the art of preserving & candying both fruits and flowers: together with the exact cook; or, the art of dressing all sorts of flesh, fowl, and fish, 3 parts in 1, engraved frontispiece, woodcut head-pieces and decorative initials, occasional early ink passage marking, single wormhole increasing to trace within text at lower corner from sig. G to end, trace mostly in sig. P and not confined just to the lower corners, traces repaired, a few other ff. with worming outside of lower corners, all with seemingly no loss of sense of text, a few small mostly marginal repairs, closely trimmed, mostly at head, but occasionally just touching text on a few ff. at outer margins (without loss of sense) and just within outer and lower borders of frontispiece, some spotting or staining (including ink), lightly browned, contemporary sheep, covers with blind-stamped initials 'MB', rebacked, covers little marked and rubbed, [Oxford p.35; Notaker 552; Wing W3279], 12mo, Printed by T[homas]. Milbourn, for N[athaniel]. Crouch, in Exchange-Alley over against the Royal-Exchange in Cornhil, 1672.⁂ Rare, especially complete. ESTC records only a BL copy (defective), and Library Hub adds a Royal Society of Medicine copy. The second and third parts are 'The Exact Cook: or excellent receipts for Cookery' and 'The Ladies physical closet, or, choice receipts and experiments in Physick and Chyrurgery', both by the same printers and dated 1672. Provenance: Mary Watson (contemporary ink signature to head of title).

Carter (Susannah) The Frugal housewife, or complete woman cook. Wherein the art of dressing all sorts of viands with cleanliness, decency, and elegance, is explained in five hundred approved receipts...and making of English Wines, engraved folding double frontispiece and a plate, 12pp. woodcut bills of fare, 3pp. advertisements at end, offsetting, some spotting and staining, lightly browned throughout, contemporary morocco-backed marbled boards, spine ends worn, covers detached, rubbed and scuffed, [cf. Roscoe A76; Bitting pp.78-79; Cagle 594; Maclean pp.23-24; and Oxford pp.122-123], 12mo, Printed for E. Newbery, The Corner of St. Paul's Church-Yard, By J. Rider, Little Britain, [c.1800].⁂ A seemingly unrecorded edition of this work, which had a great influence on American cookery writing. Pagination: [12], 180, [12], 185-193, [3].

Adulteration & Preservation.- Accum (Fredrick) A Treatise on adulterations of food, and culinary poisons, exhibiting the fraudulent sophistications of bread, beer, wine, spiritous liquors, tea, coffee..., second edition, engraved title vignette, a few wood-engraved illustrations in text, Kelso Library inscription to head of title, some spotting and staining, contemporary tree calf, sympathetically rebacked, spine gilt and with black morocco label, corners worn, rubbed, [Bitting p.2 (note); Oxford pp.150-151 (note); cf. Cagle 532 & Simon BG 17 (first edition)], Longman, Hurst [& others], 1820 § Robinson (James) The Whole Art of Curing, Pickling, and Smoking Meat and Fish, Both in the British and Foreign Modes, first edition, 32pp. publisher's catalogue at end, dated October, 1846, occasional spotting or light staining, lightly browned, upper hinge weak, original cloth, spine ends and corners little frayed, ink stains to upper cover, rubbed, [Bitting p.401; Cagle 967; Oxford pp.177-178; Simon BG 1298], Printed for Longman, Brown, Green and Longmans, 1847; and 6 others, similar, including a duplicate of first mentioned (not collated), v.s. (8)

Crahan copy.- Farley (John) The London art of cookery, and housekeeper's complete assistant. On a new plan. Made plain and easy to the Understanding of every Housekeeper, Cook, and Servant in the Kingdom, first edition, engraved portrait frontispiece of the author and 12 bills of fare, some spotting or mostly light staining, lightly browned, new endpapers, contemporary sheep, rebacked in modern pale calf in compartments with double red morocco labels, corners worn, covers rubbed and little marked, [Bitting pp.152-153; Cagle 675; Maclean p.50-52; Oxford p.114; cf. Simon BG 661 and Vicaire 355-356 (eighth edition)], 8vo, Printed for John Fielding, No. 23, Pater-Noster Row; and J. Scatcherd and J. Whitaker, No. 12, Ave Maria Lane, 1783.⁂ Farley was 'principal cook at the London Tavern' (title), which was renowned for its good food, and apparently generous portions. Provenance: 'Wm. Jordan Jun., High Street, Sandwich, 10th Nov.1783' (ink inscription to verso of portrait and head of A1&2); Marcus Crahan, sold Sotheby's 9 & 10th October, 1984, lot 310, and again as the Crahan-Keck Day copy, Sotheby's, 25th November, 1986, lot 192 (Crahan bookplate to front pastedown).

Confectionery.- Glasse (Hannah) The Compleat confectioner: or, the whole art of confectionary made plain and easy, first edition, first issue (with Mrs. Ashburner's in imprint), facsimiles of author's signature to end of dedication and at head of first f. of text, some water-staining, spotting or foxing, lightly browned, modern dark green half crushed morocco, gilt spine in compartments, [Bitting p.190 (note); Cagle 707; Maclean pp.61-62; Oxford p.90; Simon BG 774], 8vo, Printed: And Sold at Mrs. Ashburner's China Shop, the Corner of Fleet Ditch...By I. Pottinger, at the Royal Bible, in Pater-Noster Row; and by J. Williams, opposite St. Dunstan's Church, Fleet-Street, [c.1760].⁂ Rare at auction. Before the Crisford copy sold in these rooms in 2022 (23rd June, lot 54), we must go back to the Cetus copy at Bloomsbury Auctions, 22nd September, 2011, lot 148.Provenance: 'Will. Humphreys' (contemporary ink signature to head of spine).

