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CATRIONA MILLAR,PENNY LANEoil on canvas, monogrammedimage size 60cm x 25cm, overall size 77cm x 42cm 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).

CATRIONA MILLAR,JOOLS AND JIMoil on canvas, monogrammedimage size 47cm x 37cm, overall size 67cm x 57cm 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).

CATRIONA MILLAR,BUTTONSoil on canvas, monogrammedimage size 27cm x 18cm, overall size 46cm x 37cm 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).

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013),WOMAN BY THE SEAoil on canvas, signedimage size 120cm x 90cm, overall size 140cm x 110cm Framed.Provenance: The Open Eye Gallery (Edinburgh). Private Edinburgh collection.Comment: An outstanding example and believed to be from circa 1990. "Woman By The Sea" is stacked with symbolism. Two female figures with a cockerel between them, the playing cards, the sea - all classic John Bellany.Note: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months both by McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer) - probably the highest auction price achieved for a post 1969 example of these dimensions by Bellany.

* ANN PATRICK (SCOTTISH b. 1937),THE BEACH AT STOER, SUTHERLANDoil on board, signed, titled label versoimage size 62cm x 75cm, overall size 78cm x 90cm Framed. Handwritten artist's label verso.Provenance: exhibited Royal Scottish Academy Annual Exhibition 1979 (no 226).Note: Ann Patrick, Scottish artist born and educated in Dundee, is a graduate of Dundee Art College and presently resides in Arbroath. She often visits and paints Italy and, in particular, Tuscany. Her works are in the permanent collection of Dundee, Aberdeen and Angus Art Galleries and in the collections of H.R.H. The Duke of Edinburgh, Scottish Television PLC, United Distillers, Noble Grossart, Harrison (Clyde) Ltd, Adam & Co Private Bank, Robert Fleming Holdings of London, as well as in Private Collections in Great Britain, Canada, USA, Holland, Denmark, Hong Kong, France, Algiers, Japan and Ireland. Our most recent example of Ann Patrick's work was "The Peach Tree" (exib RSA 1980) which sold in The Scottish Contemporary Art Auction of 17th April 2022 (lot 1) for £1800 (hammer).

* GEORGINA MCMASTER (SCOTTISH b. 1980),THE DUCKoil on canvas, signed with monogramimage size 70cm x 50cm, overall size 80cm x 60cmFramed and under glass.Note: Georgina graduated from Edinburgh College of Art in 2002, gaining a BA Honours in Visual Communication and specializing in Drawing and Painting. She was awarded the First Time Exhibitor prize in 2007 at the Royal College of Physicians and Surgeons of Glasgow and the David Cargill Award in 2008 by the prestigious Royal Glasgow Institute of the Fine Arts. Also in 2008, she was elected as an Artist Member of the Glasgow Art Club. Her paintings are widely exhibited throughout Scotland and in London. Georgina has been featured in many magazines and newspapers including: Scottish Field Magazine, Art News Scotland Journal, The Herald Newspaper, Galleries Magazine, Scottish Women Magazine, Paisley Daily Express, Sunday Mail, The Scotsman Newspaper and The Glasgow Magazine. In The Scottish Contemporary Art Auction of 6th March 2022, "Camouflage" (lot 206) by Georgina McMaster sold for £4400 (hammer) setting another UK auction record price for one of Scotland's most notable young artists.

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),EVENING LIGHT, KNAPDALEoil on board, signed and dated 99, further signed and dated versoimage size 41cm x 41cm, overall size 62cm x 62cmFramed and under glass.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.Condition is very goood overall.

* GERARD BURNS (SCOTTISH b. 1961),NUDE ON SILK oil on canvas, signedimage size 98cm x 148cm, overall size 130cm x 180cm Framed.Note: Typical gallery price approximately £14,500Note: 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.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013),THE GIRL WITH GREEN EYESwatercolour on paper, signed and titledimage size 36cm x 26cm, overall size 56cm x 47cm Framed and under glass.Comment: "The Girl With Green Eyes" is a very fine example of Bellany's celebrated talent as a watercolourist. He often incorporated the title as part of the composition when he was particularly pleased with a picture.Note: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months both by McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer) - probably the highest auction price achieved for a post 1969 example of these dimensions by Bellany.

* EMMA S DAVIS RSW PAI (SCOTTISH b. 1975),UNTITLEDoil on canvas, signedimage size 20cm x 50cm, overall size 37cm x 67cm Mounted, framed and under glass.Note: Emma Davis studied contemporary art and painting at the Glasgow School of Art and graduated in 1998 with a sell-out Degree Show. From the time of graduating she has been working full time as an artist. She has received many awards over the years including the House for an Art Lover Award, the Sir William Gillies Award, the Miller’s Creativity Award, the Glasgow Art Club Award and others. She was the youngest ever winner of The Alexander Graham Munro Travel Award, which took her on an extensive tour of Italy in 2000. At the age of 23 she was also one of the youngest artists to receive the RSW Diploma which she received from HM The Queen. A few years later she also became one of the youngest ever artists to receive the Paisley Art Institute Diploma.

* EMMA S DAVIS RSW PAI (SCOTTISH b. 1975),SAIL FROM CUMBRAE mixed media on board, signed, further signed, titled and dated 2009 versoimage size 15cm x 15cm, overall size 41cm x 39cm Mounted, framed and under glass.Note: personal inscription verso 'to Bill, on your 40th birthday, 24th May 2009, with love from Emma x'Note 2: Emma Davis studied contemporary art and painting at the Glasgow School of Art and graduated in 1998 with a sell-out Degree Show. From the time of graduating she has been working full time as an artist. She has received many awards over the years including the House for an Art Lover Award, the Sir William Gillies Award, the Miller’s Creativity Award, the Glasgow Art Club Award and others. She was the youngest ever winner of The Alexander Graham Munro Travel Award, which took her on an extensive tour of Italy in 2000. At the age of 23 she was also one of the youngest artists to receive the RSW Diploma which she received from HM The Queen. A few years later she also became one of the youngest ever artists to receive the Paisley Art Institute Diploma.

* EMMA S DAVIS RSW PAI (SCOTTISH b. 1975),UNTITLEDmixed media on paper, signedimage size 22cm x 50cm, overall size 49cm x 76cm Mounted, framed and under glass.Note: Emma Davis studied contemporary art and painting at the Glasgow School of Art and graduated in 1998 with a sell-out Degree Show. From the time of graduating she has been working full time as an artist. She has received many awards over the years including the House for an Art Lover Award, the Sir William Gillies Award, the Miller’s Creativity Award, the Glasgow Art Club Award and others. She was the youngest ever winner of The Alexander Graham Munro Travel Award, which took her on an extensive tour of Italy in 2000. At the age of 23 she was also one of the youngest artists to receive the RSW Diploma which she received from HM The Queen. A few years later she also became one of the youngest ever artists to receive the Paisley Art Institute Diploma.

