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Advertising, Breweriana - Shipstone's Strong Ale, New Basford, Nottingham, a printer's proof folio, dated from 1949-1962, illustrated with tipped-in pictorial and graphic art samples, mostly monochrome, contemporary two-tone cloth, crown folio (37.5cm x 24.5cm), [1]

A selection of hardback books, primarily relating to art and craftsmanship, titles including: The Drawings of Leonardo Da Vinci, by A. E. Popham; Guide to Art Illustration, by J. S. Hodgson; Anatomy for the Artist, by Jeno Barcasy; The Contemporary and Lithographic Workshop Around the World, by Knigin and Zimiles; and others, one box.

Bobbie Coleman: Large Glass Wave, contemporary art glass sculpture, signed and dated 2013 verso, raised over a rectangular base with makers label to underside, 36.5cms wide; together with another art glass sculpture by Coleman; art glass dish signed Bowen; and a glass vase signed indistinctly. (4)

LA GUERINIÈRE, François Robichon de.- Ecole de cavalerie, contenant la connoissance, l'instruction, et la conservation du cheval.- A Paris: Jacques Collombat, 1733.- [8], 276, [8] p.: 1 portada gravada, [24] gravuras; 44 cm.- E., First folio edition of a classic work in the field of equestrian art, considered one of the most beautiful French editions of the 18th century (the first two, small format, were published between 1729 and 1731, this being the third). François Robichon de la Guérinière (1688-1751), recognized as the founder of the French riding school, began his activity as a squire to the Count d'Armagnac who, in 1715, commissioned him to found an equestrian academy in Paris. From 1730 until his death, with his brother Pierre as a partner, he directed the Académie des Tuilleries, having as patron Prince Charles de Lorraine, chief-squire of King Louis XV. The edition is illustrated with an engraved title, representing the education of Achilles (with the bust of Louis XV in a medallion) and 24 intaglio engravings, three of which are double, 12 full-page (separately) and eight in the text (full page, with text on verso). It also includes three large allusive vignettes (140x235 mm), one at the beginning of each of the three parts of the work, opened in copper plate by the best engravers of the time (Cars, Aveline, Cocart, Audran, Lebas, Beauvais et Desplaces), according to originals by Charles Parrocel and Antoine Coquart. Copy slightly handled, with some imperfections, namely: lower outer corner of the first four leaves with signs of handling and fungus; first double engraving with slight (tidal) stains; occasional smaller stains. It is however complete and solid and generally clean, with all the prints well placed. Ex-libris of D. Diogo de Bragança, VIII Marquis of Marialva. Contemporary binding, full sheepskin, a little worn with the heraldic book stamps of the House of Lafões, gold engraved at the centre of the covers (probably gauffered later). Keep the original endpapers on marbled paper. Cohen, 588. Graesse, IV, p. 79. Brunet, III, 769. Mennessier de La Lance (Bibliographie hippique), II, p. 27.

FIGUEIREDO, Manuel de Andrade de.- Nova escola para aprender a ler, escrever, e contar: primeira parte.- Lisboa Occidental: Na Officina de Bernardo da Costa de Carvalho, [1722].- [16], 156 p.: 1 portada grav., 1 retrato, [1], 44 gravuras; 30 cm.- E., First and only published part of the most famous Portuguese treatise on calligraphy. Complete copy, retaining all intaglio engravings: engraved title with the coat of arms of the Kingdom of Portugal overlooking Lisbon, the portrait of the author (signed by B. Picart), the calligraphed figure of the knight and the 44 engravings numbered from 1 to 44. Manuel de Andrade de Figueiredo (1670-1735), a leading figure in the calligraphic art of the 1700s, laid the foundations for teaching the so-called “letra caligráfica portuguesa”. His manual is divided into four parts: the first dedicated to the teaching of spoken and written Portuguese; the second presents the different types of letters used at the time; the third establishes the rules of Portuguese orthography; the fourth teaches the basics of arithmetic. The pictures represent handwriting exercises for students, notions of letter design and alphabets of various styles. Copy a little handled, with occasional minor restorations and stains from use and sometimes ink; tear on engraving 25, no lack of support, repaired with old adhesive tape. Contemporary binding, full leather, with some wear and new endpapers. Inocencio, V, p. 355. Samodães, 151. Ameal, 107. Ferreira Lima (Calígrafos), p. 7 et seq.

Flemish school of 1620-1630. Workshop of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640)."Self-portrait.Oil on canvas. Relined.With repainting.The frame shows slight lack of polychromy.Size: 75 x 57 cm; 103 x 85 cm (frame).Excellent painting of Flemish school, belonging to the workshop of Rubens, in which we recognise the self-portrait of the baroque genius. It is a work of great artistic quality, which faithfully follows the original model produced by Rubens around 1618, now in the collection of self-portraits in the Uffizi Gallery in Florence. The one in the Uffizi collection shows Rubens at the age of about 41, when he was still living in Antwerp. The artist depicts himself bust-length, with a stern gaze fixed on the viewer, with no other symbols of his rank than the dignity of his face. In the present work, which belongs to the workshop of the Baroque genius, we can appreciate the energy and direct teaching of the master: both the figure and the background share shadows and lights, the spotlight sliding across the flushed complexion and the dark eyes, playing with thousands of nuances that extract velvety textures and naturally capture the boldness of the gallant countenance. As for Rubens's workshop, it is worth noting that the prolific artist could not have tackled the abundant creative fecundity of his work alone. He employed expert collaborators and enlisted the help of external painters, who helped to satisfy the fertile demand for commissions.Peter Paul Rubens was a painter of the Flemish school who nevertheless competed on an equal footing with contemporary Italian artists and was of major international importance, as his influence was also key to other schools, as in the case of the transition to the full Baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. After completing his training Rubens joined the Antwerp painters' guild in 1598. Only two years later he travelled to Italy, where he stayed from 1600 to 1608. During this decisive period, the young Flemish master had first-hand experience of naturalism and classicism, the works of Caravaggio and the Carracci. During his visit to Mantua he was impressed by Mantegna, especially by his "Triumphs of Caesar", which influenced his later "Triumph of the Eucharist", where we see the same classical theatrical sense of Mantegna. It was also in Mantua that he would see at first hand the giants of Giulio Romano's Tea Palace. He visited Rome on several occasions, and also studied the art of Classical Antiquity, which influenced his early sculptural and monumental style, which evolved over time towards a more pictorial language. In the Italian capital Rubens also became acquainted with Italian Renaissance painting and the works of Michelangelo, Raphael and Leonardo. On his tour of Italy he also visited Florence and Parma, where he came into contact with the work of Correggio. In Venice he learned the sense of ostentation of Veronese and the dramatism of Tintoretto, and in 1609 he returned to the Low Countries to serve the governors of Flanders, Archduke Albert and the Infanta Isabella Clara Eugenia. In addition to being a court painter, Rubens carried out diplomatic work for the court, which took him to Spain, London and Paris. In 1609 he married Isabella Brant in Antwerp and organised his workshop, recruiting excellent collaborators with whom he worked side by side, many of whom were specialist painters (Frans Snyders, Jan Brueghel de Velours, etc.). He also took on pupils and created an excellent workshop of engravers, who worked from drawings by his own hand and under his supervision. During these years he produced important commissions such as "The Elevation from the Cross" (1610) and "The Descent from the Cross" (1611-14), both for Antwerp Cathedral.

European school of the 19th century, following Dutch models of the 16th century."The Concert".Oil on canvas. Re-drawn.It presents faults in the painting.Measurements: 40 x 52 cm; 48 x 60 cm (frame).Although this work has been carried out in the 19th century, it follows Dutch models of the 16th century, concretely of Teniers and his school. The son of David Teniers I, in his youth he remained faithful to his father's style. However, he soon specialised in genre painting, closely linked to the Flemish tradition. In 1638 he joined the Guild of Saint Luke, of which he later became dean. Among his patrons were the Bishop of Ghent and Archduke Leopold William. Teniers was also artistic director of the archduke's collection, a position that included not only the conservation of paintings but also the responsibility for choosing and acquiring new works for what was one of the most important collections of 17th-century painting. This gave the painter the opportunity to become acquainted with and study at first hand works by both contemporary and earlier masters of various schools and genres. In 1651 he moved to Brussels on the occasion of his appointment as court painter, a post he retained with the arrival of the new archduke, John Joseph of Austria. He was free to work for other patrons, including the greatest art connoisseurs of the 17th century: Christina of Sweden, William II of Orange and Philip IV. Supported by the latter, in 1669 he succeeded in realising his project to create the Antwerp Academy. His influence continued into the 18th century, and his works formed part of the collections of the first Spanish Bourbons. His compositions were copied in tapestries that adorned the royal palace in Madrid, giving rise to a very popular genre known as "a la Teniers". Works by Teniers can be found in the most important museums in the world, including the Prado, the Hermitage, the Louvre, the Metropolitan in New York, the National Galleries in London, Washington and Prague, the Rijksmuseum, the Royal Collection in London, the Ashmolean in Oxford, the Poldi Pezzoli in Milan, the Museum of Western Art in Tokyo, the Thyssen-Bornemisza Museum, and the Fine Arts Museums in Brussels, Vienna, Antwerp and Dresden.