Henderson (William Augustus) The Housekeeper's instructor; or, universal family cook, engraved frontispiece and 11 plates or bills of fare, 2 of which folding, list of subscribers at end, tear to 2M2, mostly marginal, but with loss of 1 letter, some offsetting, occasional spotting, contemporary speckled calf, spine gilt, joints split, but holding, corners worn, the lower of upper cover particularly so, rubbed, [Cagle 738 (dating it as 1791); Maclean pp.68-69; cf. Oxford pp.133-134 & Simon BG 832], Printed and sold by W. and J. Stratford, Holborn-Hill, [c.1790] § Farley (John) The London art of cookery, and housekeeper's complete assistant. On a New Plan, seventh edition, engraved portrait frontispiece and 12 bills of fare, 5pp. advertisements at end, X7 short tear within text at foot, but without loss, X8 small piece from outer margin, some spotting and light staining, lightly browned, contemporary mottled sheep, rebacked, preserving original backstrip with red morocco label, upper cover detached, corners repaired, rubbed, [Bitting pp.152-153 (note); Cagle 677; Maclean pp.50-51; Oxford p.114 (note); cf. Simon BG 661], Printed for J. Scatcherd and J. Whitaker, 1792; and 3 others, 18th century English cookery, 8vo & 4to (5).

Brewing.- Loftus (William Robert) The Brewer : a familiar treatise on the art of brewing, with directions for the selection of malt and hops...instructions for making cider and British wines, 2 parts in 1, first edition, advertisement slip for thermometers tipped-in to front free endpaper, 2 initial advertisement ff., full-page wood-engraved illustration of 'New Improved Saccharometer', bifolium E3&4 (signed E2) loose, occasional spotting, lightly browned, original brown cloth, gilt, spine and edges faded, a few spots, rubbed, [Gabler G27890; cf. Simon BG 964], rare, William R. Loftus, 1856 § [Robinson (James)] The Art and Mystery of Making British Wines, Cider and Perry, Cordials and Liqueurs..., first edition, half-title, wood-engraved illustrations, contemporary ink recipes to endpapers, some spotting and staining, lightly browned, hinges weak, original green blind-stamped cloth, spine gilt, foot of spine little chipped, corners worn, stained, rubbed, [Gabler G34470], Chapman and Hall, 1865; and 2 others, Brewing, v.s. (4)

German.- Neubauer (Jean) Allerneuestes Kochbuch, welches lehret, wie man auf die allergenaueste, delicateste und gesparsamste Art arbeiten, die Speisen machen, und heutiges Tags serviren soll, names of dishes in French and German, text in German, woodcut head- and tail-pieces, some spotting or staining, lightly browned, contemporary calf, spine in compartments, spine ends worn, some worming, rubbed and marked, but solid, [cf. Weiss Gastronomia 2706 and Horn-Arndt 303], Munich, Johann Nepomuk Fritz, 1783; and 3 others, 19th century German cookery, 8vo (4)

IGNACIO LÁZARO GARCÍA MEDINA (Cuba, 1968).Untitled, 2004.Oil on canvas.Signed in the upper right corner.Measurements: 66 x 81 cm.Cuban painter resident in Valencia with an extensive artistic career. His pictorial work takes place in the neo-symbolist postmodern language. Lázaro García constructs his pictorial scenes mentally, each planimetric surface is a mosaic of quotations, allusions, references to the History of Art, which behaves as a visual memory from which the artist can freely extract each and every one of the fragments that embody his figurations. This plastic heritage is recontextualised by adding new semantic charges, which make the work a dynamic construct.Lázaro García is a child of his time, his creations vindicate the postulates of postmodern painting, which make the pictorial work a hedonistic product, where the recovery of the figurative image is proposed, from the process of artisanal construction, in which the figuration appeals to the fragmentary, the narrative, where the human figure and the object share the same level of spatial protagonism, the pictorial works are conceived from the freedom, the inclusion, which allows the articulation of multiple constructive strategies as well as readings and interpretations around them. He represents his truth, creates his own stories, seeking to question from them the fluctuating expressions, the aesthetic-formal ruptures of contemporary plastic discourse, as a very personal way of dialoguing with his time, circumstance and context.To the observer it may seem that his scenes do not transcend beyond figuration, but their nature escapes even from himself, to make a pilgrimage towards the spectator as a fugue. Each one passes through that which we call unique, personal, which occurs like a theatrical pose, where each resource, both intellectual and visual, has allowed him to create a language of his own, which frames him within the history of Cuban art.His compositional structures play with optical principles, seeking to direct the gaze. In this visual framework, he appeals to the polyvalent nature of the symbol in order to create a dual structure that moves between the discursive and the imaginary. In terms of construction we can see that they are not subject to an immovable structure, each one varies according to the intentions.