* SYLVIA ALLEN (SCOTTISH b. 1951),SEAFARERSacrylic on canvas, signed, titled and dated 2001 versoimage size 61cm x 71cm, overall size 83cm x 93cm Framed and under glass.Note 2: Sylvia Allen graduated from Glasgow School of Art 1974. She exhibited regularly in group and solo shows whilst in various teaching and graphics employment. A Glasgow School of Art tutor in Life Drawing and Drawing and Painting in the years 1986-1994. Elected artist member of Glasgow Art Club in 1989.Has also exhibited in USA, France and Germany and as a result her work is in many collections at home and abroad including: Price Waterhouse Coopers, Arthur Andersen and Kempen Capital Management. Exhibited in RGI, RSA, SSWA and PAI. Scottish finalist in 1997 Laing exhibition, London. Painting selected for 1998 calendar. Now works solely for exhibitions. The work is characterised by strong involvement with colour and expressive movement. Themes include weather moods in landscape, atmospheric cityscapes and vibrant colours of flowers caught in sunshine. Solo Exhibitions/Group Exhibitions MacLaurin Gallery, Ayr; McLellan Galleries, Glasgow; Willamette Uni. Salem, Oregon; Main Fine Art, Glasgow; Harbour Arts Centre, Irvine; The Kunsthaus, Nurnberg; Scottish Amicable, Glasgow; The Metro Gallery, Glasgow; Zabo Gallery, Nurnberg; Turberville Smith Gallery, London; Galerie Reiter, Bad Tolz; Seen Gallery, London; Galerie in der Linden, Weidenberg; Cormund Gallery, Glasgow; Usiskin Gallery, London; Mall Galleries, London; Home Studio, Glasgow; Glasgow Art Gallery; Woodside Library, Glasgow; Green Gallery, Aberfoyle; Devonshire Hotel, Glasgow; Adam Gallery, Bath; Kelly Gallery, Glasgow; Hanover Fine Art, Edinburgh; Torrance Gallery, Edinburgh; Dept. Philosophy, Edinburgh Festival; Kingfisher Gallery, Edinburgh; Westgate Gallery, North Berwick; Ainscough Contemporary Art, London; MacMillan Fund, Strathclyde Arts Centre; Gatehouse Gallery, Glasgow; Kelly Gallery, Glasgow; Cornerstone Gallery, Stirling; Leith Gallery, Edinburgh; Chatton Gallery, Chatton; Riverside Gallery, Stonehaven; Thompson's Gallery, London; McEwan Gallery, Ballater and Roger Billcliffe Gallery, Glasgow.

* FIONA STURROCK,STILL LIFE OF FLOWERS IN A VASEoil on board, signedimage size 59cm x 59cm, overall size 79cm x 79cm Framed.Note: Fiona Sturrock’s paintings demonstrate her love of colour and the practice of mixing colour, laying down patterns of light, shade and texture to produce bold representations of what she is observing. She tends to work on one painting at a time, giving it full focus and energy, which often translates visibly in the intensity of colour and boldness of the finished piece of work. Fiona paints from a mixture of life scenes, photographs and imagination. She is influenced by historical works of Colourists and Impressionists, and is hugely inspired by the wealth and richness of contemporary Scottish art that surrounds us in the present day. Fiona’s work features across a number of galleries and is held in private collections internationally.

STUART MCALPINE MILLER (SCOTTISH, CONTEMPORARY) - 'Leader of the Pack', the set of four limited edition giclee prints on paper comprising Sunbather to Fear, Salute to the Captain, The Leader of the Gang and Flaunting Oneself in the Face of Progression, each signed in pencil and numbered 9/95, published by Washington Green Fine Art, 2012, with COAs, unframed, sheet size 71.2cm x 49.5cm, in original printed black card portfolio.

ALEXANDER MILLER (SCOTTISH, CONTEMPORARY) - 'One for the Road', oil on canvas, signed, framed, 61cm x 51cm, frame size 90cm x 79cm. Provenance - Purchased by the vendor from Castle Fine Art, Birmingham.

Anselm Kiefer,geb. 1945 DonaueschingenLebt im Odenwald, Barjac und Paris.Lilith, 2011Mischtechnik auf Tafel.117,5 x 103,5 cm.Verso Aufkleber von Yvon Lambert, Paris, mit Künstler- und Titelangabe.Hinter Glas mit Stahlrahmen.Tafel mittig beschriftet mit „Lilith“.Lilith ist ein altorientalischer weiblicher Dämon sumerischer Herkunft. Sie wurde im alten Orient als auch in späteren Quellen häufig als weibliches geflügeltes Mischwesen dargestellt. In jüdisch-feministischer Theologie wird Lilith als eine Frau dargestellt, die sich nicht Gottes, sondern Adams Herrschaft entzieht. Sie symbolisiert positiv die gelehrte, starke Frau. (†)Anmerkung 1:Yvon Lamberth, Galerist und Händler für zeitgenössische französische Kunst. Er war einer der Hauptdirektoren zeitgenössischer Kunstgalerien in Frankreich. Seit Jahrzehnten hält er zu „seinen“ Künstlern enge Beziehungen. Neben Christian Boltanski und Sol LeWitt kamen später Nan Goldin und auch Anselm Kiefer dazu.Anmerkung 2:Kiefer studierte in den Jahren 1966-1968 in Freiburg Malerei, wechselte 1969 an die Kunstakademie Karlsruhe als Schüler von Horst Antes. Von 1970-1972 ließ er sich von Joseph Beuys an der Düsseldorfer Kunstakademie unterrichten. 1999 Auszeichnung durch den „Praemium Imperiale“ der Japan Art Association, 2007 enthüllte er im Pariser Louvre ein von ihm erstelltes Auftragswerk. 2008 erhielt er als erster deutscher Künstler den Friedenspreis des Deutschen Buchhandels. Mehrere, meist großformatige Werke des Künstlers tragen den Titel „Lilith“ oder Lilith´s Töchter“. (13220121) (18)Anselm Kiefer,born 1945 DonaueschingenLives in Odenwald, Barjac and Paris.LILITH, 2011Mixed media on panel.117.5 x 103.5 cm.Verso label by Yvon Lambert, Paris, with artist´s name and title. Framed with glass in steel frame.Panel inscribed Lilith at centre. Lilith is an ancient oriental female demon of Sumerian origin. In the ancient Orient and in later sources, she was often depicted as a female hybrid creature with wings. In Jewish-feminist theology, Lilith is portrayed as a woman escaping Adam´s dominion rather than God´s dominion. She positively symbolizes the learned, strong woman. (†)Notes:Yvon Lamberth is a gallery owner and art dealer in contemporary French art. He was one of the main directors of contemporary art galleries in France. He has maintained close relationships with “his” artists for decades. In addition to Christian Boltanski and Sol LeWitt, Nan Goldin and Anselm Kiefer later joined.