Two pairs of contemporary polished chrome table lamps of varying design in the Art Deco style together with one other pair (6)

ZINSKY (CONTEMPORARY) 'JOE PESCI AS TOMMY DEVITO', a portrait of Tommy DeVito from the film Goodfellas holding a revolver against a pop art and graffiti style background, Super Mario also puts in an appearance, signed bottom left, mixed media on canvas, approximate sizes - image 89cm x 89cm frame 107cm x 107cm, Condition: dirty marks to frame (artist resale rights apply)

Bruges Joannem Baptistam Kerckhovium, in-4° 31x21cms, engraved half page map of Flanders, engraved 'succession tree' of Flemish Counts, engraved key to heraldry, and some 300 engravings of seals. Bound in contemporary vellum, title in ink on spine, ties intact. Very sharp and dark impression, minor handsoiling to covers, ex-libris on front cover, generally very good, an excellent copy. Rare first edition of Olivier de Vrée's (1596-1652) compendium of seals of the Counts of Flanders, a volume notable both for its antiquarian rigor - the work remains a standard reference on the subject - and for its some 300 copperplate engravings meticulously cataloguing the development of seals from the establishment of Flanders as a country in the ninth century (the 878 A.D. seal of Count Baldinus) to the time of the book's publication (the seals of Philip IV). Wax sigilla, impressed using a unique engraved metal matrix, were specific to individuals or institutions and used to certify official documents such as title deeds. Seals attracted the same sort of antiquarian study as coins - with which they were often collected and displayed - owing to their value as witnesses to ancient languages, history, art, and politics. Nor was the study of seals without real world importance during the seventeenth century, when reference to centuries-old documents could spark or halt the redrawing of European borders. The illustrations of the Sigilla Comitum Flandriae are profuse and of the highest technical quality. Executed by two father-son teams, Samuel & Adriaen Lommelin and François Schelhaver père et fils, the 300 engravings of seals are at once faithful to the wax artifacts they depict and even improve upon these models: Several specimens of exactly the same design but differing in size from each other by only a few millimeters are dutifully reproduced in separate engravings, while the fine detail of many engravings (especially the later examples) far surpasses that found in the seals themselves or even the engraved matricies with which they were impressed. The Sigilla Comitum Flandriae also contains a fine map of Flanders labeled with ancient toponyms, a depiction of the tomb slab of Gilles the Norman (d. 1227), a 'key' to help the reader identify coats of arms, and a tree of the succession of Flemish Counts, the latter with city views of Bruges and Ghent. Dutch and French editions of the Sigilla Comitum Flandriae followed in 1640 and 1641, but with engravings printed separately and not integrated into the textblock as in the present first edition. - Bruges Joannem Baptistam Kerckhovium, in-4° 31x21cms, carte demi-page gravée des Flandres, 'arbre de succession' gravé des comtes flamands, clé gravée de l'héraldique, et quelque 300 gravures de sceaux. Reliure en vélin de l'époque, titre à l'encre au dos, liens intacts. Epreuve très nette et sombre, légères salissures sur les couvertures, ex-libris au premier plat, très bon état général, excellent exemplaire. Rare édition originale du recueil des sceaux des comtes de Flandre d'Olivier de Vrée (1596-1652), volume remarquable tant par sa rigueur antiquaire - l'ouvrage reste une référence incontournable en la matière - que par ses quelque 300 gravures sur cuivre répertoriant minutieusement les développement des sceaux depuis l'établissement de la Flandre en tant que pays au IXe siècle (le sceau de 878 après JC du comte Baldinus) jusqu'au moment de la publication du livre (les sceaux de Philippe IV). Les sigilles de cire, imprimées à l'aide d'une matrice métallique gravée unique, étaient spécifiques aux particuliers ou aux institutions et servaient à certifier des documents officiels tels que des titres de propriété. Les sceaux ont attiré le même type d'étude antiquaire que les pièces de monnaie - avec lesquelles ils étaient souvent collectés et exposés - en raison de leur valeur en tant que témoins des langues, de l'histoire, de l'art et de la politique anciennes. L'étude des sceaux n'était pas non plus sans réelle importance mondiale au XVIIe siècle, lorsque la référence à des documents séculaires pouvait déclencher ou arrêter le redessin des frontières européennes. Les illustrations de la Sigilla Comitum Flandriae sont abondantes et de la plus haute qualité technique. Réalisées par deux équipes père-fils, Samuel & Adriaen Lommelin et François Schelhaver père et fils, les 300 gravures de sceaux sont à la fois fidèles aux artefacts en cire qu'elles représentent et améliorent même ces modèles : plusieurs exemplaires exactement du même dessin mais différents en taille les uns des autres de seulement quelques millimètres sont consciencieusement reproduits dans des gravures séparées, tandis que la finesse des détails de nombreuses gravures (en particulier les exemples les plus récents) dépasse de loin celle trouvée dans les sceaux eux-mêmes ou même les matrices gravées dont ils ont été impressionnés. Le Sigilla Comitum Flandriae contient également une belle carte de la Flandre étiquetée d'anciens toponymes, une représentation de la dalle funéraire de Gilles le Normand (mort en 1227), une "clé" pour aider le lecteur à identifier les armoiries, et un arbre des succession de comtes flamands, ces derniers avec des vues sur la ville de Bruges et de Gand. Les éditions néerlandaise et française du Sigilla Comitum Flandriae ont suivi en 1640 et 1641, mais avec des gravures imprimées séparément et non intégrées dans le bloc de texte comme dans la première édition actuelle.