BANKSY (Bristol, England, 1975).Souvenir Wall Section, Palestine.Piece of concrete painted with graffiti and miniature figure in mixed media.Attached original payment receipt issued by "Walled Off Hotel".Measurements: 14.5 x 12.5 x 8 cm.Sculpture consisting of a piece of the Gaza wall accompanied by a small miniature figure of a graffiti artist. In March 2017, the "Walled Off" hotel was inaugurated in the Palestinian city of Bethlehem. With a slogan announcing it as the hotel with "the worst view in the world", it is located in front of the Israeli separation wall in the West Bank. All of its rooms are decorated by Banksy, and its stated aim is both to attract tourists to the city and to expose works by Palestinian artists to an international and Israeli audience. In a small museum inside the hotel is a statue of Lord Balfour signing his famous declaration.Banksy, the British artist whose identity is still unknown, is considered one of the leading exponents of contemporary street art. According to a study by Queen Mary University of London published in March 2016, Robin Gunningham, a resident of Bristol, is the artist behind the Banksy pseudonym. His works address universal themes such as politics, culture and ethics, mostly from a satirical and ironic point of view, combining graffiti writing with the use of stencil stencils. This technique is similar to that used by Blek le Rat, who began working with stencils in 1981 in Paris. In fact, Banksy acknowledged Blek's influence by stating that "every time I think I've painted something slightly original, I realise that Blek le Rat did it better, only twenty years earlier".

BANKSY (Bristol, England, 1975).Souvenir Wall Section, Palestine.Piece of concrete painted with graffiti and miniature figure in mixed media.Attached original payment receipt issued by "Walled Off Hotel".Measurements: 10 x 9.5 x 3 cm.Sculpture consisting of a piece of the Gaza wall accompanied by a small miniature figure of a graffiti artist. In March 2017, the "Walled Off" hotel was inaugurated in the Palestinian city of Bethlehem. With a slogan announcing it as the hotel with "the worst view in the world", it is located in front of the Israeli separation wall in the West Bank. All of its rooms are decorated by Banksy, and its stated aim is both to attract tourists to the city and to expose works by Palestinian artists to an international and Israeli audience. In a small museum inside the hotel is a statue of Lord Balfour signing his famous declaration.Banksy, the British artist whose identity is still unknown, is considered one of the leading exponents of contemporary street art. According to a study by Queen Mary University of London published in March 2016, Robin Gunningham, a resident of Bristol, is the artist behind the Banksy pseudonym. His works address universal themes such as politics, culture and ethics, mostly from a satirical and ironic point of view, combining graffiti writing with the use of stencil stencils. This technique is similar to that used by Blek le Rat, who began working with stencils in 1981 in Paris. In fact, Banksy acknowledged Blek's influence by stating that "every time I think I've painted something slightly original, I realise that Blek le Rat did it better, only twenty years earlier".

CRONICA TEAM (Valencia, 1964 - 1981)"Conde-duque", 1972.Acrylic on papier-mâché. Copy 85/100. Current print run of 100 copies.With slight restorations.Signed and justified on the base.Measurements: 21,5 x 14 x 10 cm.Sculpture in small format that simulates the figure of the Count Duke of Olivares without a concrete or defined face in such a way that the artists have only chosen to represent the most characteristic features of the character such as his beard or his suit. The figure of the Count Duke was highly reinterpreted by Equipo Crónica and later by Manolo Valdés, who used the effigy of this historical figure for the design of the poster against NATO.Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group, and he explains the theoretical basis of Equipo in a text entitled "La distanciación de la Distanciación" ("The Distancing of Distanciation"). The three painters also signed a manifesto in 1965, in which they defined themselves as a working group with collective methods and supra-individual aims. Equipo Crónica moved away from the prevailing informalism to cultivate figurative painting, closely linked to pop art. Fed up with introspection, these artists took to the streets and observed the world around them, a society of incipient industrialisation and tourists. Their themes critically analysed the political situation in Spain, as well as the history of art, drawing inspiration from classic works such as Picasso's "Guernica" and Velázquez's "Las Meninas". Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. In contrast to the grandiose and picturesque image of Spain that Franco's regime wanted to project abroad, Equipo Crónica focused on another, darker and more sombre image of the country, always resorting to irony. Starting from their own direct style, with clear images that everyone could read, they tried to "chronicle reality", a kind of social realism but using contemporary visual systems. The group produced paintings, sculptures and engravings, and tended to work in series, which made it possible to analyse the same subject with different variations. Equipo Crónica started from a very simple language, with monochrome and repeated images, very close to contemporary media, especially newspaper photographs. From there, after the turning point represented by "Latin Lover" in 1966, the members of the group gradually enriched their language to place it at the service of political satire.

CHEMA MADOZ (Madrid, 1958)Untitled. 1996.Photograph. Positive bromide virado, copy 1/15.Presents label on the back of the Madrid gallery Moriarty.Size: 12 x 6 cm; 32 x 26 cm (frame).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 Award and the PHotoEspaña Award in 2000, and the Culture Award of the Community of Madrid in the category of Photography in 2012, among others.