Endless (British), 'Bronze Chapel Worship', 2020, mixed media, hand embellished with acrylic and spraypaint on 300gsm Art Paper, signed and numbered from an edition of 25 unique works in black ink; 141 x 99cm inc frameARR141 x 99cm inc frameEndless is a London-based contemporary, street artist, whose artworks tell a visual story and observation of the world he sees around him. Starting out using the walls of our nation’s capital as his canvas, a bold, street-art aesthetic is still prevalent throughout his works – infused with a mix of contemporary techniques. His work often comments on society’s reaction to the media, the influence of the advertising industry and the shift in modern priorities from religious worship, to the ‘new era’ religion, where the shops are our chapels, the magazines our bibles and the fashion icons are our gods. His career exploded in 2016 when he was asked to work with the legendary Gilbert and George and was followed by historic collaborations with brands such as Karl Lagerfeld, Fiorucci (FI-O-RU-CHY) and Liberty London.

Endless (British), 'Lizzy Vuitton Union Jack', 2021, mixed media, hand embellished with acrylic and spraypaint on 300gsm Art Paper, signed and numbered from an edition of 25 unique works in black ink; 141 x 99cm inc frameARR141 x 99cm inc frameEndless is a London-based contemporary, street artist, whose artworks tell a visual story and observation of the world he sees around him. Starting out using the walls of our nation’s capital as his canvas, a bold, street-art aesthetic is still prevalent throughout his works – infused with a mix of contemporary techniques. His work often comments on society’s reaction to the media, the influence of the advertising industry and the shift in modern priorities from religious worship, to the ‘new era’ religion, where the shops are our chapels, the magazines our bibles and the fashion icons are our gods. His career exploded in 2016 when he was asked to work with the legendary Gilbert and George and was followed by historic collaborations with brands such as Karl Lagerfeld, Fiorucci (FI-O-RU-CHY) and Liberty London.

Tosani, Patrick -- "L'homme qui tombe" (glacons feu series). 1983. Chromogenic print mounted to aludibond. 120 x 160 cm. Edition 1/3, framed under plexiglass in wooden frame.Parallel to his architectural studies in Paris (1973-1979), Patrick Tosani developed his work in photography in 1976, addressing questions of space and scale. The photographic process and its potential and limits as well as the relationship to reality are constantly questioned in his work in series on objects, the body, clothing, etc. For more than thirty years, he has been regularly exhibited in France and abroad, notably at the Institute of Contemporary Art in London (1987), the Art Institute of Chicago (1992), the Palais des Beaux-Arts of Charleroi (1994), the Museum Folkwang of Essen (1997), the Musée Nicéphore-Niépce of Chalon-sur-Saône (1998), the Maison Européenne de la Photographie in Paris (2011) and the Museo di Fotografia Contemporanea, Cinisello Balsamo, Milan (2016). – In very good condition.

Peter Howson (b.1958)Glasgow Nightclubsigned (lower left)oil on canvas150 x 118cm. Provenance:The Contemporary Fine Art Gallery, Eton. The canvas appears to be in a decent condition without damages.  The frame has a few nicks.  Not dated, but signed.

Matthew Chambers (b.1982)Twist - Grey, Yellow, 2020stoneware, wheel thrown and hand builtsigned and dated19cm high, 19cm wide. Lot 723-737To be sold on behalf of Contemporary Applied ArtsContemporary Applied Arts (‘CAA’) is a unique organisation with a remarkable history. Founded in 1948, its mission is to celebrate, champion and advocate for fine Craft in the UK. It is a registered charity and membership organisation with over 200 makers working in all the crafts disciplines - ceramics, glass, textiles, jewellery, wood, paper, metals and textiles.Makers are selected by their peers and membership is seen as a kitemark of excellence. CAA continues to welcome new and emerging makers alongside its existing cohort of established and respected UK-based makers. CAA has a prime gallery space in central London, just off Marylebone High Street, which showcases the work of its makers and holds exhibitions there. It also has an online gallery and shop and, in recent years, has broadened its reach through extensive social media activity and engagement. It has an outreach programme – and is committed to expanding this to more schools and wider audiences in 2023 - and participates in events such as London Craft Week and selected external exhibitions including the 2022 London Art Fair. CAA also initiates and facilitates commissions for private collectors.CAA receives no regular public funding but relies on sales, membership subscriptions and a small amount of funding from grants and private donors supportive of its mission. It was a grateful recipient of Arts Council lockdown funding. CAA celebrates its 75th Anniversary in 2023 – and remains a unique and constant presence in an applied arts world which has seen huge and dramatic changes over that period. It needs continuing support and the inclusion of selected and special work in the Modern Art Auction is a part of a series of fundraising initiatives as its 75th Anniversary approaches.Support for CAA via generous bidding will be very much appreciated. In very good condition. No signs of damage or repair.

Gabriele Koch (b.1948)Vesselwhite glaze with pitted designsigned20.5cm high. Lot 723-737 to be sold on behalf of Contemporary Applied Arts.Contemporary Applied Arts (‘CAA’) is a unique organisation with a remarkable history. Founded in 1948, its mission is to celebrate, champion and advocate for fine Craft in the UK. It is a registered charity and membership organisation with over 200 makers working in all the crafts disciplines - ceramics, glass, textiles, jewellery, wood, paper, metals and textiles.Makers are selected by their peers and membership is seen as a kitemark of excellence. CAA continues to welcome new and emerging makers alongside its existing cohort of established and respected UK-based makers. CAA has a prime gallery space in central London, just off Marylebone High Street, which showcases the work of its makers and holds exhibitions there. It also has an online gallery and shop and, in recent years, has broadened its reach through extensive social media activity and engagement. It has an outreach programme – and is committed to expanding this to more schools and wider audiences in 2023 - and participates in events such as London Craft Week and selected external exhibitions including the 2022 London Art Fair. CAA also initiates and facilitates commissions for private collectors.CAA receives no regular public funding but relies on sales, membership subscriptions and a small amount of funding from grants and private donors supportive of its mission. It was a grateful recipient of Arts Council lockdown funding. CAA celebrates its 75th Anniversary in 2023 – and remains a unique and constant presence in an applied arts world which has seen huge and dramatic changes over that period. It needs continuing support and the inclusion of selected and special work in the Modern Art Auction is a part of a series of fundraising initiatives as its 75th Anniversary approaches.Support for CAA via generous bidding will be very much appreciated.

Clive Bowen (b.1943)Large Platter, 2017earthenware, slip decorated depicting a fish37.5cm diameter. Lot 723-737 to be sold on behalf of Contemporary Applied Arts.Contemporary Applied Arts (‘CAA’) is a unique organisation with a remarkable history. Founded in 1948, its mission is to celebrate, champion and advocate for fine Craft in the UK. It is a registered charity and membership organisation with over 200 makers working in all the crafts disciplines - ceramics, glass, textiles, jewellery, wood, paper, metals and textiles.Makers are selected by their peers and membership is seen as a kitemark of excellence. CAA continues to welcome new and emerging makers alongside its existing cohort of established and respected UK-based makers. CAA has a prime gallery space in central London, just off Marylebone High Street, which showcases the work of its makers and holds exhibitions there. It also has an online gallery and shop and, in recent years, has broadened its reach through extensive social media activity and engagement. It has an outreach programme – and is committed to expanding this to more schools and wider audiences in 2023 - and participates in events such as London Craft Week and selected external exhibitions including the 2022 London Art Fair. CAA also initiates and facilitates commissions for private collectors.CAA receives no regular public funding but relies on sales, membership subscriptions and a small amount of funding from grants and private donors supportive of its mission. It was a grateful recipient of Arts Council lockdown funding. CAA celebrates its 75th Anniversary in 2023 – and remains a unique and constant presence in an applied arts world which has seen huge and dramatic changes over that period. It needs continuing support and the inclusion of selected and special work in the Modern Art Auction is a part of a series of fundraising initiatives as its 75th Anniversary approaches.Support for CAA via generous bidding will be very much appreciated.