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Mitgliedskarte für die passiven Mitglieder der 'Brücke' (Prof. Kirchner). 1908. Radierung. Gercken A-42. Dube R. 664. Links mittig in der Platte monogrammiert. Entsprechend der Zahl der passiven Mitglieder eines von 48 Exemplaren. Auf Kupferdruckpapier. 15,1 x 5,9 cm (5,9 x 2,3 in). Papier: 17,6 x 8,8 cm (6,9 x 3,5 in). Gedruckt in Braun von C. Sabo, Berlin. [SM]. • Bisher wurden erst zwei weitere Exemplare auf dem internationalen Auktionsmarkt angeboten (Quelle: artprice.com). • Die Mitgliedskarte des Vaters von Ernst Ludwig Kirchner. • Wichtiges Zeitdokument der Künstlergruppe. PROVENIENZ: Ernst Kirchner, Chemnitz. Sammlung Hermann Gerlinger, Würzburg (mit dem Sammlerstempel Lugt 6032). AUSSTELLUNG: Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Hans Bolliger, E. W. Kornfeld, Ausstellung Künstlergruppe Brücke. Jahresmappen 1906-12, Bern 1958, S. 24, Nr. 32. (m. Abb., anderes Exemplar). Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 105, SHG-Nr. 50a. Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 298, SHG-Nr. 675a. Professor Ernst Kirchner (1847 Gransee -1921 Chemnitz) ist der Vater von Ernst Ludwig Kirchner. Als Ingenieur für Papierchemie in Aschaffenburg erhält er 1892 einen Ruf für Papierforschung an der Gewerbeakademie in Chemnitz. Im Laufe seiner Lehre veröffentlicht Kirchner mehrere Fachaufsätze und das vierbändige Standardwerk 'Das Papier'. Seinem künstlerisch ambitionierten Sohn ist Kirchner sehr zugewandt und unterstützt ersten Zeichen- und Aquarell-Unterricht. Zwar besteht er auf dem Architekturstudium des Sohnes, finanziert ihm dann allerdings auch 1903/04 zwei Semester in München an den Lehr- und Versuchs-Ateliers von Wilhelm von Debschitz und Hermann Obrist. Die Einflussnahmen des Vaters auf den Sohn dürften auch im Umgang mit Papieren und deren Gestaltungsmöglichkeiten für den täglichen Gebrauch nicht unerheblich sein. [MvL] Aufrufzeit: 10.12.2022 - ca. 16.39 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Mitgliedskarte für die passiven Mitglieder der 'Brücke' (Prof. Kirchner). 1908. Etching. Gercken A-42. Dube R. 664. Monogrammed in the plate in left of center. One of 48 copies, corresponding to the number of passive members. On copper plate printing paper. 15.1 x 5.9 cm (5.9 x 2.3 in). Sheet: 17,6 x 8,8 cm (6,9 x 3,5 in). Printed in brown by C. Sabo, Berlin. [SM]. • To date only two other copies have been offered on the international auction market (source: artprice.com). • This is the membership card of Ernst Ludwig Kirchner's father. • Important contemporary document of the artist group. PROVENANCE: Ernst Kirchner, Chemnitz. Collection Hermann Gerlinger, Würzburg (with the collector's stamp Lugt 6032). EXHIBITION: Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (permanent loan from the Collection Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022). LITERATURE: Hans Bolliger, E. W. Kornfeld, Ausstellung Künstlergruppe Brücke. Jahresmappen 1906-12, Bern 1958, p. 24, no. 32. (with illu, different copy). Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 105, SHG no. 50a. Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle (Saale) 2005, p. 298, SHG no. 675a. Professor Ernst Kirchner (1847 Gransee -1921 Chemnitz) was the father of Ernst Ludwig Kirchner. As an engineer for paper chemistry in Aschaffenburg, he was called to teach and do research at the ‘Gewerbeakademie’ in Chemnitz in 1892. In the course of his apprenticeship, Kirchner published several technical papers and the four-volume standard work 'Das Papier'. Kirchner was very devoted to his son and his artistic ambitions and supported his first drawing and watercolor lessons. Although he insisted on his son studying architecture, he paid for two semesters at the art school of Wilhelm von Debschitz and Hermann Obrist in Munich in 1903/04. [MvL] Called up: December 10, 2022 - ca. 16.39 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Cuno Amiet 1868 Solothurn - 1961 Oschwand Postkarte: Berglandschaft mit Skifahrer. 1911. Buntstiftzeichnung und Tusche. Oben mittig signiert. Im unteren Rand bezeichnet 'Einen fröhlichen Neujahrsgruss vom Strelapass. 30. Dezember 1911'. Auf einer Blanko-Postkarte. 14,5 x 9,4 cm (5,7 x 3,7 in). Postkarte an Prof. Dr. Heinrich Ganter aus Davos, Poststempel 31.12.11. Das Werk ist unter der Nummer SHG 883 c in der Sammlung Hermann Gerlinger registriert. • Eine der äußerst selten angebotenen Künstlerpostkarten Amiets. • Treffsicher komponiertes Zeitzeugnis. • Der Mathematiklehrer Prof. Dr. Heinrich Ganter prägt als Präsident des Aargauischen Kunstvereins und Mitglied progressiver Künstlerverbände die schweizerische Kunstszene der Epoche. PROVENIENZ: Prof. Dr. Heinrich Ganter (1848–1915), Aarau (seit 1911). Sammlung Hermann Gerlinger, Würzburg (mit dem Sammlerstempel Lugt 6032, seit 2010: Villa Grisebach). AUSSTELLUNG: Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Villa Grisebach, Berlin, Auktion 28.11.2010, Los 602. Die Künstlerpostkarten sind beredtes Zeitzeugnis und eröffnen uns sowohl Einblicke in die künstlerische Entwicklung der Künstler als auch in ihr gesellschaftliches Leben. So folgt auch Cuno Amiet der schönen Tradition, zum Jahreswechsel Grüße an Freunde und Bekannte zu verschicken. Damit fügt er sich ein in die Reihe namhafter Künstler, darunter alle der Künstlergruppe 'Brücke', die künstlerisch gestaltete Postkarten als ideales Kommunikationsmittel auch zu Förderern und Sammlern für sich nutzen. Sie dienen als Status quo der Arbeit der Künstler, sind perfektes Beispiel der Methode des spontanen Erfassens und einer unverfälschten unmittelbaren Wiedergabe. Die Postkarten werden zu einer Art von Visitenkarte und stehen für ein modernes, erfolgsorientiertes Netzwerken. Mit der in schnellen Strichen eingefangenen schweizerischen Winterlandschaft, in der zwei unbeschwerte Skifahrer ihre Schwünge ziehen, hält sich Cuno Amiet bei Prof. Dr. Heinrich Ganter, dem Präsident des Aargauischen Kunstvereins, in Erinnerung. Dieser bereits 1860 gegründete und bis heute bestehende Kunstverein gehört zu den ältesten und größten Kunstvereinen der Schweiz. Ziel des Vereins ist es, eine umfangreiche Sammlung neuerer schweizerischer Kunst aufzubauen. Das Aargauer Kunsthaus besitzt heute mehrere Bilder aus der für Amiets Schaffen so wichtigen Zeit zwischen 1905 und 1913. [SM] Aufrufzeit: 10.12.2022 - ca. 17.22 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONCuno Amiet 1868 Solothurn - 1961 Oschwand Postkarte: Berglandschaft mit Skifahrer. 1911. Colored crayon drawing and India ink. Signed in upper center. Bottom margin inscribed 'Einen fröhlichen Neujahrsgruss vom Strelapass. 30. Dezember 1911'. On a blank postcard. 14.5 x 9.4 cm (5.7 x 3.7 in). Postcard to Prof. Dr. Heinrich Ganter from Davos, postage stamp December 31, 11. The work is registered in the Collection Hermann Gerlinger under the number SHG 883 c. • One of Amiet's extremely rare artist postcards. • Remarkable comtemporary document. • As president of the 'Aargauischer Kunstverein' and member of progressive artist associations, the mathematics teacher Prof. Dr. Heinrich Ganter was an influential figure of the contemporary Swiss art scene. PROVENANCE: Prof. Dr. Heinrich Ganter (1848–1915), Aarau (since 1911). Collection Hermann Gerlinger, Würzburg (with the collector's stamp Lugt 6032, since 2010: Villa Grisebach). EXHIBITION: Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022). LITERATURE: Villa Grisebach, Berlin, auction on November 28, 2010, lot 602. The artist postcards are eloquent testimony to the times and provide us with insights into both the artist’s development and their social life. Thus, Cuno Amiet also follows the beautiful tradition of sending greetings to friends and acquaintances at the turn of the year. In doing so, he joins the ranks of renowned artists, including all of the 'Brücke' artists, who used artistically designed postcards as an ideal means of communication, also with patrons and collectors. They serve as a status quo of the artists' work, are perfect examples of the method of spontaneous capture and unadulterated immediate reproduction. The postcards become a kind of business card and stand for modern, success-oriented networking. Cuno Amiet made the Swiss winter landscape with two skiers captured in quick strokes for Prof. Dr. Heinrich Ganter, the president of the ‘Aargauischer Kunstverein’. This art association, founded as early as in 1860 and still in existence today, is one of the oldest and largest art associations in Switzerland. The aim of the association has always been to build up an extensive collection of contemporary Swiss art. Today, the Aargauer Kunsthaus owns several paintings from the period between 1905 and 1913, which was so important for Amiet's work [SM] Called up: December 10, 2022 - ca. 17.22 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Nikolaos Gysis 1842 Sklavochori/Tinos - 1901 München Geduldsprobe. Um 1880. Öl auf Leinwand. Links unten signiert. 38 x 29 cm (14,9 x 11,4 in). PROVENIENZ: Sammlung James Staats Forbes (1823-1904), London. Nachlass James Staat Forbes, London. Galerie Heinemann, München (7.12.1904 durch Ankauf vom Vorgenannten - 5.4.1907, Heinemann-Nr. 7363). E.A. Fleischmann's Hofkunsthandlung, München (5.4.1907 vom Vorgenannten erworben, wohl im Auftrag des Nächtsgenannten). Geheimrat Dr. Isidor Groedel, Bad Nauheim (vom Vorgenannten erworben). Galerie Heinemann, München (15.2.1907 im Tausch vom Vorgenannten - 25.7.1907, Heinemann-Nr. 8708). Charles Brown, Baden/Zürich/Montagnola (25.7.1907 vom Vorgenannten erworben). Galerie Heinemann, München (3.4.1914 im Tausch vom Vorgenannten - 19.2.1916, Heinemann-Nr. 12396). Generaldirektor Dr. Hans Berckemeyer, Berlin (19.2.1916 vom Vorgenannten erworben). Privatsammlung Bayern. AUSSTELLUNG: Permanente Ausstellung von Werken erstklassiger deutscher, französischer, altenglischer und altspanischer Meister, Galerie Heinemann, München 1914, S. 64 (m. Abb.). LITERATUR: Galerie Heinemann, München, Karteikarten zu Heinemann-Nr. 7363, 8708, 12396. E.A. Fleischmann's Hofkungshandlung, München, Katalog der Gemäldesammlung (deutscher Teil) des + Herrn J. S. Forbes, Chelsea, London, 28.3.1905, Los 23 (m. Abb.). Lagerkatalog, Galerie Heinemann, München 1907/08, Kat.Nr. 84 (m. Abb.). Gysis wird auf der Kykladeninsel Tinos geboren und besucht schließlich die Kunstschule in Athen. Mithilfe eines Stipendiums reist er 1856 nach München, das in Griechenland sowie in ganz Europa derzeit einen hervorragenden Ruf genießt. Bis 1871 arbeitet er an der Münchner Akademie, darunter drei wesentlich prägende Jahre in der Klasse des renommierten Historienmalers Carl Theodor von Piloty. Es folgen Studienreisen nach Kleinasien und Griechenland, wo er beginnt, sich vor allem der Genremalerei zuzuwenden. Solche Szenen gibt er jedoch nicht folkloristisch, sondern einem suchenden und authentischen Realismus verpflichtet wieder, wie dieser zu der Zeit die internationalen akademisch ausgerichteten Ausstellungen dominiert. Die hohe technische Versiertheit in der Wiedergabe von Stofflichkeit und Details zeigen sein malerisches Können, geschult an einer der damals besten Akademien Europas. 1882 wird Gysis schließlich Professor an der Münchner Akademie und unterrichtet dort bis zu seinem Tod. Er zählt zu den Vertretern der sogenannten griechischen Münchner Schule und ist damit Teil der im 19. Jahrhundert bestehenden engen kulturellen Verknüpfung Bayerns und Griechenlands. [KT] Aufrufzeit: 10.12.2022 - ca. 14.43 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONNikolaos Gysis 1842 Sklavochori/Tinos - 1901 München Geduldsprobe. Um 1880. Oil on canvas. Lower left signed. 38 x 29 cm (14.9 x 11.4 in). PROVENANCE: Collection James Staats Forbes (1823-1904), London. Estate of James Staat Forbes, London. Galerie Heinemann, Munich (December 7, acquired from the above in 1904 - April 5, 1907, Heinemann no. 7363). E.A. Fleischmann's Hofkunsthandlung, Munich (acquired from the above on April 5, 1907, presumably on behalf of the following). Privy councillor Dr. Isidor Groedel, Bad Nauheim (acquired from the above). Galerie Heinemann, Munich (in an exchange from the above on February 15, 1907 - July 25, 1907, Heinemann no. 8708). Charles Brown, Baden/Zürich/Montagnola (acquired from the above on July 25, 1907). Galerie Heinemann, Munich (in an exchange from the above on April 3, 1914 - February 19, 1916, Heinemann no. 12396). General director Dr. Hans Berckemeyer, Berlin (acquired from the above on February 19, 1916). Private collection Bavaria. EXHIBITION: Permanente Ausstellung von Werken erstklassiger deutscher, französischer, altenglischer und altspanischer Meister, Galerie Heinemann, Munich 1914, p. 64 (with illu.). LITERATURE: Galerie Heinemann, Munich, file on Heinemann numbers 7363, 8708, 12396. E.A. Fleischmann's Hofkungshandlung, Munich, catalog of the painting collection (German part) of + Herrn J. S. Forbes, Chelsea, London, March 28, 1905, lot 23 (with illu.). inventory catalog, Galerie Heinemann, Munich 1907/08, cat no. 84 (with illu.). Born on the Cycladic island of Tinos, Nikolaos Gysis later went to art school in Athens. In 1856, supported by a scholarship, he traveled to Munich, which enjoyed an eminent international reputation in Greece as well as throughout Europe. Gysis worked at the Munich Academy until 1871, spending three formative years in the class of the renowned historical painter Carl Theodor von Piloty. On subsequent study trips to Asia Minor and Greece, he began to dedicate himself to genre painting. Instead of folkloristic scenes, however, he committed himself to the kind of searching and authentic Realism that dominated international academic exhibitions at the time. Trained at one of the best contemporary academies in Europe, he showed great technical skill in reproducing materiality and detail, illustrating his artistic talent. In 1882, Gysis was appointed professor at the Munich Academy where he continued to teach until his death. Counted among the representatives of the so-called Greek Munich School, he was part of the close cultural ties between Bavaria and Greece that prevailed in the 19th century. [KT] Called up: December 10, 2022 - ca. 14.43 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