JOAO ONOFRE (Lisbon, 1976)"Pink running dry", 2005.Permanent marker on fabriano paper.With a label from the Toni Tàpies gallery in Barcelona on the back.Size: 100 x 70 cm; 112 x 82 cm (frame).Writing and plastic composition are often intertwined in the pictorial series that João Onofre produced in these years (2004-20059, with the intention of revisiting the legacy of conceptual art. This work comes from the Toni Tàpies gallery, a Barcelona space where the internationally renowned Portuguese artist has exhibited on several occasions (notably "La nuit n'en finit plus", 2011). In his production Onofre reflects on themes such as the original and the copy, repetition and interpretation. Since graduating from Goldsmiths College in 1999, João Onofre has gone from strength to strength, becoming one of the most interesting artists of his generation. Mainly dedicated to the creation of videos with a strong performative component, Onofre also uses photography and text. His videos show an interest in the effects of extreme physical situations on people. He often involves groups of individuals in a game of performance or collective portraiture, exploring the complexities of group dynamics. In his works he captures gestures or situations that provoke anxiety and discomfort, often appropriating a historical work of art, a song or a scene from a film. Another of the concerns that Onofre tries to reflect in his works is the inability to control the body. For Box sized "Die" featuring Cristales en la sangre (2007-2010), Onofre asked a Barcelona death metal band to play inside a soundproof replica of Tony Smith's minimalist sculpture Die (1962). He tested their resistance to asphyxiation, oppression and claustrophobia by subjecting them to extreme conditions of air and space scarcity. Selection of solo exhibitions: 2021 João Onofre, Daniel Faria Gallery, Toronto, Canada. 2019 João Onofre Once in a Lifetime, Culturgest, Lisbon, Portugal. Curator: Delfim Sardo (Cat.) 2017 Untitled (orchestral), Sala das Caldeiras, MAAT, Lisbon, Portugal. Curator: Benjamin Weil. 2016 Appleton Square, Lisbon, Portugal. Curator: Ana Cristina Cachola. 2015 Tacet, Kunstpavillion, Munich, Germany. João Onofre, Ciclo Coleção António Cachola, Chiado 8 - Espaço Fidelidade Arte Contemporânea, Lisbon, Portugal 2014 Tacet, Marlborough Contemporary, London, U.K. (Cat.) 2013 3 Oeuvres de João Onofre, Chantiers d'Europe Lisbonne Paris, Théâtre de la Ville, Paris. 2012 National Museum of Contemporary Art - MNAC - Museu do Chiado, Lisbon, Portugal. Curator: Helena Barranha. Ghost, Cristina Guerra Contemporary Art, Lisbon, Portugal. 2011 Palais de Tokyo, Paris, France. Curator: Marc-Olivier Wahler.

CRONICA TEAM (Valencia, 1964 - 1981)"Conde-Duque", 1970.Acrylic on papier-mâché. Copy 13/25. Collection of 25 original copies.Work reproduced in the catalogue raisonné Michéle Dalmace. IVAN. p 147.With slight restorations.Signed and justified on the base.Size: 106 x 50 x 35 cm.Sculpture in papier-mâché representing the effigy of the Count Duke of Olivares wearing boxing gloves. The work, which comes from the Spanish historical-artistic tradition, rescues one of the most important figures of the Baroque period portrayed by Velázquez himself, in fact, his influence can be slightly appreciated in this sculpture. A piece reinterpreted in a pop key, seeking the synthetism of the concept and an irreverent and even ironic expression that is evident in the presence of the boxing gloves. This work is one of Equipo Crónica's most recognised works, an example of which is the collection of the Centro Andaluz de Arte Contemporáneo, which has a work from the same series.Equipo Crónica, or Crónicas de la Realidad, was a group of Spanish painters active between 1964 and 1981. It was founded by Manolo Valdés, Juan Antonio Toledo, who soon left the group, and Rafael Solbes, whose death in 1981 put an end to the project. The historian and critic Tomás Llorens was also a member of the group, and he explains the theoretical basis of Equipo in a text entitled "La distanciación de la Distanciación" ("The Distancing of Distanciation"). The three painters also signed a manifesto in 1965, in which they defined themselves as a working group with collective methods and supra-individual aims. Equipo Crónica moved away from the prevailing informalism to cultivate figurative painting, closely linked to pop art. Fed up with introspection, these artists took to the streets and observed the world around them, a society of incipient industrialisation and tourists. Their themes critically analysed the political situation in Spain, as well as the history of art, drawing inspiration from classic works such as Picasso's "Guernica" and Velázquez's "Las Meninas". Their style was a unique blend of realism, criticism, pop, pictorial quotations, anachronisms and bittersweet pastiches. In contrast to the grandiose and picturesque image of Spain that Franco's regime wanted to project abroad, Equipo Crónica focused on another, darker and more sombre image of the country, always resorting to irony. Starting from their own direct style, with clear images that everyone could read, they tried to "chronicle reality", a kind of social realism but using contemporary visual systems. The group produced paintings, sculptures and engravings, and tended to work in series, which made it possible to analyse the same subject with different variations. Equipo Crónica started from a very simple language, with monochrome and repeated images, very close to contemporary media, especially newspaper photographs. From there, after the turning point of "Latin Lover" in 1966, the members of the group gradually enriched their language to put it at the service of political satire.