David Watkins (b.1940)Gardens of the Arqva Petrarca, 2003bangle, layered stainless steeloutside diameter 14.5cm. Lot 723-737 to be sold on behalf of Contemporary Applied Arts.Contemporary Applied Arts (‘CAA’) is a unique organisation with a remarkable history. Founded in 1948, its mission is to celebrate, champion and advocate for fine Craft in the UK. It is a registered charity and membership organisation with over 200 makers working in all the crafts disciplines - ceramics, glass, textiles, jewellery, wood, paper, metals and textiles.Makers are selected by their peers and membership is seen as a kitemark of excellence. CAA continues to welcome new and emerging makers alongside its existing cohort of established and respected UK-based makers. CAA has a prime gallery space in central London, just off Marylebone High Street, which showcases the work of its makers and holds exhibitions there. It also has an online gallery and shop and, in recent years, has broadened its reach through extensive social media activity and engagement. It has an outreach programme – and is committed to expanding this to more schools and wider audiences in 2023 - and participates in events such as London Craft Week and selected external exhibitions including the 2022 London Art Fair. CAA also initiates and facilitates commissions for private collectors. CAA receives no regular public funding but relies on sales, membership subscriptions and a small amount of funding from grants and private donors supportive of its mission. It was a grateful recipient of Arts Council lockdown funding. CAA celebrates its 75th Anniversary in 2023 – and remains a unique and constant presence in an applied arts world which has seen huge and dramatic changes over that period. It needs continuing support and the inclusion of selected and special work in the Modern Art Auction is a part of a series of fundraising initiatives as its 75th Anniversary approaches. Support for CAA via generous bidding will be very much appreciated.

David Watkins (b.1940)Palaces of the Night, 2003bangle, layered black stainless steeloutside diameter 14.5cm. Lot 723-737 to be sold on behalf of Contemporary Applied Arts.Contemporary Applied Arts (‘CAA’) is a unique organisation with a remarkable history. Founded in 1948, its mission is to celebrate, champion and advocate for fine Craft in the UK. It is a registered charity and membership organisation with over 200 makers working in all the crafts disciplines - ceramics, glass, textiles, jewellery, wood, paper, metals and textiles.Makers are selected by their peers and membership is seen as a kitemark of excellence. CAA continues to welcome new and emerging makers alongside its existing cohort of established and respected UK-based makers. CAA has a prime gallery space in central London, just off Marylebone High Street, which showcases the work of its makers and holds exhibitions there. It also has an online gallery and shop and, in recent years, has broadened its reach through extensive social media activity and engagement. It has an outreach programme – and is committed to expanding this to more schools and wider audiences in 2023 - and participates in events such as London Craft Week and selected external exhibitions including the 2022 London Art Fair. CAA also initiates and facilitates commissions for private collectors. CAA receives no regular public funding but relies on sales, membership subscriptions and a small amount of funding from grants and private donors supportive of its mission. It was a grateful recipient of Arts Council lockdown funding. CAA celebrates its 75th Anniversary in 2023 – and remains a unique and constant presence in an applied arts world which has seen huge and dramatic changes over that period. It needs continuing support and the inclusion of selected and special work in the Modern Art Auction is a part of a series of fundraising initiatives as its 75th Anniversary approaches. Support for CAA via generous bidding will be very much appreciated.

Jacqueline Mina (b.1942)Chrysoprase spiral earrings, 1979partial London hallmark4.5cm long. Lot 723-737 to be sold on behalf of Contemporary Applied Arts.Contemporary Applied Arts (‘CAA’) is a unique organisation with a remarkable history. Founded in 1948, its mission is to celebrate, champion and advocate for fine Craft in the UK. It is a registered charity and membership organisation with over 200 makers working in all the crafts disciplines - ceramics, glass, textiles, jewellery, wood, paper, metals and textiles.Makers are selected by their peers and membership is seen as a kitemark of excellence. CAA continues to welcome new and emerging makers alongside its existing cohort of established and respected UK-based makers. CAA has a prime gallery space in central London, just off Marylebone High Street, which showcases the work of its makers and holds exhibitions there. It also has an online gallery and shop and, in recent years, has broadened its reach through extensive social media activity and engagement. It has an outreach programme – and is committed to expanding this to more schools and wider audiences in 2023 - and participates in events such as London Craft Week and selected external exhibitions including the 2022 London Art Fair. CAA also initiates and facilitates commissions for private collectors.CAA receives no regular public funding but relies on sales, membership subscriptions and a small amount of funding from grants and private donors supportive of its mission. It was a grateful recipient of Arts Council lockdown funding. CAA celebrates its 75th Anniversary in 2023 – and remains a unique and constant presence in an applied arts world which has seen huge and dramatic changes over that period. It needs continuing support and the inclusion of selected and special work in the Modern Art Auction is a part of a series of fundraising initiatives as its 75th Anniversary approaches.Support for CAA via generous bidding will be very much appreciated.Light surface wear, scuffs and nicks throughout, commensurate for occasional use. Small surface-reaching inclusions/fractures are just visible to the chrysoprase batons. Gross weight approximately 8.5gm. Each is numbered 'P533' in black marker pen to the base.Please note amended description: each of the wire fittings has a partial London hallmark; with maker's mark JKM, leopard's head mark for London and date letter for 1979. The standard/fineness mark is not present and therefore we are unable to confirm the metal standard of the mounts.

Daphne Krinos (Contemporary)Cage necklace, 2022oxidised silver, amethysts, lemon quartz52cm long. Lot 723-737 to be sold on behalf of Contemporary Applied Arts.Contemporary Applied Arts (‘CAA’) is a unique organisation with a remarkable history. Founded in 1948, its mission is to celebrate, champion and advocate for fine Craft in the UK. It is a registered charity and membership organisation with over 200 makers working in all the crafts disciplines - ceramics, glass, textiles, jewellery, wood, paper, metals and textiles.Makers are selected by their peers and membership is seen as a kitemark of excellence. CAA continues to welcome new and emerging makers alongside its existing cohort of established and respected UK-based makers. CAA has a prime gallery space in central London, just off Marylebone High Street, which showcases the work of its makers and holds exhibitions there. It also has an online gallery and shop and, in recent years, has broadened its reach through extensive social media activity and engagement. It has an outreach programme – and is committed to expanding this to more schools and wider audiences in 2023 - and participates in events such as London Craft Week and selected external exhibitions including the 2022 London Art Fair. CAA also initiates and facilitates commissions for private collectors. CAA receives no regular public funding but relies on sales, membership subscriptions and a small amount of funding from grants and private donors supportive of its mission. It was a grateful recipient of Arts Council lockdown funding. CAA celebrates its 75th Anniversary in 2023 – and remains a unique and constant presence in an applied arts world which has seen huge and dramatic changes over that period. It needs continuing support and the inclusion of selected and special work in the Modern Art Auction is a part of a series of fundraising initiatives as its 75th Anniversary approaches. Support for CAA via generous bidding will be very much appreciated.