A CARVED CELADON-GLAZED 'LOTUS' VASE, QIANLONG MARK AND PERIOD 乾隆款及年代青釉暗刻纏枝蓮紋瓶China, 1736-1795. Finely carved in high relief around the body with stylized lotus flowerheads borne on scrolling leafy vines, overall incised with minute details, above a lappet border and below a band of ruyi heads. The shoulder similarly decorated with foliate scroll below a distinct leiwen border, the neck with overlapping palm blades above pendent trefoils, with further ruyi bands at the foot and below the rim. The base incised with a six-character seal mark da Qing Qianlong nianzhi in intaglio within a slightly recessed square and of the period.Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Excellent condition with minor old wear and firing flaws, tiny surface scratches. Weight: 3,097 g Dimensions: Height 38.3 cmThe rounded sides supported on a spreading foot and sweeping up to an angular shoulder and waisted neck. Covered overall in a lustrous sea-green glaze pooling to a rich and deep celadon tone within the carved recesses. The base and inside glazed as well, leaving only the foot rim unglazed, revealing the white biscuit.From its fine potting, translucent pale green celadon glaze, crisp lotus scroll and supporting designs, this vase reveals the technical and artistic virtuosity of craftsmen active at the Imperial kilns in Jingdezhen during the 18th century. The form evokes a sense of effortless elegance, despite its design being meticulously executed and conceived in advance. The decoration and glaze both draw from the celebrated ceramic tradition of Longquan in Zhejiang province and reinterpret it to suit the eclectic taste of the 18th century and growing interest in timeless elegance, literally overarching millennia. Celadon-glazed wares are perhaps the type of ceramics most intimately associated with China. Their origins can be traced back to the Bronze Age, and since then they continued to be popular throughout the Chinese empire. The brilliant bluish-celadon glazes created at the Longquan kilns had provided much inspiration to the potters of the Jingdezhen imperial kilns since the early Ming dynasty. By lessening the amount of iron in the glaze, the potters were able to create a cool and delicate celadon glaze that, when applied on a white porcelain body, resembled the translucency and texture of pale celadon jade. A wide range of exquisite celadon tones was created in the early Qing dynasty, as a result of the Yongzheng and Qianlong Emperors' appreciation of Song dynasty porcelain. Much admired by contemporary connoisseurs was the douqing (bean-green), a bright sea-green color, and the present fenqing (soft green), a pale celadon-green glaze. When applied to finely carved pieces as on the present vase, the thinning and pooling of the glaze on the raised lines and the recesses create a delicate shaded effect, thus accentuating the crispness of the design. The present vase belongs to a group of monochrome wares where, by using a multi-level carving technique, the craftsmen have created a contrast in the color tone, as if two shades of the same color were used. The motif is elaborate and complex, displaying a level of porcelain carving and incision quality only achieved in the Imperial kilns of the 18th century, yet without any cluttering or overload whatsoever. The elegant silhouette of this vase, its restrained decoration, subtle glaze, and intaglio mark suggest that it was made in the early to middle years of the Qianlong reign, some time before designs slowly started to become overtly elaborate. Expert's note: The luxuriant lotus scroll on the present vase, which is particularly crisp in its rendering, was adapted from the somewhat rough and rustic designs on Longquan celadons of the Yuan and Ming dynasties. By adding tall palm blades to the neck, precise ruyi borders to the edges, multi-layer lappets to the lower body, and a hyper-accurate leiwen band to the shoulder, the artist has sensibly transitioned original Longquan designs into the highly formal decor language of the Imperial court. Later copies of these designs always lack such sophisticated semantics, for they not only demand complete submission to simplicity, but also scrupulously precise execution. Literature comparison: Compare a related Imperial celadon-glazed globular jar, also with a six-character incised seal mark of Qianlong in intaglio within a slightly recessed square and of the period, illustrated by Marchant, Recent Acquisitions 2012, Important Chinese Porcelain from Private Collections, London, page 94, no. 41. Compare a related celadon-glazed vase in the Qing Court collection, also with a Qianlong mark and of the period, with similarly carved ruyi heads, illustrated in Monochrome Porcelain: The Complete Collection of the Treasures of the Palace Museum, 1999, pages 152-153, no. 138. Compare a related celadon-glazed vase with carved lotus scrolls, with a similar incised Qianlong seal mark and of the period, illustrated in Shanghai Museum, Beijing Museum, Art Museum, The Chinese University of Hong Kong, Qing Imperial Monochromes. The Zande Lou Collection, Shanghai, Beijing, Hong Kong, 2005, p. 120, no. 43. Compare a closely related celadon-glazed bottle vase, 37.5 cm high, also with a Qianlong mark and of the period, with similarly carved palm blades, at Sotheby's Hong Kong, 8 April 2011, lot 3018. Compare a related celadon-glazed fanghu, 34.9 cm high, also with a Qianlong mark and of the period, with similarly carved lotus scroll, at Sotheby's New York, 16 September 2014, lot 158. Finally, compare also a closely related pear-shaped vase, Jiaqing mark and period, at Christie's Hong Kong, 29 and 30 April 2001, lot 554. Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 8 April 2011, lot 3018Price: HKD 20,000.000 or approx. EUR 2,935.000 converted and adjusted for inflation at the time of writingDescription: A Fine and Extremely Rare Carved Celadon-Glazed Bottle Vase, Seal Mark and Period of QianlongExpert remark: Compare the closely related celadon glaze, form, and characteristic carving techniques including high reliefs and remarkably fine incision work with corresponding glaze poolings.Auction result comparison: Type: Related Auction: Sotheby's London, 6 November 2019, lot 17 Price: GBP 375,000 or approx. EUR 492,500 converted and adjusted for inflation at the time of writingDescription: A superb and rare carved celadon-glazed 'peony' vase, Qianlong incised seal mark and periodExpert remark: Compare the related celadon glaze, carved decoration, and incised seal mark, and particularly the near-identical lappet border above the foot, perfectly encapsulating the skill required to make this vase. Note the slightly smaller size (32.4 cm).乾隆款及年代青釉暗刻纏枝蓮紋瓶中國，1736-1795年。圈足内六字篆書款“大清乾隆年製”。由於字數限制，完整中文敘述請至www.zacke.at查看。

A MAGNIFICENT LIMESTONE HEAD OF GUANYIN, YUAN TO MING DYNASTY 元明時期石灰石觀音頭像China, 14th century. The brown and gray stone with its distinct gray striations is deeply carved to depict Guanyin with a serene and benevolent expression, eyes downcast beneath elegantly arching brows centered by a circular urna, the neatly incised curled hair piled into a topknot and secured by a high-peaked Buddhist tiara with small images of the Amitabha Buddha seated in dhyanasana on a lotus pedestal.Provenance: From the collection of Karl Stirner, and thence by descent. Karl Stirner (1923-2016) was a German-born American sculptor known internationally for his metalwork. His art has been shown at the Museum of Modern Art in New York, the Pennsylvania Academy of Fine Arts, the Philadelphia Museum of Art, the Corcoran Gallery, the La Jolla Museum of Contemporary Art, the James A. Michener Art Museum, the Grounds for Sculpture in Hamilton, New Jersey, and the Delaware Art Museum, among other places. Condition: Good condition, commensurate with age, and exactly as expected of an authentic limestone sculpture from the 14th century. Extensive wear, weathering, encrustations and erosion. Losses, structural cracks, and minor nicks here and there. Remnants of multiple layers of lacquer and pigments from different periods.Weight: 18.2 kg (incl. stand) Dimensions: Height 34.5 cm (excl. stand), 56.5 cm (incl. stand) Mounted to a metal and wood stand. (2)Expert's note: The present sculpture bears the telltale signs of raised edges rubbed smooth, unequivocal testimonials of constant worshipping spanning many centuries, where beholders were gripped with the overt temptation to caress the cheekbones, forehead and nose.This remarkably beautiful and large head presents the bodhisattva of Compassion and Mercy. The iconography of the god was originally created on Indian soil and brought to China by monks at the beginning of the Christian era. In the early phase of Chinese Buddhism, stone and bronze examples of the god of Compassion followed these Indian iconographic treatises by depicting him as a male god. By the end of the Tang period (618-907) the depiction of Avalokiteshvara or (in Chinese) Guanyin had gradually become feminized to reach a climax during the Song dynasty (960-1279), when the majority had acquired a definite female appearance. During this period of transition, the mercy aspect of the god was emphasized, resulting in these stronger female features. The present, superbly sculpted head shows the pinnacle of this development, which had become the hallmark for all Guanyin representations from then onwards.Auction result comparison:Type: Closely relatedAuction: Christie's Paris, 13 June 2013, lot 261Price: EUR 39,900 or approx. EUR 46,000 converted and adjusted for inflation at the time of writingDescription: A limestone Guanyin head, China, 14th centuryExpert's remark: Note the height of 44 cm.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 10 May 2018, lot 986Price: USD 56,250 or approx. EUR 62,000 converted and adjusted for inflation at the time of writingDescription: A stone head of Guanyin, China, Ming dynasty (1368-1644)Expert's remark: Note the height of 25 cm.元明時期石灰石觀音頭像中國，十四世紀。灰褐色石料上刻有明顯的灰色條紋，觀音菩薩頭戴五葉冠，冠形繁複，上有阿彌陀佛坐像；臉型豐滿圓潤，雙目低垂，雙眉之間有白毫，表情莊嚴大氣。髮髻高聳。 來源： Karl Stirner私人收藏，保存至今。Karl Stirner (1923-2016年) 是一位出生於德國的美國雕塑家，以其金屬造像而聞名於世。他的藝術作品曾在紐約現代藝術博物館、賓夕法尼亞美術學院、費城藝術博物館、科科倫畫廊、拉霍亞當代美術館、James A. Michener美術館、新澤西州漢密爾頓The Grounds 雕塑舘和特拉華美術館等展出。 品相：品相良好，狀況與年代相符。大面積磨損、風化、結殼和侵蝕。很多缺損、結構裂縫和輕微的劃痕。不同時期的漆彩殘餘。 重量：18.2 公斤 (含底座) 尺寸：高34.5 厘米 (不含底座)，56.5 厘米 (含底座) 木底座，金屬支架。 專家注釋：這件造像帶有明顯的凸起邊緣因爲摩擦而變得光滑的跡象，明確證明了跨越多個世紀的膜拜與使用。觀者不由自主被吸引，想要撫摸顴骨、前額和鼻子。由於字數限制，完整中文敘述請至www.zacke.at查看。