FEDERICO AGUILAR ALCUAZ (Philippines, 1932).Untitled, 1982.Mixed media on paper.Signed and dated in the lower left corner.Size: 29 x 38 cm; 46 x 54 cm (frame).Born in Santa Cruz, Manila, Alcuaz studied law at the Ateneo in the Philippine capital, graduating in 1955. Between 1949 and 1950 he took painting courses at the University of the Philippines School of Fine Arts, where he was taught by painter Fernando Amorsolo and sculptor Guillermo Tolentino, as well as other prominent Filipino artists such as Toribio Herrera, Ireneo Miranda and Constancio Bernardo. During his student years he was already awarded first prize at the University of the Philippines School of Fine Arts (1953), and the same award in the 1953 UP Art and 1954 Shell competitions. In 1955 he obtained a scholarship from the Spanish Ministry of Foreign Affairs, which enabled him to move to Madrid and enter the San Fernando Academy of Fine Arts. The following year he moved to Barcelona, where he joined the group La Puñalada, together with Tàpies, Cuixart and Tharrats. In Spain Alcuaz was again awarded the first Moncada Prize (1957), the Francisco de Goya Prize of the Cercle Maillol in Barcelona (1958), the first prize for painting in Sant Pol de Mar (1961), the second Vancells Prize at the IV Biennial of Tarrassa (1964), and the Republic Cultural Heritage Award (1965). From Spain he began his international projection, being distinguished in Paris with the Diploma of Honour at the International Exhibition of Free Art in 1961 and, in 1963, with the Medal of the City of Paris for Arts, Letters and Sciences. More recently, in 2007, Alcuaz was recognised by the Philippine government with the Presidential Medal of Merit for his achievements in the field of visual arts. In his fifty-five-year career, the painter has had solo exhibitions in leading galleries in Spain, the Philippines, Portugal, Poland, the United States and Germany, among other countries. Alcuaz's works are currently held in some twenty museums and cultural institutions around the world, including the Museums of Contemporary Art in Barcelona, Madrid, Krakow and Warsaw, the Gulbenkian Foundation in London and the Philips Museum in Holland.

ARIEL ELIZONDO LIZARRAGA ( Brussels, Belgium, 1968)."Cubismos & Cuartitas", 2022.Natural quartzite-moscavite stone and corten steel.Signed on the base.Certificate of authenticity of the artist enclosed.Measurements: 33 x 27 x 20 cm.Ariel's life has always been in continuous and intimate contact with natural stone, of which he is a true specialist both in its technical aspects and in its application for various professional uses. For many years he visited quarries all over the world and got to know in depth the natural formations of all types of rocks and stones, as well as the extraction, cutting and finishing processes. This rich working experience also gave him a solid knowledge of steel in a wide variety of forms and applications. During these years, his artistic vocation as a sculptor developed in parallel. In his youth he had the opportunity to study and become well acquainted with the schools of contemporary art in Belgium, but on his return to Navarre, his contact with the rich tradition of the Basque school of sculpture (Chillida, Oteiza, Mendiburu, etc.) spurred a methodical and profound investigation into the integration of both elements in a genuine and original way. Stone serves as a fundamental support, as the essence and base of the whole, whether in live rock or carved, and from it emerges steel in stylised and kinetic forms. Thus a vital dialogue takes place between the two elements: the origin and formation of nature in its primary aspect on the one hand, and on the other hand the personal development which in its lyrical or dramatic variants represents the search for an intensely personal path. The steel, always worked by hand and cold, emerges from the living stone in various forms, whether thin or thick, rusted or polished, natural or laminated in colours, and grows wavy or twisted in aesthetic adventures where stone and steel form a visual and suggestive dance to the point of the dreamlike and ineffable. Everything fits and is freely expressed in this choreography of two complementary materials, without excluding the dramatic sentiment, the heroic cry or the difficult balance of the everyday in human existence. It is an art that is not conceptual but conceptualised in vibrant symbolism and full of expressive tension. It is a modern and current art because it sinks its roots in the primary and ancestral to project itself into that uncertain future that sometimes scares us and always challenges us, an art that with very ethnic elements manages to elevate itself to a universal language.

YAYOI KUSAMA (Matsumoto, Japan, 1929)."Pumpkin red", 2015.Lacquered resin.Stamp on the base.Size: 10 x 7,5 x 7,5 cm.This red pumpkin sculpture depicts the artist's signature optical patterns of brightly coloured polka dots. Kusama first used the gourd design at the 1993 Venice Biennale.Yayoi Kusama is an artist and writer who, throughout her artistic career, has experimented with and developed a wide variety of artistic techniques including painting, collage, sculpture and performance and installations, most of which exhibit her thematic interest in psychedelia. Kusama is a forerunner of the pop art, minimalism and feminist art movements and influenced artists contemporary to her such as Andy Warhol and Claes Oldenburg. Born in Matsumoto (Nagano) to an upper middle-class family of seed merchants, Kusama began to develop an interest in art from an early age, which led her to study Nihonga (Japanese-style paintings) in Kyoto in 1948. Frustrated with this Japanese style, she became interested in American and European avant-garde, mounting several solo exhibitions of her paintings in Matsumoto and Tokyo during the 1950s. In 1957 she moved to the United States, settling in New York City where she produced a series of paintings influenced by Abstract Expressionism. Kusama switched to sculpture and installation as her primary media and became a fixture of the New York avant-garde with her works exhibited alongside Andy Warhol, Claes Oldenburg and George Segal in the early 1960s when the artist became associated with the Pop Art movement. Embracing the rise of the hippie counterculture of the late 1960s, Kusama came to public attention when she organised a series of happenings in which nude participants were painted with brightly coloured polka dots. She returned to Japan permanently in 1973, where she has lived ever since in a psychiatric hospital, committed of her own free will. Throughout her career, Kusama has received major awards both in Japan and abroad, including the French Ordre des Arts et des Lettres in 2003 and the Japanese Praemium Imperiale in 2006 in the category of painting. The artist has become particularly well known for her installations with mirrors, red balloons, toys and other objects, in the midst of which she placed herself on stage. Her works of recent years are paintings on cardboard in an ingenuist style. Among the most recent exhibitions devoted to her work is the complete retrospective devoted to her by the M.N.C.A. Reina Sofía, in collaboration with the Tate Modern in London, in 2011, which subsequently travelled to the same Tate, the Centre Georges Pompidou in Paris and the Whitney Museum in New York. Kusama is currently represented at MoMA in New York, the Fukuoka Art Museum, the National Gallery of Modern Art in Tokyo, the Haus der Kunst in Munich, the Art Institute of Chicago and many other museums and art centres around the world.