Juliette Bigley (b.1978)Three vesselsbronze13cm, 12.5cm, and 9cm high (3). Lot 723-737 to be sold on behalf of Contemporary Applied Arts.Contemporary Applied Arts (‘CAA’) is a unique organisation with a remarkable history. Founded in 1948, its mission is to celebrate, champion and advocate for fine Craft in the UK. It is a registered charity and membership organisation with over 200 makers working in all the crafts disciplines - ceramics, glass, textiles, jewellery, wood, paper, metals and textiles.Makers are selected by their peers and membership is seen as a kitemark of excellence. CAA continues to welcome new and emerging makers alongside its existing cohort of established and respected UK-based makers. CAA has a prime gallery space in central London, just off Marylebone High Street, which showcases the work of its makers and holds exhibitions there. It also has an online gallery and shop and, in recent years, has broadened its reach through extensive social media activity and engagement. It has an outreach programme – and is committed to expanding this to more schools and wider audiences in 2023 - and participates in events such as London Craft Week and selected external exhibitions including the 2022 London Art Fair. CAA also initiates and facilitates commissions for private collectors. CAA receives no regular public funding but relies on sales, membership subscriptions and a small amount of funding from grants and private donors supportive of its mission. It was a grateful recipient of Arts Council lockdown funding. CAA celebrates its 75th Anniversary in 2023 – and remains a unique and constant presence in an applied arts world which has seen huge and dramatic changes over that period. It needs continuing support and the inclusion of selected and special work in the Modern Art Auction is a part of a series of fundraising initiatives as its 75th Anniversary approaches. Support for CAA via generous bidding will be very much appreciated.Condition good.

AN EXTREMELY RARE WELSH BUCKLER, WREXHAM, CIRCA 1440-1580, with circular body of hard leather, the outer face reinforced with six concentric iron rings joined by a series of eighty-four iron panels, each radiating from the centre, widening towards the edge and fixed at each junction by a rivet with pronounced copper alloy head, the centre fitted with a low domed hollow iron boss (two small holes) drawn-out to an onion-shaped moulding with stout central spike, the interior with iron border with a loop on each side for a grip (missing) and covered over the greater part of its surface with leather reinforced with iron strips (losses, slightly warped, retained in three places by wire), 34.2 cm diameter¦¦Provenance¦D. W. Donald, Portobello Market, London, 1967¦¦Literature¦Ifor Edwards and Claude Blair, Welsh Bucklers, in, The Antiquaries Journal 62, 1982, pp. 103, Plate XVI, a. ¦¦The present buckler is one of thirty-one recorded examples made in Ruabon and Wrexham, Denbighshire from circa 1440-1580. It falls into the second of three groups described by Claude Blair who notes that the groups are based on their construction, with no evidence to suggest that any group may be assigned specific dates within this relatively broad period. Their early fame is attested to in contemporary Welsh poetry such as that of Gutun Owain (flourished 1460-1498):¦¦A picture of the sun full of rivets ¦A buckler with snowflakes or with flowers¦of steel scattered all over it.¦Fine silver dew sparkles in the splendour¦The rivets are sparks from the sun.¦Like a games table (inlaid) with fine crystal stones¦A steel frieze, a shield to excite one.¦There are steel laths in the buckler¦And three rings on top of the ribs¦Surround it and its boss hollow.¦¦The robust design of these bucklers was clearly effective and it was perhaps this that brought them to the attention of King Henry VIII who had a number made for his guard, some of which are depicted being carried by various members of his entourage in the painting ~The Field of Cloth of Gold~ preserved in the Royal Collection (RCIN 405794). Furthermore, the inventory of 1547 taken after Henry VIII~s death records ~two wreckesham Buckelers~. Other examples are preserved in the Royal Armouries Leeds (V.21, V.108, V.109), The Metropolitan Museum of Art, New York (45.460.1), the Shrewsbury Museum (SHYMS: 1881 cat. nos. 470, 471) and at Brecon Cathedral. The most richly decorated example is preserved in the Musee de l~armee, Paris (No. I.6), it was perhaps made by Geoffrey Bromefeld, of Ruabon who was appointed ~the kinges boucler maker~ in 1530-31. It has been suggested that the Paris buckler was presented to Anne de Montmorency (1493-1567) on his visit to London in 1527 or when he met Henry VIII in France in 1532. See Edwards and Blair 1982, pp. 74-115, and Douglas Smith, Hall, Wilson and Brown (ed.) 2017, pp.38-41.¦¦Property from the Collection of a Distinguished Scholar and Collector

A modern black lacquer side table, single drawer to frieze, 55cm tall x 45cm x 45cm; a carved African hardwood side table; a contemporary metal wall art, (3).

Contemporary cast brass or bronze and polished art metal candlesticks and bowls, some with impressed 'MER', tallest 32cm

A hallmarked 9ct gold amethyst necklace pendant. The pendant strung with two oval cut amethyst drops in a contemporary Art Nouveau style setting. Hallmarked Birmingham. Weight 2.1g. Measures 4.5cm including bale. 

HANS POTTHOF (1911-2003), "Bretton Fishermen" lithograph, signed limited edition 100\150, with Christie's Contemporary Art certificate to reverse, 17" x 25 1/4", aluminum frame (subject to Artists Resale Right) (Est. plus 21% premium inc. VAT)very good

Dolmen Tourist - Matt Graysmith Oil on canvas 344 x 446 mm Framed ARTIST STATEMENT: ‘Dolmen tourist’ is about my friend the painter Archie Boon cutting his head upon entering the Dehus Dolmen when visiting Guernsey. I thought about how our relationship with these ancient local relics is all similar to this event - tourists in a world we don’t fully understand, recreating our own rituals and relationships with the land both familiar and mysterious. I’ve been conscious of how space works within my work, managing the flatness and the relationship between the interior and exterior as a psychographic element to the work. Matt created this piece while studying Fine Art at Camberwell College where he is in his final year. He is a winner of the Delphian Gallery Open Call, the exhibition of which took place this year at Unit 1 Gallery in Notting Hill. His work centres on the exploration of folklore and ritual in a contemporary setting, looking at subjects through the guise of their sense of place. After graduating he plans to continue his artistic practice.