'GRAPES, LEAVES AND VINES' BY LI KUCHAN (1899-1983) 李苦禪款《葡萄》China. Ink on paper. Depicting leaves and vines with hanging grapes at the center, below some branches with small buds, superbly painted in the artist's characteristic bold and spontaneous style.Inscriptions: Upper right, inscribed 'Binglong di Li Nianchan' ('For Brother Binglong Li Nianchan'), one seal, 'Li Ying zhiyin'. Provenance: British trade. Condition: Very good condition with minor wear, foxing, a small tear to the central fold, minor creasing.Dimensions: Size 63.7 x 44.7 cmLi Kuchan (1899-1983) was a renowned Chinese painter, calligrapher and art educator who specialized in free-stroke brush paintings. Li was born in Gaotang, Shandong, into a poor family and had to take up hard labor in order to pay for art school in Beijing. In 1923, he began to study under Qi Baishi (1864-1957), a famous contemporary Chinese painter and was considered to be his best student. Later, Li began to work as an art teacher, and taught at the Central Academy of Fine Arts from 1950 until his death in 1983. He specialized in bird-and-flower paintings using the free and spontaneous 'xieyi' style (freehand brushwork used in traditional Chinese painting).Auction result comparison:Type: RelatedAuction: Christie's London, 13 November 2015, lot 1198Price: GBP 8,125 or approx. EUR 11,000 converted and adjusted for inflation at the time of writingDescription: Li Kuchan (1898-1984), LotusExpert remark: Compare the related motif and technique. Note the smaller size (49 x 41.5 cm).Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 30 May 2017, lot 1443Price: HKD 150,000 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: Li Kuchan (1899-1983) Fragrant Plantain LilyExpert remark: Compare the closely related motif and technique. Note the similar size (62 x 46 cm) and that this lot comprises two paintings.李苦禪款《葡萄》中國，紙本設色。大寫意描繪葡萄以及藤蔓與葉子。 款識：柄龍弟李念禪鈴印：李英之印 來源：英國古玩市場。 品相：狀況極好，有輕微磨損、褐變、中央褶皺處有小撕裂、輕微摺痕。 尺寸：63.7 x 44.7 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2015年11月13日，lot 1198 價格：GBP 8,125 （相當於今日EUR 11,000） 描述：李苦禪(1899-1983)《蓮花》 專家評論：比較相近的主題和技術。請注意尺寸較小 (49 x 41.5 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年5月30日，lot 1443 價格：HKD 150,000（相當於今日EUR 20,500） 描述：李苦禪(1899-1983)《魚戲》 專家評論：比較非常相近主題和技術。請注意尺寸較小(62 x 46 厘米) ，此組圖為兩幅。

A LUKENBOOTH BROOCH, UNHALLMARKED ASSESSED AS SILVER, TOGETHER WITH A TWO CONTEMPORARY HALLMARKED SILVER PENDANTS, MAKERS MARK LS, AND A GERMANIC GILDED METAL ART NOUVEAU ENAMELLED AND SEED PEARL BROOCH, AND A FURTHER MOSS AGATE AND SILVER BROOCH. GROSS WEIGHT 29.81grms.

A contemporary armchair, graffiti street art upholstery, raised on spayed legs, H73cm, D64cm, together with a modern ottomans footstool. (2)

David Cobley (British, Contemporary) "Towards the Corner", portrait of a contemplative nude woman sat at the edge of her bed, oil on canvas, Messum's Fine Art 2006 Atelier Exhibition Gallery label verso, 53 cm x 53 cm overall [Short listed for the John Player Portrait Award, now the BP Portrait Award, in 1989. His portrait of the comedian Ken Dodd was bought by the National Portrait Gallery for its permanent collection in 2005. Five years later, The National Portrait Gallery commissioned Cobley to paint a portrait of the scientist Sir Martin John Evans.]

Jack Morrocco (Scottish, Contemporary) "Summer Bedroom, Provenance", oil on board, Thompson's gallery label verso, signed, in fabric covered slip and broad ogee moulded frame, 26 cm x 34 cm sight size [Morrocco studied at Duncan of Jordanstone College of Art, Dundee 1970-1974 and was awarded postgraduate year 1975, and achieved a highly commended post diploma - the highest award possible at that time. "In the studio I am attracted by the challenges of portraying light and shade, texture and colour to create a balance in which I hope to attract and captivate the viewer both in still life and figure work." https://www.jackmorrocco.com]

Jack Morrocco (Scottish, Contemporary) "Nude with red drape", chiaroscuro oil on canvas, Thompson's gallery label verso, signed, in fabric covered slip and broad ogee moulded frame, 59 cm x 44 cm sight size [Morrocco studied at Duncan of Jordanstone College of Art, Dundee 1970-1974 and was awarded postgraduate year 1975, and achieved a highly commended post diploma - the highest award possible at that time. "In the studio I am attracted by the challenges of portraying light and shade, texture and colour to create a balance in which I hope to attract and captivate the viewer both in still life and figure work." https://www.jackmorrocco.com]

David Cobley (British, Contemporary) "On the Edge II", portrait of a passive nude woman lying asleep at the edge of her bed, oil on canvas, Messum's Fine Art 2005 Solo Exhibition Gallery label verso, 87 cm x 97 cm overall [Short listed for the John Player Portrait Award, now the BP Portrait Award, in 1989. His portrait of the comedian Ken Dodd was bought by the National Portrait Gallery for its permanent collection in 2005. Five years later, The National Portrait Gallery commissioned him to paint a portrait of the scientist Sir Martin John Evans.]

Julie Vatcher 'ARANYA' (meaning bountiful forest) - fluid acrylic art on canvas - This painting combines fluid art, gold leaf and pen and ink work. It has a beautiful sky with lots of silver and greyish blues with sweeping clouds to the top left. The “forest” base has lots of fluid art magic with cells and lacing with Hunderwasser inspired trees filled with gold and rose leaf - 19.5" x 8" - PROVENANCE: Donated to and sold on behalf of Macmillan Caring Locally, Canvas for the Mac - the full hammer price will be going to the charity - About the Artist: Julie Vatcher is a fluid and contemporary artist based in Dorset. Her paintings flow with the seasons and depict landscapes, seascapes and wild flowers.

CHARLOTTE NASMYTH (SCOTTISH 1804-1884) PERTH Inscribed on a contemporary label verso, indistinctly dated 1844, oil on boardDimensions:28cm x 38cm (11in x 15in)Note: Charlotte (1804-1884) was the youngest daughter of Alexander Nasmyth. Born and raised amidst the hubbub of her father's York Place art school, she cultivated a painting style more distinct from that of her siblings on account of its freer, more flamboyant handling of paint and vibrant tonal palette. She was possibly the most prolific of her sisters, and appears to have travelled widely within the UK, with pictures recording landscapes across Scotland, Wales and England. Portraits of Charlotte were painted by William Nicholson (1781-1844) and Andrew Geddes (1783-1844), and are now in the collections of the National Galleries of Scotland and the British Museum respectively.Raised in a uniquely artistic and intellectual environment, it is of little surprise that the Nasmyth children understood the principles of drawing and painting. It is remarkable, however, that so many possessed natural artistic talent. Of his eleven children at least eight were gifted artists: his six eldest daughters Jane, Barbara, Margaret, Elizabeth, Anne and Charlotte, and his eldest son Patrick and younger son James. James observed that ‘my father’s object was to render each and every one of his children…independent…accordingly, he sedulously kept up the attention of his daughters to fine art. He set on foot drawing classes…managed by his six daughters, superintended by himself.’The Nasmyth children benefited from intimate access to their father’s paintings and expansive drawings portfolio, including many early copies of Old Masters made at the Trustees Academy in Edinburgh and Allan Ramsay’s studio. It also contained numerous landscape sketches observed from life, overwhelmingly portraying England and Scotland. Only a few European sketches survive, likely made during Nasmyth’s Italian studies, but charmingly these continental landscapes appear to have been pored over by the Nasmyth children, and can be seen to have inspired passages in their mature paintings. They all went on to paint landscapes almost exclusively, with each adopting a personal interpretation of their father’s style.