JOSEPH BEUYS (Germany, 1921 - 1986)."Filzpostkarte, 1985.Silkscreen on felt and silkscreen on pinewood.References: The Multiples, Schellmann, fig. 539. (felt), References: The Multiples, Schellmann, fig 104., Joseph Beuys: Multiples. IVAM 2008, page 124 (wood).Sizes: 10.5 x 15 x 1 cm (felt), 10.5 x 15 x 3.3 cm (wood).Joseph Beuys Multidisciplinary conceptual artist, today considered one of the most influential artists of 20th century Europe, his biography begins during the Second World War. Although his veracity has often been doubted, Beuys claimed that he fought as a pilot in the war, crashing in the Crimea. Near freezing to death, he was rescued by natives, who wrapped him in grease and felt to prevent his death. In any case, both elements appear constantly in his work. Between 1946 and 1951 he studied at the Düsseldorf School of Fine Arts, where he later taught sculpture and was subsequently expelled. His work produced during these years addresses the relationship between pedagogy and the study of art, as Beuys completely changed the approach to teaching that had been taken up to that time. In 1962 he began his activities with the neo-Dada Fluxus movement, of which he became the most significant member. His greatest achievement was the socialisation of art, bringing it closer to all kinds of audiences. His actions or "happenings" were not so much to do with neo-Dadaist fussiness to shock the bourgeoisie, but concealed a deeper meaning. Throughout his career the artist repeats many objects, which he uses in various works. These objects differ from the Duchampian "ready mades" not because of their poor and ephemeral nature, but because they are part of Beuys's own life, and he uses them after having lived with them and left his mark on them. Many are related to his biography, such as the honey or the fat used by the Tartars who saved him during the war. In 1979 the Guggenheim Museum in New York exhibited a major retrospective of his work, cementing his reputation as one of the most important artists of his time. Beuys used art, a dynamic, fluid and corrosive art to the point of becoming arti-art, to educate, heal and redeem mankind and society, spiritually sick and lost in the chaos of the world. Beuys is currently represented at the MoMA and the Guggenheim in New York, the Kunstmuseum in Basel, the Hamburger Banhof in Berlin, the Museum of Fine Arts and the Guggeheim in Bilbao and the Tate Gallery in London, among many other contemporary art museums around the world.

JEAN-MICHEL BASQUIAT (New York, USA, 1960 - 1988) for DUNNY KIDROBOT.Untitled.Vinyl.With stamped signature of the Estate of Jean-Michel Basquiat and the publisher.Original box enclosed.Measures: 20 x 13,5 x 7 cm.In collaboration with the Estate of Jean-Michel Basquiat, Kidrobot presents Jean-Michel Basquiat Faces Dunny Art Figure focusing mainly on the "faces" of Basquiat's works. Each art figure represents a face or an image from one of the prolific New York artist's most iconic paintings.A prolific artist, Jean-Michel Basquiat began drawing at the age of three, inspired by urban culture through the cars, taxis and buses that roamed the streets, as well as through television and comic books. He captured this view of his surroundings in his paintings throughout his life, especially in the form of vibrant lines, intense strokes, figures cut in black, facial expressions pushed to the limit, and so on. During the early 1980s he began to emerge as an artist, at a time when the reign of conceptual art and aesthetic minimalism in all its forms was predominant. The presence of urban culture and graffiti mixed with the European figurative tradition. His first solo exhibition took place in 1982, at the Annina Nosei Gallery in SoHo, New York. This marked the beginning of a series of solo and group exhibitions that brought together his work with that of other important contemporary artists, such as Julian Schnabel and David Salle. During these years he produced more than two hundred canvases with portraits of influential figures belonging to that culture, including Muhammad Ali and Dizzy Gillespie. It was at this time that his works began to be highly sought after, and logically his presence was in demand at the most exclusive events of the time. It is worth mentioning his close relationship with Andy Warhol, who had a powerful influence on their work. The intensity with which Jean-Michel Basquiat created was mirrored in his life. A fan of drugs and nightlife since his teenage years, his consumption increased to such an extent that he developed a strong addiction to heroin and cocaine, which led to his death in 1988. From his first solo exhibition to the present day, his work has toured the world's most famous museums. His media power, the outrageous auction prices of some of his works and his visual intensity continue to move crowds. The strong influence of his canvases, graffiti and writings on contemporary art explains the enormous interest in his figure. He is currently represented in museums and institutions such as the Museum of Modern Art (MoMA) in New York, the Centre Pompidou in Paris, the Gagosian Gallery, the Museu d'Art Contemporani de Barcelona - MACBA in Barcelona, the Guggenheim Museum of Modern and Contemporary Art in Bilbao, The High Museum of Art in Atlanta, The Modern Art Museum of Fort Worth in Fort Worth, the Castellani Art Museum in Lewiston, the Whitney Museum of American Art in New York, the Broad Contemporary Art Museum in Santa Monica, the Fondation Carmignac in Paris, the Fukuoka Art Museum in Fukuoka, Japan, as well as in numerous private collections, such as that of David Bowie.