A FINE PAIR OF CULTURED PEARL AND DIAMOND PENDENT EARCLIPS, BY VERDURAEach surmount designed as stylised knots pavé-set with brilliant-cut diamonds, suspending a detachable cultured pearl drop of white or black tint, each caped with similarly-cut diamonds, mounted in 18K gold and platinum, diamonds approximately 7.50cts total, signed Verdura, with maker's mark for 'Amalphy', French assay marks, stamped 'Made in France', with maker's pouch, length 4.7cm and without pearl 2.3cmBorn in 1899 in Palermo, Italy, to an aristocratic family, Fulco Santostefano della Cerda’s, Duke of Verdura's, earliest beginnings were steeped in the beauty and sumptuousness inherent to both his homeland and social status. A vivacious and imaginative child, Fulco’s later designs would be deeply influenced by the family’s 18th century home, Villa Niscemi, as well as his love of nature and happy childhood days rambling around the vast estate. Inheriting the title of duke at the young age of, it became clear that the family’s financial situation did not reflect its noble status, and Verdura knew he would have to make a career for himself in order to upkeep the extravagant lifestyle to which he was accustomed. Having joined the army in 1916, Verdura would have to abandon a promising military career after sustaining a serious should injury which took months of recuperation to heal from. Luckily, the young duke had a wealth of family connections that placed him at the centre of Europe’s glittering interwar society.While on a visit to Venice in 1927 with his good friends, celebrated composer Cole Porter and his socialite wife Linda, Verdura was introduced to Coco Chanel. The two connected instantly, and shortly thereafter Verdura moved to Paris to work for Chanel as a textile designer. However, the young duke’s flair for jewellery design soon became evident and he began to help Chanel rework pieces from her own personal collection, some of which would be copied to be sold at the iconic 31 Rue Cambon location. Little of Verdura’s early work from this period survives, however by 1930 the design that would solidify his representation as one of the period’s foremost jewellery designers came into being. The Maltese Cross jewels consisted of two mismatched gold crosses set with an array of colourful gems, both Byzantian yet oddly contemporary in look. Verdura’s first Maltese Cross pieces were a pair of brooches which he gifted to the renowned fashion editor Diana Vreeland. Next came a pair of white enamel cuffs for Chanel herself, which she wore constantly. The lack of symmetry, yellow gold and brightly coloured stones were in stark contrast to the clean lines and white gold and platinum favoured by other jewellery designers of the time.In 1934, Verdura left Paris for the United States, where his charm, pedigree and good looks allowed him to easily insert himself into high society. Landing in New York before making his way to California, Verdura would meet Paul Flato, Hollywood’s most prominent jewellery designer, and soon became his Head of Design, his work appearing on the necks, arms, and fingers of era’s most standout starlets. By the late 1930s however, Verdura was ready to strike out on his own. His first solo store was opened at 712 Fifth Avenue on September 1st, 1939, the very day war was declared in Europe. The war denied American jewellery connoisseurs the ability to commission works from the master French and Italian ateliers, but Verdura filled the gap by introducing a uniquely European flair to the American market. He continued to produce commissions for actresses, notably Joan Fontaine, and New York society queens throughout the decade, but a collaboration with surrealist artist Salvador Dalí in 1940 allowed Verdura to explore his love of fine art through the lens of jewellery making. The collection consisted of five miniatures painted by Dalí, set by Verdura with gold and jewels. The pieces were exhibited at both the Julien Levy Gallery and the Museum of Modern Art in New York throughout 1941 and 1942, before being bought into private collections, although some re-merged for the Verdura company’s 75th anniversary exhibition The Power of Style: Verdura at 75 in 2014.Verdura’s success continued throughout the 40s, 50s and 60s. It seems he designed pieces for almost every style icon of the era, from royalty to socialites. Notable pieces include the Indian Feather Tiara created in 1957 for Betsey Cushing Whitney and the Double Crescent bracelet, which first appeared in 1940s and but was revived in popularity when it was worn by Princess Diana in 1997.After decades living in the world of glitter and gold, Verdura retired to London in 1973, passing on the company to his long-time business associate Joseph Alfano. The duke would spend the last few years of life indulging his other creative loves, publishing his childhood memoir The Happy Summer Days in 1976. He died in 1978 and was buried in his beloved hometown of Palermo.The Verdura company, meanwhile, continued to maintain its place in the world of fine jewellery. In 1983 the company was sold to Ward Landrigan, the former Head of Jewellery at Sotheby’s. The sale included the complete Verdura archives, consisting of over 10,000 original drawings and sketches, almost half of which were never realised. Landrigan aimed to re-introduce Verdura’s genius to a new generation and in 2004 was joined in the business by his son, Nico Landrigan, who became the company’s president in 2009. Today, Verdura’s classic collections are still available for purchase, including the Constellation Collection, the Caged Collection, the Byzantium Collection, and the Stardust Collection, each with their own unique backstory that offers insight into the mind of their brilliant creator.Verdura’s jewellery was never produced on a mass scale and his most famous pieces were often commissioned works. This has made the Verdura name all the more collectible for the discerning jewellery lover at auction.Condition Report: Cultured pearls:One black: Very good lustre, with green and pink overtones, minor natural blemishes visible under a bright light sourceOne White: Very good lustre, with green, pink and silver overtones, superficial natural blemishes visible under a bright light sourceDiamonds: approx. 7.50cts total, bright and livelySignature, French assay marks and maker's marks located on the clip fittingsEarclips for non pierced ears, includes rubber bands on the back fittingsEagle's head for French 18K gold and dog's head for French platinumMinor signs of wear, overall in good conditionTotal gross weight approx. 47.40g

A CITRINE DRESS RING, BY REPOSSIThe faceted top cabochon cushion-shaped citrine between two faceted top cabochon heart-shaped citrine shoulders, within collet-setting with reeded detailing, mounted in 18K gold, signed Repossi, French assay mark, Italian registry mark, ring size M (with sizing band)Rich in heritage and craftsmanship, the fourth-generation, family-run House of Repossi is synonymous with elegance and style. The house is renowned for its exquisite, ornate and diamond-studded creations which incorporate exceptional stones into pieces that seamlessly blend contemporary designs with classical elements.The brand was first created in Turin, Italy by Constantino Repossi in 1920. Upon completing his studies in industrial design, the young Constantino took over his father’s jewellery business and atelier in post-war Italy. The first Repossi store was opened in 1949 in Turin during Italy’s modernist era. Art Deco and Avant-Garde styles prevailed in the first Repossi collections, which demonstrated Costantinos ability to combine both his technical and artistic backgrounds.Subsequently, Constantino’s son, Alberto, began designing pieces at the age of seventeen after learning the craftsmanship of the family’s atelier. In 1974, Alberto took charge of the house and brought the brand to international recognition. Under Alberto, the Repossi House saw the opening of a flagship store in Monte Carlo in 1977, followed by the Paris store in Place Vendôme in Paris in 1986.Repossi designs became famed for their elegance and were celebrated by many influential people. Repossi became the official purveyor to HRH The Prince Rainier III of Monaco in 1994 which gave the house worldwide recognition. Repossi also became the official supplier to the Saudi Royal family, and to the Royal families of Qatar and Dubai. The house continues to work with royalty in many countries, and its designs are enjoyed by socialites, jewellery connoisseurs and celebrities worldwide. Today, much of the work is still done in the same workshops that were used in the 1920s.Following tradition, Alberto’s daughter Gaia Repossi is now leading the family business which is nearing its 100th anniversary and is more successful today than ever before.Condition Report: Citrines: Well matched in colour - minor surface scratches visible under 10x magnification under a bright light sourceSignature and marks located on the outside hoopEagle's head for French 18K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 14.2g