WILLIAM BELL SCOTT H.R.S.A., L.L.D. (SCOTTISH 1811-1890) THE BARGE OF THE FAIRY MAB Inscribed with title and address and 'Government School of Design' on a contemporary label verso, feigned arched top, oil on canvasDimensions:61cm x 51cm (24in x 20in)Provenance:Provenance: Careston Castle, Brechin, AngusExhibited: Royal Scottish Academy, Edinburgh, Annual Exhibition, 1845, no.175Note: O, then, I see Queen Mab hath been with you. She is the fairies' midwife, and she comes In shape no bigger than an agate-stone On the fore-finger of an alderman, Drawn with a team of little atomies Athwart men's noses as they lies asleep; Her wagon-spokes made of long spinners' legs, The cover of the wings of grasshoppers, The traces of the smallest spider's web, The collars of the moonshine's wat'ry beams, Her whip of cricket's bone; the lash of film…— Mercutio in Romeo and Juliet, Act I, scene IVWilliam Bell Scott was born in Edinburgh in 1811, the son of the engraver Robert Scott (1777-1841) and younger brother of the painter and poet David Scott (1806-1849). He trained in fine art at the Trustees’ Academy, a forerunner of Edinburgh College of Art. In 1837 he moved to London, where he soon developed a connection with a group of painters known as ‘The Clique’ who met to sketch together. ‘The Clique’ was founded by the renowned fairy painter Richard Dadd in the late 1830s, and co-alesced around a rejection of high art and a belief that their work should not conform to academic ideals. Bell Scott formed a friendship with Dadd, and they collaborated on illustrations for Samuel Carter Hall’s ‘Book of British Ballads’ (1842). The group disbanded in 1843 after Dadd was diagnosed insane and institutionalised at Bethlem for killing his father during a psychotic breakdown.In 1843 Bell Scott was offered the position of Master of the Government School of Design at Newcastle-upon-Tyne, where he would remain for the following twenty years. He nevertheless maintained a relationship with the Pre-Raphaelites in London, and contributed poetry to their journal ‘The Germ’. He was close to William Holman Hunt and, in particular, Dante Gabriel Rossetti, whose family championed his work.Bell Scott is best-known for his history paintings. In 1854 he was commissioned to paint a series of works depicting the history of Northumberland for Wallington Hall, the Morpeth home of his most valued patron Lady Trevelyan. Five years later he met Alice Boyd of Penkill Castle, Ayrshire, while she studied in Newcastle. The relationship became close, and from the 1860s Scott lived with Alice Boyd and his wife Letitia in a ménage à trois between Scotland and London until the end of his life. Following her brother’s death in 1865 Alice became the owner of Penkill, and Bell Scott spent several years in the 1860s painting the staircase with a series of frescos illustrating James I’s poem ‘The Kings Quair’.‘The Barge of the Fairy Mab’ was exhibited at the Royal Scottish Academy in 1845, and pre-dates Bell Scott’s Pre-Raphaelite associations. The Fairy Queen Mab is glimpsed through lily petals glowing in the moonlight, being transported on a barge formed from lily pads. Her hair falls in flowing golden tresses and she holds a long red wand, which she directs towards a spider spinning silken threads, as her wide eyes gaze upwards towards the web. The Fairy Queen and several of her attendants are unclothed, with a sensuous allure of form that could not have been freely expressed in a traditional Victorian genre or history painting. The intense jewel-like colour draws the eye towards the heart of the composition, as does the detailed rendering of the elf-like creatures, insects, bugs and leaves. Even the delicate threads of the web are beautifully illuminated. The scene is enclosed within leaves and grasses, through which fairies make their way, with bright star-like torches on their heads, past a swan nestled in the background. There is joy, humour and mischief in the rendering of Fairy Queen Mab and her entourage, and it is a delight to glimpse into this fantasy.Queen Mab is a mischievous yet benevolent figure. In ‘Romeo and Juliet’ she is referred to as the fairies’ midwife, who delivers sleepers their innermost fancies in the form of dreams. In Victorian Britain a great fashion for fairy painting co-incided with a resurgence of interest in Shakespearean plays such as ‘The Tempest’ and ‘A Mid-Summer Night’s Dream’, in which fairies feature as characters. The popularity of the fairy genre is seen as a reaction to the societal and environmental changes being wrought by industrialisation and the expansion of the suburbs. Viewers sought escapism from the changing world through mystical, spiritual and fantastical scenes and images of the natural world. The fairy genre is rare in Bell Scott’s oeuvre, yet in ‘The Barge of the Fairy Mab’ he has created a charming example of Victorian fairy painting at its best.

§ ◆ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) THE PERSECUTED Signed and inscribed, signed, inscribed and dated 1968 to stretcher verso, oil on boardDimensions:185.5cm x 185.5cm (73in x 73in)Provenance:Exhibited: Walker Art Gallery, Liverpool, John Moores Exhibition 7, 1969Literature: John McEwen, John Bellany, Edinburgh 2013, p.72Note: ‘I believe that it’s imperative that one is really excited and overwhelmed by the things one paints and writes about.’– John BellanyThe late 1960s were a crucial point in Bellany’s evolution as an artist. Following a degree at Edinburgh College of Art he continued his studies at the Royal College of Art in London, graduating in 1968. More significantly, in the previous year, he had visited East Germany on a cultural scholarship, discovering a range of German artists and attending the site of the Buchenwald concentration camp. Unsurprisingly this had a significant impact on the young artist, and in the ensuing years he produced paintings that helped process the emotional distress he experienced subsequently. Artist and writer Janet McKenzie remembers ‘When I interviewed him in 2010, he recalled that, following the visit to Buchenwald, it took him many years to reconcile the experience of the Holocaust, and he was only able to do so through the creative process, through the visualisation of the sense of the dichotomous – horror and beauty – that constitutes the human condition . . . Bellany’s relentless struggle to make sense of the split between the love found in family bonds, in nature, in the human spirit in many instances, and the abject terror and evil that humans are capable of. These polar opposites drove him on a daily basis.’In ‘The Persecuted,’ Bellany centres the people that were sent to camps such as Buchenwald: the sick; the disabled; the homeless; political prisoners; those convicted of crimes, to name but a few. Bellany does not baulk at their suffering, choosing instead to portray his subjects as emaciated and huddled together. We can sense the cold, their discomfort, their hunger but there is also a vitality and vibrancy here, a defiance. The approach is confronting, with the intimidating scale and imposing dark green frame crowding the figures while also compelling our gaze towards them, as they stare directly back at us. Thus, Bellany forbids the viewer to shy away from their grim reality and committed endurance in the face of adversity.Bellany raises these dispossessed figures to an elevated position normally reserved for those hung on the hallowed walls of galleries or museums. He subverts our expectations, showcasing suffering rather than the dashingly heroic, framing and naming this group so that they cannot be erased or forgotten. The distinctive presentation also suggests Bellany’s acknowledgement of traditional trompe l’oeil framing devices. There is a sense, in the works of this period, of the inspiration Bellany found in the Old Masters, with his interest in classical works informing the committed realism that went against the grain of modern art in 1960s London.Large-scale paintings like this from the mid-1960s cemented Bellany’s reputation as a contemporary artist of significance. A masterful work from a key moment in the artist’s career, we see this formidable talent utilising his superb artistic abilities to interrogate key matters at the very heart of the human condition: our capacity for good and evil, our suffering and our perseverance, our enduring hope.

Street Art - - KAWS('Brian Donnelly'). (1974). Boba Fett. 2013. Multiple aus farbig gefasstem, gegossenes Soft-vinyl. 25 x 11,7 x 8,7 cm. Auf der Unterseite mit dem Hersteller versehen, bezeichnet und datiert: MEDICOM TOY 2013 CHINA © 2013 Lucasfilm Ltd. & TM. All rights reserved Designed by KAWS. - Originale Verpackung nicht vorhanden. Leicht berieben an den Standflächen und an der Rückseite der Figur. Sauberer Zustand mit kräftigem Kolorit. Eines von 500 Exemplaren. - KAWS (Brian Donnelly) ist ein in New York ansässiger Pop-Künstler und Designer, der für seine charakteristischen Vinylfiguren in limitierter Auflage bekannt ist. KAWS begann seinen künstlerischen Weg als Graffiti-Künstler und erarbeitete sich eine Bildsprache, die zu seinen eigenen Figuren führte. Er überschreitet bzw. schafft dabei eine Brücke zwischen Massenkultur und hoher Kunst. Die Companion-Figuren nehmen somit eine besondere ikonische Rolle in seinem Werk ein, die mit ihrer Formensprache, entliehen aus den Cartoons, in Verbindung mit dem verwendeten Totenkopfmotiv einen Sprung von der bekannten Ikonografie der Kindheit in einen zeitgenössischen Kontext schafft. Multiple made of colour-framed, cast soft vinyl. Inscribed with the maker on the underside, inscribed and dated: MEDICOM TOY 2013 CHINA © 2013 Lucasfilm Ltd & TM. All rights reserved Designed by KAWS. - Original packaging not present. Slightly rubbed on the standing surfaces and on the back of the figure. Clean condition with strong colouring. - One of 500 copies. - KAWS (Brian Donnelly) is a New York-based pop artist and designer known for his signature limited edition vinyl figures. KAWS began his artistic journey as a graffiti artist and developed a visual language that led to his own figures. He crosses or creates a bridge between mass culture and high art. The Companion figures thus take on a special iconic role in his work, which with their formal language borrowed from cartoons in conjunction with the skull motif used creates a leap from the familiar iconography of childhood into a contemporary context.

Christo (d. i. Chr. Javacheff). (1935 Gabrovo/Bulgarien - 2020 New York). Packed Hay. (Project for the Institute of Contemporary Art, University of Pennsylvania, Philadelphia). (1973). Farbserigraphie auf braunem Karton. 55,5 x 76 cm. In Bleistift signiert und nummeriert. Verso mit Galeriestempel und Annotation in Bleistift. - In sauberem Zustand. Prachtvoller und satter Druck. Schellmann/Benecke 62. - Eines von 200 nummerierten Exemplaren. - Das Objekt "Verpacktes Heu" entstand im Rahmen einer Christo-Ausstellung im oben genannten Museum. Color serigraph on brown cardboard. Signed and numbered in pencil. Gallery stamp and annotation in pencil on verso. - In clean condition. Splendid and rich impression. - One of 200 numbered copies. - The object "Packed Hay" was created as part of a Christo exhibition at the above institute.