Scottish herringbone binding The Holy Bible, containing the Old and New Testaments Edinburgh: Alexander Kincaid, 1764. 18mo, contemporary Scottish morocco, blind-tooled overall, covers each with panel of repeating feather devices radiating from central stem in herringbone pattern, enclosed by inner frame of heart motifs and outer frame of a doubled sawtooth roll, against a ground of flower, bird and volute motifs, A3F6/12, joints and extremities rubbed, a few small areas of wear to covers, Y3-4 slightly short (affecting catchwords), small hole in 2T3, bound with an edition of the Psalms at the rear (Kincaid, 1764, lacking final leaf) [Darlow & Moule 1157; ESTC T9194];Book of Common Prayer. The Book of Common Prayer and Administration of the Sacraments. Oxford: Mark Baskett, 1765. [Bound with:] [Vickers, William]. A Companion to the Altar. Shewing the Nature and Necessity of a Sacramental Preparation, in order to our Worthy Receiving the Holy Communion. London: John Beecroft, 1768. [And:] [Psalms]. The Whole Book of Psalms. London: for the Company of Stationers, 1767. 3 works in one volume, 8vo (18.8 x 11.8cm), contemporary red morocco, spine-compartments decorated with dotted saltires and seed-head and star tools gilt, covers each with dotted outer border enclosing lobed central panel incorporating dogtooth and floral rolls gilt, comb-marbled endpapers, all edges gilt, BCP signatures a-b8 A-2A8 2B4 (-2B4), Vickers signatures A-H8, with engraved frontispiece (apparently A1), ownership inscription of one Elizabeth Fairchild dated 1784 to the front free endpaper, and a prayer written perhaps in the same hand on the rear blank [ESTC T81419, BCP, 5 copies worldwide, T84901, Vickers, T142243, Psalms, 5 copies];Bugg, Francis. The Picture of Quakerism Drawn to the Life. In Two Parts. The First shewing the Vanity of the Quakers Pretence of their being the one, only Catholick Church of Christ … The Second, containing a Brief History of the Rise Growth, and Progress of Quakerism. London: for W. Kettleby, and W. Rogers, 1697. [Bound with:] Quakerism Withering, and Christianity Reviving ... Wherein their Errors ... are further detected, and G. Whitehead further unmask'd. London: for the author, 1694. 2 works in one volume, both first editions, 8vo, contemporary panelled calf, first work with double-page plate, front board detached [ESTC R6912 & R23819];Bunyan, John. The Pilgrim’s Progress, from this World, to that which is to come: delivered under the Similitude of a Dream. A New Edition. London: for J. Caddel, T. Dodsley, A. Baldwin, and R. Millar, 1783. 8vo, contemporary sheep, 12 woodcut plates, front board detached [ESTC T58394, 8 copies worldwide];[Angling]. The Gentleman Angler … with several Observations on Angle Rods, and Artificial Flies … also an Appendix, containing the Art of Rock and Sea Fishing … by a Gentleman who has made it is His Diversion upwards of Fourteen Years, London: for G. Kearsley, 1786. First edition, 24mo, old boards, engraved frontispiece, advertisement leaf, binding worn, general soiling to contents, front inner hinge cracking between frontispiece and title-page, light marginal worming towards front [ESTC T57574, 9 copies worldwide];Argyll, Archibald Campbell, Marquess of. Instructions to a Son, containing Rules of Conduct in Publick and Private Life. Glasgow: R. Foulis, 1743. First Scottish edition, 8vo in half-sheets, contemporary mottled calf, rebacked, bookplate of Scottish politician George Baillie (1664-1738), presumably applied posthumously by a descendant, early ownership inscription ‘Grisell Baillie’ to title-page [ESTC T108119, 7 copies worldwide];and 14 others similar (these not fully collated), comprising: Book of Common Prayer, John Baskett, 1738 (8vo, contemporary black morocco panelled in gilt, engraved additional title-page and plates, binding worn, repairs to plates); [Hannah Neale], The History of the Jews … Being an Appendix to the Sacred History in Sixteen Letters, 1796 (8vo, contemporary calf, engraved folding map, front cover detached, ESTC T114150, nine copies world-wide); [Samuel Johnson], [Rasselas] The Prince of Abissinia, The Sixth Edition, 1783 (8vo, contemporary marbled calf, spine worn); James Thomson, The Seasons, Edinburgh, 1761 (8vo, contemporary calf, 4 engraved plates); idem, Glasgow, 1775 (title-page loose); The Laws and Acts of Parliament made by King James the First and his Royal Successors, Kings and Queens of Scotland, Edinburgh, 1682 (12mo, contemporary calf); George Anson, A Voyage round the World in the Years M,DCCXL, I, II, III, IV … The Ninth Edition, 1767 (8vo, contemporary calf); Thomas Boston, A View of the Covenant of Grace from the Sacred Records, Glasgow, 1772 (8vo, contemporary sheep); Allan Ramsay, The Gentle Shepherd; A Scots Pastoral Comedy, 1775 (8vo, contemporary calf, spine worn, lacking frontispiece); Samuel Rutherford, Letters, 1825 (8vo, contemporary sheep); Theophrastus, Les caractères, Brussels, 1692 (8vo, spine worn away, title-page loose); [Sammelband of plays published by John Bell, 1776-7], comprising Aaron Hill, Zara, Thomas Otway, Venice Preserv'd, Nicholas Rowe, Jane Shore, John Huges, The Siege of Damascus, Ambrose Philips, Distrest Mother (8vo, contemporary quarter calf, worn, edges untrimmed); Samuel Johnson, A Journey to the Western Islands of Scotland, 1817 (lacking covers); and George Dawe, The Life of George Morland, 1807 (lacking covers)