Four contemporary Art Deco prints, ladies of fashion, one of which used by Schweppes for advertising soft drinks. Not available for in-house P&P

A contemporary Art Deco style settee

A contemporary Art Deco style settee

A contemporary Art Deco style settee

MARK CHAPMAN; a contemporary art glass vase of shouldered form, with iridescent stylised decoration, signed and dated 10-88, heightb18.5cm.  Additional InformationGood condition with light scratches to the underside. 

GUNNEL SAHLIN FOR KOSTA BODA; a contemporary art glass vase of conical form, with internal linear decoration, signed, bears original label, height 29.5cm.Additional InformationLight wear, otherwise appears good with no further signs of faults, damage or restorations. 

A contemporary art glass centrepiece bowl, inscribed to base 'Barin 2007'.

A contemporary Art Glass bowl with amethyst coloured centre, diameter 36cm.Additional InformationLight scratches to the underside, the odd very minor nibble to the edge.

Lenticular print featuring the iconic 1970s Abramovic piece, 21 x 21 cm. Time limited edition of 2500 published by Circa Economy (The Cultural Institute of Radical Contemporary Art) in London, June-September 2022. With certificate of authenticity numbered 0274, dated Aug. 22 2022.

Halifax/Los Angeles, Nova Scotia College Of Art and Design/The Museum Of Contemporary Art, 1983.Softcover, 30.5 x 22 cm, 229 pp. Text in collaboration with Benjamin H. Buchloh. With sticker of Jaap Rietman booksellers on inside of backcover. Moderate shelf wear on cover and spine, else a crisp copy.

Paris, Galerie Breteau, 1965. Announcement poster for the show curated by the artist and gallerist Denise Breteau in November 1965, the first in a series of reflections on contemporary art. This one dedicated to the readymade, featuring shop bought objects referring to Duchamp et al. Offset printed, 66 x 50 cm, folded 3 times. Age wear along the folds, with tiny holes at the meeting point of the folds, dog-eared on top right corner. Rare document.

(1) Six announcement leaflets by Galeria LDK Labirynt, Lublin from 1976-1980. Includes Krystuna Krytyna, Lech Mrozek. (2) 5 flyers for Galeria Studio, Warsaw, 1978-1980, with Sosnowski et al. (3) 14 flyers by Foto Medium Art, Wroclaw, directed by Jerzy Olek, 1979-1980. (4) 4 small catalogues by Mal Galeria Warsaw 1979 - 1983. (5) Malmö Konsthal, Sweden. Catalogue and exhibition poster '7 Young Poles', 1975. (6) Poster Galerie S:T. Petri featuring a show on contemporary Polish art in 1981. (7) 13 miscell. gallery announcements. (8) Two photocopied and stamped artists booklets by Waclaw Ropiecki, 1980, 15 x 10.5 cm. (9) Zbigniew Warpechowski, Autopsja, Symulacja/ Aytopsy, Simulation. Krakow, Galeria Desa, 1974. Softcover, 21 x 15 cm, 8 pp. Booklet with original rubber stamps. Artist statement reads: 'besides NOTHING there only exists EVERYTHING'. (10) Business card for Tomasz Schulz 'Dadaista'. (total ca. 44)

Garry Winogrand (New York 1928 – 1984 Tijuana, Mexiko). New York, aus der Serie „Women are Beautiful“, 1960–1975. 1969 oder früherSilbergelatineabzug, 1981. 22,3 × 33,3 cm (28 × 35,4 cm) (8 ¾ × 13 ⅛ in. (11 × 13 ⅞ in.)). Rückseitig mit Bleistift signiert, nummeriert und beziffert.Einer von 80 nummerierten Abzügen sowie eines von 85 Motiven des Portfolios „Women are Beautiful“, hg. von RFG Publishing Inc., New York 1981. [2011]Literatur und Abbildung: Garry Winogrand: Women Are Beautiful. New York 1975, unpaginiert / Ausst.-Kat.: Garry Winogrand. Figments from the real world. New York, The Museum of Modern Art; Chicago, The Art Institute; Pittsburgh, Carnegie Mellon University Art Gallery; Los Angeles, The Museum of Contemporary Art; Austin, University of Texas, Archer M. Huntington Art Gallery; Tucson, University of Arizona, Center of Creative Photography, 1988/90, S. 104Zustandsbericht: In sehr gutem Zustand. Schwach seidenmattes festes Papier, minimal warmer Ton. Schwarzer Bildrand, weißer Blattrand. Keine Mängel erkennbar.Wir berechnen auf den Hammerpreis 25% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.

[*] Ofili, Chris -- Ohne Titel, aus: StützmappeRadierung auf festem Velin. 1995.41 x 49 cm.Verso signiert "COfili". Auflage 50 num. Ex.Ofili, ausgebildet an der Londoner Royal Academy, bezieht sich seit einem Studienaufenthalt in Simbabwe in seinen Arbeiten auf seine afrikanische Herkunft, indem er zum Beispiel Elefantendung verwendet, Glasperlen einsetzt oder in Anlehnung an simbabwische Höhlenmalereien, vergleichbar dem Pointillismus, aus Punkten zusammengesetzte Bilder schafft. Die Stützmappe (Support Portfolio), entstanden unter Beteiligung von 13 internationalen Künstlern, war eine Zusammenarbeit zwischen Niels Borch Jensen Editions und der Berliner Galerie Contemporary Fine Art; Druck Julie Dam. Prachtvoller Druck der formatfüllenden Darstellung.Provenienz: Sammlung Berliner Sparkasse - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Patrick Procktor RA (British 1936-2003): 'Nocturne in North Wales', limited edition etching and coloured aquatint signed and numbered in 65/150 in pencil pub. Christie's Contemporary Art 1976 with blindstamp 34.5cm x 47cm with full margins

ARR Christopher Ryland, contemporary, Glemsford Irises, signed watercolour, 59 x 50cm, label for The John Russell Art Gallery, Ipswich

ARR Christopher Ryland, contemporary, White and Pink Cyclamen, signed watercolour, 50 x 59cm, label for The Wildlife Art Gallery, Lavenham

Nana Shiomi, RE. Two of Clubs. 'Home for Runaway Girls - Clubs are the Desire of Knowledge'. Woodcut print with water-based colours, printed by hand with baren. Numbered 13/30. 84 x 60cm, canvas size 102 x 75cm. Nana Shiomi makes contemporary woodcut prints. Her approach is described technically as a combination of relief/intaglio and water-based woodcut printmaking. It is rooted in the traditional methods of Japanese ukiyo-e woodblock printmaking by hand with a Baren, to which she has added her experiments with new techniques and materials. www.nanashiomi.com. Born in Japan in 1956, Shiomi studied at Tama Art University (BA, MA), Tokyo, before she came to London to receive an MA from the Royal College of Art in 1991. She has been living and working in London since 1989 and is a Fellow of the Royal Society of Painter-Printmakers and Japan Artists Association Inc. Following the last time, this work is my homage to Louise Bourgeoiss Home for Runaway girls. I feel like I am a runaway girl since I was young. However, it is not with negative meanings. I am always seeking my freedom with my full of curiosity and adventurous mind. These works are my support message to all runaway girls. I took Alice of Alice in Wonderland' to appear for the cast of characters in this work. Also, I use the upside-down manner of the playing cards for coincidence to Alices story.