A Greek bronze and terracotta diadem Circa 4th-3rd Century B.C.The diadem formed from bronze with gilding remaining on the bronze ivy leaves, interspersed with white gesso-painted terracotta berries attached with fine bronze strands, 24cm longFootnotes:Provenance: Private collection, Germany.With Royal-Athena Galleries, New York. Ian Colverson (1940-2022) Collection, UK, acquired from the above on the 4 May 2009.Ian Colverson was a Postwar & Contemporary printmaker whose works are held in many museums and galleries worldwide, including the Tate Gallery, London and the Museum of Modern Art, New York.There is a wreath with clay berries and gilt ivy leaves in the Museum of Fine Arts Boston, cf. M. Constock and C. Vermeule Greek, Etruscan and Roman bronzes in the Museum of Fine Arts Boston, 1972, pp.199-200.For further information on this lot please visit Bonhams.com

Margaret Hunter, Scottish b.1948 - Zig Zag Concert, 1995; oil on board, signed and dated lower right 'Hunter 1995', titled to gallery label on the reverse with incorrect date, 120 x 95 cm (ARR) Provenance: with Art First, Contemporary Art, London (according to the label on the reverse)

Alex Lowery, British b.1957 - Heath Land 6, 2003; oil on canvas, signed, titled and dated on the reverse ‘Alex Lowery Heath Land 6 2003’, 26 x 32 cm: together with another work by the same artist, 'Heath Land 8, 2003', oil on canvas, signed, titled and dated on the reverse ‘Alex Lowery Heath Land 8 2003’, 26 x 32 cm (ARR) (2) Provenance: with Art First Contemporary Art, London (according to the label attached to the reverse); private collection and thence by descent

Grandma Moses, American 1860-1961 -Kenyon Old House;oil on canvas, signed 'Moses', 20.5 x 25.76 cm (unframed)Provenance: the artist; Sidney Janis c.1940; private collection and thence by descent; Sotheby's, Arcade Sale, 15th March 1986, sale no.157, lot 267; The Geoffrey and Fay Elliott Collection, purchased from the above and thence by descentImages: Copyright Grandma Moses Properties Co., New YorkNote: catalogue raisonne number Kallir 1572A self-taught painter, Grandma Moses is one of America's most beloved folk artists. This work was originally handled by legendary dealer, Sidney Janis, whose gallery was an early exhibitor of the Abstract Expressionists, as well as Modern European masters. Janis included her work in the show ‘Contemporary Unknown American Painters’ at the Museum of Modern Art in 1939, which brought her work to national attention.The bucolic landscapes of Grandma Moses were inspired by the landscape and villages of rural East Coast America, idealised through her own imagination - “What’s the use of painting a picture if it isn’t something nice?” she asked.After spending most of her life working in rural New York and Virginia on farms, she started painting New England landscapes only at the age of 77.

Ronald Ossory Dunlop NEAC RBA RA, Irish 1894-1973 - The Ferry, Weybridge, 1969; oil on canvas, signed lower right 'Dunlop', 25 x 30.5 cm (ARR) Provenance: with Cork Street Gallery, London (according to the label on the reverse); Robert A. Lillie Collection, cat. no. 465; Christie's, Scotland, Decorative Arts; Scottish Contemporary and Modern Art, 23rd Sept 1997, lot 289, illus.pg.41; Sotheby's, London, Modern British and Irish Paintings, Drawings and Sculptures, 4th March 1998, lot 137, illus.pg.56

Henryk Gotlib, Polish/British 1890-1966 - Interior with Two Girls, 1941; signed lower left 'GOTLIB', titled and dated to label on the reverse of the frame, 51 x 61.5 cm (ARR) Provenance: with Grant Fine Art, Newcastle, Northern Ireland Exhibited: The National Museum in Warsaw, Galeria Sztuki Wspolozesnej [The Contemporary Art Gallery], Henryk Gotlib, 1980, cat. no. I 19 (according to the label attached to the reverse of the frame)

* WILLIAM CROSBIE RSA RGI (SCOTTISH 1915 - 1999),WOMAN IN A YELLOW CHAIRoil on board, titled label versoimage size 17cm x 12cm, overall size 23cm x 18cm Framed. Label verso: The Scottish Gallery, Edinburgh.Note: The Scottish Gallery (Edinburgh) staged their fifth "highly successful" William Crosbie solo show "The Devoted Creative" 1st - 28th April 2020.In The Scottish Contemporary Art Auction of 20th June 2021, lot 712 "Susanna and the Elders" (a 17 x 15cm oil on board by Crosbie) sold for £2200 (hammer).

* HANNAH FRANK (SCOTTISH 1908 - 2008), GARDEN (1932)lithograph on paper, signed in pencil image size 31.5cm x 27.5cm, overall size 53cm x 42cmMounted, framed and under glass.Note: "Garden (1932)" is one of the rarest Hannah Frank signed prints. A previous example of this print was sold (by McTear's) for £650 (lot 526 The Scottish Contemporary Art Auction 27th September 2020). Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).

* JONATHAN ROBERTSON (SCOTTISH b. 1947),SEATOWN KNITTERSoil on linen, signed, titled label versoimage size 51cm x 56cm, overall size 73cm x 78cm Framed. Handwritten artist's label verso.Note: Jonathan Robertson was born in Banff in 1947 and trained at Glasgow School of Art. He has exhibited widely at home and abroad including the Artists Union Gallery Moscow, The Barbican, Royal Glasgow Institute, Royal Scottish Academy, Scottish Society of Artists, Smith Institute Sterling and the Mall Galleries, London. His work is highly collectable and is represented in institutional collections including Arthur Andersen and Co., Ernst and Young, Scottish Television plc, Glasgow Art Gallery, the Universities of Strathclyde and Stirling, Hilton Hotels and Loretto School. His galleries include: Thompsons Gallery (London), The Contemporary Fine Art Gallery (Eton), Lemon Street Gallery (Cornwall) and Lemond Gallery (Glasgow). The most recent example we've offered of Jonathan Robertson's work was "Tales of the Sea" (lot 75, 29th September 2022) which sold for £1900 (hammer)

* GERARD BURNS (SCOTTISH b. 1961),THE PILGRIMSoil on canvas, signedimage size 122cm x 184cm, overall size 150cm x 210cmFramedNote: Typical gallery price approximately £25,000Note 2: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

* GERARD BURNS (SCOTTISH b. 1961),A BACKWARDS GLANCEoil on canvas, signedimage size 100cm x 150cm, overall size 128cm x 178cm Framed.Note: Typical gallery price approximately £14,500.Note 2: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

* GERARD BURNS (SCOTTISH b. 1961),A WINTERS JOURNEYoil on canvas, signedimage size 90cm x 60cm, overall size 118cm x 88cm Framed.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

EILEEN BRIDGET HIGGINS,THE CAT HILL DREAMS O' BELTIES (2022)oil on canvas, initialledoverall size 100cm x 100cmUnframed, as intended.Note: Eileen Higgins is a Glasgow born artist who now works in the south west of Scotland. "I have a great love for what I do and this has since coloured other aspects of my life….I’m just happy doing what I do.” In "Urban, Street & Contemporary Art" a charity auction staged by McTear's (28th October 2022) for the benefit of The Glasgow Children's Hospital Charity, two paintings gifted by Eileen Higgins sold after enthusiastic bidding for £400 & £1300 (hammer).

EILEEN BRIDGET HIGGINS,FACE TIME MAMMY (2021)oil on board, initialledoverall size 92cm x 61cmUnframed, as intended.Note: Eileen Higgins is a Glasgow born artist who now works in the south west of Scotland. "I have a great love for what I do and this has since coloured other aspects of my life….I’m just happy doing what I do.” In "Urban, Street & Contemporary Art" a charity auction staged by McTear's (28th October 2022) for the benefit of The Glasgow Children's Hospital Charity, two paintings gifted by Eileen Higgins sold after enthusiastic bidding for £400 & £1300 (hammer).

EILEEN BRIDGET HIGGINS,SELF PORTRAIT (2022)oil on board, initialledoverall size 26cm x 20cm Unframed, as intended.Note: Eileen Higgins is a Glasgow born artist who now works in the south west of Scotland. "I have a great love for what I do and this has since coloured other aspects of my life….I’m just happy doing what I do.” In "Urban, Street & Contemporary Art" a charity auction staged by McTear's (28th October 2022) for the benefit of The Glasgow Children's Hospital Charity, two paintings gifted by Eileen Higgins sold after enthusiastic bidding for £400 & £1300 (hammer).

* ETHEL WALKER (SCOTTISH b. 1941),STUDY IN BLUEoil on board, signed, titled and dated 2001 label versoimage size 82cm x 82cm, overall size 101cm x 101cm Framed and under glass. Label verso: The Gatehouse Gallery, Glasgow.Comment: a superb example of Ethel Walker's celebrated still life paintings and almost certainly the largest Ethel Walker we've ever offered.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" (a slightly smaller oil on board than "Study in Blue") achieved £3000 (hammer).

* GERARD BURNS (SCOTTISH b. 1961),MATADOR IIoil on canvas, signedimage size 50cm x 50cm, overall size 78cm x 78cm Framed.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

* DONALD PROVAN (SCOTTISH b. 1964),EAST COASTmixed media on paper, signed, titled and dated 2002 versoimage size 50cm x 70cm, overall size 69cm x 89cmMounted, framed and under glass.Note: Edinburgh-based artist Donald Provan is renowned for his water-related paintings. His work centres on two distinct areas; the land or seascape above and the fish life below. Donald graduated from Edinburgh College of Art in 1986 with a degree in Drawing and Painting, and then gained a Post Graduate Diploma in 1987. His preferred medium is oil which he uses in different ways dependent on the subject matter. In his paintings of fish he applies the paint in a controlled way, whilst in his seascapes he uses thicker paint, with washes of turpentine, letting the paint dictate the final direction of the painting. He has participated in numerous exhibitions throughout the UK, and has had many solo exhibitions in Scotland. Provan is the recipient of several major awards including the Elizabeth Greenshields Foundation Grant, Canada in 1987 and 1992 and the Royal Scottish Society of Painters in Watercolour Small Painting Award at the Royal Scottish Academy in 2008. His work is in many private and public collections, including the Royal Bank of Scotland, the University of St Andrews and Edinburgh College of Art. Provan's principal Scottish gallery is the prestigious Open Eye Gallery (Edinburgh) and his most recent solo show there was 9th - 27th March 2021. Donald Provan's work very rarely appears at auction but in The Scottish Contemporary Art Auction of 17th April 2022 lot 274 "Shoal on Pale Grey" (32 x 63cm) by Donald Provan sold for £1800 (hammer).