Art, European and Persian, Printing and Wood-Engraving A collection of 13 volumes Sotheby & Co. Catalogue of the renowned collection of Western Manuscripts, the property of A. Chester Beatty. 2 volumes, 4to, plates, black half morocco gilt;Symonds, J.A. The Life of Michelangelo Buonarroti. London, 1893, 2 volumes, large 8vo, number 47 of 112 copies with photo-etchings printed on Japan paper as proofs before letters, contemporary half parchment, spines gilt, t.e.g.;Mardersteig, Giovanni. The Officina Bodoni, an account of the Work of a Hand-Press 1923-1977. Verona, 1980. 4to, original cloth, slipcase;Gibbings, Robert. The Wood Engravings. London: Dent, 1959, 4to, original cloth, dustwrapper;Raverat, Gwen. The Wood Engravings. London: Faber, 1959. 4to, original cloth; Grube, Ernst J. Islamic Paintings from the 11th to the 18th century in the collection of Hans P. Kraus. New York, 1972, folio, plates, original cloth;Colnaghi & Co., P. & D. Persian and Mughal Art. 1976. 4to, original cloth, dustwrapper;Ettinghausen, R. Persian Miniatures in the Bernard Berenson Collection. Milan: Ricordi, 1961, folio, original pictorial cloth; Robinson, B.W., editor. Islamic Painting and the Arts of the Book. The Keir Collection. London: Faber, 1976, 4to, original cloth, dustwrapper;Robinson, B.W. Persian Paintings in the India Office Library. 1976, 4to, original cloth, dustwrapper;Welch, Stuart C. Royal Persian Manuscripts. London, 1976, 4to, original wrappers;together with:Dante Alighieri. The Vision, translated by H.F. Cary. Florence, [c.1905], 4to, full calf gilt embossed with bronze medallion of Dante's bust on upper cover, spine gilt;Farrington, B. Science and Politics in the Ancient World. London, 1939, 8vo, original cloth

A contemporary floor lamp. With turned baluster stem and fringed Art Deco-style shade, 174cm high

A contemporary Art Deco-style mask throne, decorated throughout with mosaic mirrors, 94cm wide70cm deep145cm high Provenance: The Craig Revel Horwood Collection.

Dartington Crystal - Caithness glass. A contemporary studio art glass vase, with flared lipped rim and tapering round body with broken desert effect in blue orange ground. Signed to bottom. Together with another pink speckled stem vase. Measures approx.. 16cm tall. 

JAZZ/ SOUL JAZZ/ CONTEMPORARY - LP COLLECTION. A quality selection of 57 jazzy LPs. Artists/ titles include Pharoah Sanders - Message From Home (529 578-1, record Ex/ sleeve VG+), Bill Withers - Still Bill (LPSX 1, VG+/ VG+), Youssou N'Dour - The Lion (V2584), The Heliocentric Worlds Of Sun Ra (ESP 1017), Art Pepper inc Meets The Rhythm Section (COP 004), Omega Alpha, So In Love. Courtney Pine inc Closer To Home. Rippingtons - Tourist In Paradise, David Sanborn inc Sanborn, A Change Of Heart, Another Hand, As We Speak, Double Vision, Hideaway, Taking Off. Kenny Burell/ Grover Washington Jr - Togethering. The Robert Cray Band (x5), Grover Washington Jr (x11), Lee Ritenour (x16). Condition is generally VG to Ex+.

BOOKS, six boxes containing approximately 150 miscellaneous titles, mostly in hardback format, subjects include art, cookery, gardening and nature, science, medicine, travel, history, encyclopaedic and lexical works, classic and contemporary novel, and Reader's Digest compilations

A REPRODUCTION HAND PAINTED 'NATIONAL BENZOLE MIXTURE' ADVERTISING SIGN, unsigned paint on panel, approximate size 96cm x 56cm, together with a contemporary oil on canvas depicting cyclists in a country lane, signed D Mitchell 2002, approximate size 35cm x 120cm and two framed decorative wall art prints (4)

BOOKS, five boxes containing over 100 miscellaneous titles in hardback format, subjects include antiques and collectables, art, history, geography, sport, biography and contemporary fiction including compilations (5 boxes)