Charmaine Stimson. Five of Clubs. Charcoal on paper, 60 x 42cm. Signed on reverse.Charmaine Stimson is a London based artist. She completed her BA in Fine Art in 2011, having originally studied and taught Economics. She has a particular interest in drawing, often combining it with video to create her work. She works on collaborative projects and has created site specific installations, most recently at Strawberry Hill House in West London. Currently Charmaines main focus as an artist is as co-founder and director of One Paved Court, a contemporary artspace in Richmond, London. One of its main aims is to break down the barriers that exist between the artworld and the general public, showcasing challenging and engaging art to a wide audience and hosting regular talks and events that are open to all. Since opening in 2017, One Paved Court has shown the work of over 150 new and emerging artist as they take the next step in their career.

Jennie Jewitt-Harris. Jack of Clubs. 'Vesta Tilley'. Oil and collage on canvas board, 40 x 50 cm. Signed. Jennie Jewitt-Harris gained her MA then PhD in Fine Art from Brighton University/UCA and her Medical degree at Kings London. Jennie has had two artworks selected for the Royal Academy Summer Exhibition, completed a residency at Watts Artists Village, and her works are in private collections nationwide. Her solo exhibitions include In Residence at Watts Contemporary Gallery, Fideles Oculi at C&C Gallery, London; Time and Vision at One Paved Court, London, Anything But the Eyes at James Hockey Gallery, Farnham then The Mirror Gallery at South Hill Park, Battle:Cry in Farnham and Bracknell, and The Butterfly Ball in Falmouth. She has exhibited in many group shows, including at the London Art Fair, Affordable Art Fair, the Cultural Olympiad in 2012, and as a duo with Aimee Jewitt-Harris at Blah Blah and Tandem in Falmouth. Jennie uses her knowledge of psychology and medicine to inform her practice which considers our relationship with time, connection with others and what makes us who we are, using a variety of media mainly collage and painting. She has appeared with her artworks on Great British Railway Journeys and has permanent photographic works on display at Guys Hospital and The Royal Free Hospital. Her artworks have been published by the British Medical Journal, The Psychologist and The Ophthalmologist magazines. She is the Founder of Transplant Links, a charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes helping many more patients become a possibility for the future.

Annie Boisseau, RBA. Five of Diamonds. 'Diamonds in the Sky'. Acrylic on board, 26 x 26 cm. Signed on reverse. Annie Boisseau studied Fine Art at Goldsmith's College, University of London and Exeter College of Art and Design. She is a member of the Royal Society of British Artists (RBA) and The Small Paintings Group (SPG). Awards include The Winsor and Newton Award for painting and The Artist Magazine Award. Her work has been exhibited widely in national exhibitions, The ING Discerning Eye and the RWS Contemporary Watercolour Competition. International Art Fairs include, The Olympia Art Fair and The 20/21 British Art Fair. She shows regularly with many galleries throughout England. Her work is held in The University of Surrey art collection. Art uk.org. Private collections include in France, China and Japan. www.annieboisseau.com

George Underwood. Queen of Diamonds. Oil painting on linen canvas, 65.5 x 50.4cm. Signed. George Underwood was born in 1947. George joined Beckenham Art School in 1963. At art school George Underwood became more and more interested in music. As a result he pursued a career in the music world. Along with life long friend David Bowie he made one record (The King Bees ) and also a solo record under the name Calvin James. After deciding that the music business was not for him, George returned to art studies and then worked in design studios as an illustrator. Initially he specialised in fantasy, horror and science fiction book covers. Many of George Underwood's colleagues in the music business asked him to do various art works for them. This led to George becoming a freelance artist. Art work for the first T Rex album and later David Bowies Hunky Dory and Ziggy Stardust album covers established him as a leading and creative art illustrator. Over this period George produced literally hundreds of book covers, LP and CD covers, advertisements, portraits and drawings. At the start of the 1970s George Underwood started painting in oils. His paintingswere influenced at first by the Viennese School of Fantastic Realism artists which includedErnst Fuchs, Rudolph Hausner and Eric Brauer. George regarded them as contemporary visionaries like Bruegel and Bosch. He was fascinated by their imaginative visions. Imagination is the key word in George's paintings. He rarely uses live models nowadays, prefering to invent people who inhabit their own personal world. George Underwood paintings are held in many private art collections. One of his art collectors, David Bowie, said: George has, over the years, refined his work to the point where I would put him among the top figurative painters coming out of the UK right now. Theres a sublime isolation surrounding his subjects that really touches the viewer, the figures being both heroic and vulnerable simultaneously. Theres a timeless element in the choice of subject matter that overlaps with the mythical world of Odd Nerdrum, say. Now that a huge shift to painting is taking place, I would expect to see Georges name pushed further and further to the front. www.georgeunderwood.com.

Jackie Berridge. Jack of Hearts. Oil painting on panel, 15.2 x 10.1cm. Signed on reverse. "My Jack of Hearts design is based on a traditional card by with a contemporary twist". Jackie Berridge studied BA Fine Art at Nottingham Trent University (1993-95) and an MA Childrens Book Illustration at the Cambridge School of Art, (2004-07). Selected group shows include: invitation to exhibit at the Royal Scottish Academy (2022); Shortlisted for Trinity Buoy Wharf Drawing Prize (2022, 2021, 2019); Royal Academy Summer Exhibition 2021, 2017, 2016, 2010; UK and Indian Artists exhibition , Reliance Art Centre, Baroda, Gujarat, India (2019); Solo exhibitions include: Living Rooms, The Angelus Gallery, Winchester College (2019); Lost, Rabley Gallery, Marlborough, Wilts (2016); Perfume and Savages, Angears Gallery, Nottingham (2014); Awards include: RSA Maude Gemmell Huchinson Prize; Prizewinner Nottingham Castle Open (2011, 2012, 2014, 2016); SKETCH2013, Exhibition Prize, Rabley Gallery, Marlborough (2013). She lives and works in Southwell, Nottinghamshire.