* WILLIE RODGER RSA RGI (SCOTTISH 1930 - 2018),BATH HOUSElinocut on paper, signed, titled, dated '87 and numbered 6/22image size 65cm x 49.5cm, overall size 70cm x 54cmFramed and under glass.Comment: a very rare example and so far as we can ascertain the first time "Bath House, Cave" has been offered at auction anywhere.Note: The Royal Scottish Academy website describes Willie Rodger as "one of the most significant artist-printmakers in recent Scottish art history". Born in Kirkintilloch in 1930, Rodger studied Graphics and Printmaking at Glasgow School of Art from 1948 to 1953. He received a rigorous education from a course that, at the time, only accepted the most skilled draughtsmen. By graduation Rodger had already sold two prints to the Victoria and Albert Museum, London, and went on to a career in advertising. However, he became disillusioned with the cut and thrust of the commercial world and an opportunity to change careers and return to Scotland came about with a teaching vacancy at Lenzie Academy, then as Principal Teacher of Art at Clydebank High School, a post he held until early retirement in 1987. He was elected to the Royal Scottish Academy in 1989 and awarded an honorary doctorate by the University of Stirling in 1999. In The Scottish Contemporary Art Auction of 28th February 2021 lot 562 "Reverie" by Willie Rodger established a new auction record for a print by the artist selling at £1200 (hammer).

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),GREEN EVENING, KENTRA BAY, ARDNAMURCHAN oil on canvas, signed, further signed, titled and dated 2003 versoimage size 61cm x 61cm, overall size 85cm x 85cm Framed and under glass.Artist's label verso.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick's Tug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),BEN MORE, ISLE OF MULLoil on canvas, signed, further signed, titled and dated 2006 versoimage size 30cm x 30cm, overall size 54.5cm x 54.5cm Framed and under glass.Artist's label verso.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick's Tug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.

* IAN ELLIOT (SCOTTISH b. 1946),TUESDAY, MALLORCA oil on canvas, signed, titled and dated 2005 versoimage size 46cm x 46cm, overall size 61cm x 61cm Framed and under glass.Note: Ian Elliot was born in Glasgow in 1946. He attended Glasgow School of Art. Ian visits, and gains much inspiration from, the island of Mallorca and from Italy and France, sharply contrasting environments from that of his native shores. He is known for incorporating the strong colours of the Mediterranean in all his landscapes. Ever a growing force, exhibiting in the RSW Exhibition, Edinburgh, the Royal Glasgow Institute (RGI), the Paisley Art Institute (PAI), the Aberdeen Artists’ Society (AAS), The Affordable Art Show, Battersea, The Glasgow Art Fair, The Scottish Show Thompson’s Gallery, Marylebone, The Scottish Show Richmond Hill Gallery, the Eton Gallery, The London Art Fair along with successful displays in regular exhibitions in a variety of Scottish galleries and charity events, with English galleries showing an ever-increasing interest. Ian, apart from one-man shows, is also involved regularly in a variety of group shows. Besides Britain, has works hanging in Eire, Germany, Spain, Belgium, Canada and The United States, amongst others. Ian Elliot’s work appeared in the prestigious International Artist magazine as one of ten finalists in their (global) landscape competition. His work has been widely reproduced as prints, calendars and as greeting cards. Ian Elliot's work appears at auction infrequently but in The Scottish Contemporary Art Auction of 16th August 2020 lot 760 (a 51 x 51cm oil on canvas by him) sold for £650 (hammer).

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),POPPIES IN VICTORIAN JUGoil on board, signed and dated '89, titled label versoimage size 91cm x 59cm, overall size 109cm x 79cm Framed.Handwritten artist's label verso.Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),CORNFIELD - KILCHOAN, ARDNAMURCHAN oil on canvas, signed and dated 2002, titled versoimage size 76.5cm x 76.5cm, overall size 106cm x 106cm Framed and under glass.Comment: An extremely large and fine example.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick's Tug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),POPPIES IN A BOTTLEoil on canvas, signed, titled and dated 2007 versoimage size 41cm x 41cm, overall size 67cm x 67cm Framed and under glass.Artist's label verso.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick's Tug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.

CATRIONA MILLAR,CHARLIE JACKoil on canvas, monogrammedimage size 38cm x 28cm, overall size 58cm x 48cm Framed.Note: Catriona Millar's work takes its inspiration from the stories that lie at the heart of the human condition, and the sparkle of a narrative behind the eyes of her subjects hints at everything from longing to melancholy. Her work often juxtaposes human characters with a variety of animal confidants, with some seeming physically present in the composition while others take on a talismanic quality. Born in Glasgow, Catriona Millar studied at Harrogate School of Art and Grays School of Art, Aberdeen. Since the success of her sell-out 2005 degree show she has exhibited across the UK including the Royal Scottish Academy, Edinburgh. In October 2006 she came to the attention of Charles Saatchi with her first solo exhibition at the Dundas Street Gallery, Edinburgh. Catriona Millar now lives and paints in the southeast of England. Catriona Millar is listed in the 2012 edition of Who's Who in Scotland. Catriona Millar's work takes its inspiration from the stories that lie at the heart of the human condition, and the sparkle of a narrative behind the eyes of her subjects hints at everything from longing to melancholy. Her work often juxtaposes human characters with a variety of animal confidants, with some seeming physically present in the composition while others take on a talismanic quality. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),RONDA (SPAIN)oil on boardimage size 48cm x 48cm, overall size 67cm x 67cm Framed and under glass.Titled and dated (2000) verso in the artist's hand but obscured by the backboard.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).

* ALAN KING PAI (SCOTTISH 1946 - 2013),THE MAN WHO WANTED TO FLYoil on canvas, signed, titled and dated 2006 versoimage size 43cm x 50cm, overall size 69cm x 75cm Framed and under glass. Label verso: Smithy Gallery, Glasgow.Note: A fine example of the work of the much missed Alan King, a frequent contributor and a great favourite in The Scottish Contemporary Art Auctions. McTear's has established a succession of UK auction record prices for Alan King's work in recent years and the current record is £3600 for Weavers of Truth, lot 275 27th November 2016. Although Alan was a much respected and successful artist during his lifetime, auction prices since 2013 have continued to rise, even though very few collectors have so far opted to sell their examples of his work. The red hat and stripey trousers are Alan King "trade marks".

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),HUTS & HENHOUSES ABOVE MONTEJAQUEoil on board, signed and dated 2000image size 39cm x 48cm, overall size 57cm x 66cm Framed and under glass.Titled and dated verso in the artist's hand but obscured by the backboard.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).

* GEORGE DEVLIN RSW RGI ROI ARWS FRSA (SCOTTISH 1937 - 2014),PROVENCEoil on canvas, signedimage size 80cm x 85cm, overall size 101cm x 104cmFramed.Note: George Devlin was one of Scotland's most successful 20th century artists with numerous exhibitions in Scotland, throughout the UK and around the world. Corporate collections include: De Beers (South Africa and Switzerland); Robert Fleming Holdings; Dutch Water Board; London Stock Exchange; Arthur Andersen and Co; Scottish Television; Universities of Leicester, Glasgow and Strathclyde, Essex, Dunbartonshire, Argyll and Tayside; Edinburgh City Collection; Royal Bank of Scotland; Clydesdale Bank; Lloyds TSB; Bank of Scotland; J. O. Hambro; Mason Owen; Dunedin Trust Management; Dunfermline Building Society; Argyll Group; Scottish Friendly Society; United Distillers; Teachers Whisky; Edrington Group and Clan Donald Centre; Cunard (QM2), Dunbartonshire Educational Trust. Private collections include: Sir Tim Rice; Sir James Black; Earl Haig; Lord Maclay; Duke of Bedford and numerous collections in the UK and worldwide. In The Scottish Contemporary Art Auction of 6th March 2022, two smaller examples of George Devlin's continental scenes sold for £2200 and £3300 (both hammer prices).

* MURIEL BARCLAY,NIGHT OUToil on canvas, signedimage size 59cm x 64cm, overall size 81cm x 85cm Framed and under glass.Note: In the inaugural Scottish Contemporary Art Auction staged by McTear's on 22nd November 2008, "Pink Tutu Tune" by Muriel Barclay sold for £7475 (premium) which was widely reported to be a record price for any maiden painting at public auction by a Scottish artist (past or present). Muriel Barclay is one of Scotland's most successful living artists and her exhibiting history is impressive. Her paintings are enthusiastically collected around the UK and auction appearances of her larger paintings are rare. Collections include: Sir Arnold Clark, Lord Harris, The Sultan of Brunei, Alex McLeish, Sir Jack Harvey, HBOS, Biggart Baillie, Arisaig Partners, Ernie Els (golfer) and numerous other prestigious corporate and private collections worldwide. In The Scottish Contemporary Art Auction of 13th December 2020 "Peace Delegation" (a 77 x 87cm oil, lot 612) by Barclay, sold for £5500 (hammer) and in our October 2021 auction "Venice" (by Barclay) sold for £6000 (hammer).

* MURIEL BARCLAY,COCKTAILSoil on canvas, signedimage size 61cm x 61cm, overall size 80cm x 80cm Framed and under glass.Note: In the inaugural Scottish Contemporary Art Auction staged by McTear's on 22nd November 2008, "Pink Tutu Tune" by Muriel Barclay sold for £7475 (premium) which was widely reported to be a record price for any maiden painting at public auction by a Scottish artist (past or present). Muriel Barclay is one of Scotland's most successful living artists and her exhibiting history is impressive. Her paintings are enthusiastically collected around the UK and auction appearances of her larger paintings are rare. Collections include: Sir Arnold Clark, Lord Harris, The Sultan of Brunei, Alex McLeish, Sir Jack Harvey, HBOS, Biggart Baillie, Arisaig Partners, Ernie Els (golfer) and numerous other prestigious corporate and private collections worldwide. In The Scottish Contemporary Art Auction of 13th December 2020 "Peace Delegation" (a 77 x 87cm oil, lot 612) by Barclay, sold for £5500 (hammer) and in our October 2021 auction "Venice" (by Barclay) sold for £6000 (hammer).