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Lorna Bailey for Old Ellgreave Pottery - Bridge + Stream pattern - A contemporary Art Deco style in the manner of Clarice Cliff studio art pottery hand painted shaped single handled jug having a lozenge shape. Marked & signed to the underside. It measures 11cm tall.

Lorna Bailey for Old Ellgreave Pottery - Bridge + Stream pattern - A contemporary Art Deco style in the manner of Clarice Cliff studio art pottery hand painted three knob vase. Marked & signed to the underside. It measures 22cm tall.

BOOKS, eight boxes containing approximately 240+ titles in hardback and paperback formats, subjects include Religion/Theology, thirty-nine volumes of The Proceedings of the Institution of Electrical Engineers 1950's-1960's, Art & Architecture, Science, classic and contemporary Novels, authors include Mazo de la Roche (14 novels), Georgette Heyer (30+ novels), Len Deighton, P.D. James and others, general condition fair-poor

REBEKA KAHN (Irish contemporary), 'Life is an adventure' ceramic and glass hot air balloons art panel, box framed signed, titled and dated 2017, 1/14, 55cm H x 55cm.

JITSUGA: A FINE IVORY NETSUKE OF MOMOTARO WITH COMPANIONS INSIDE A PEACHBy Jitsuga, signed Jitsuga 雅真Japan, Tokyo, second half of 19th centuryDepicting a peach, carved from two parts hinged together and openable, the lustrous exterior superbly polished and with neatly carved leafage, the inside revealing a densely carved and remarkably intricate depiction. Momotaro, the 'peach boy', is preparing with his companions, the dog, pheasant and monkey, to conquer Onigashima (island of ogres). The other side of the peach is carved in relief with a cart holding a banner and supplies. Signature JITSUGA on the underside of the stem, where the natural openings for himotoshi are present.HEIGHT 3.6 cmCondition: Excellent condition.Provenance: Collection Gabor Orszagh, Budapest, Hungary.According to Miriam Kinsey in her book on contemporary netsuke, Jitsuga was the third master of the school of Hakumin of Edo. His style is certainly inspired by the great Osaka master Kaigyokusai Masatsugu and similar examples are attributed to or signed by members of the school of Kaiygokusai.Auction comparison:For two similar netsuke signed Kaigyokusai Masatsugu, see Bonhams, the Julius and Arlette Katchen Collection of Fine Netsuke Part II, 10 May 2017, London, lot 28 (sold for 3,500 GBP), and Bonhams, Fine Japanese Art, 12 May 2009, London, lot 170 (sold for 3,600 GBP). Another netsuke by Jitsuga (erroneously described as Sanemasa, which is another reading for Jitsuga) was sold by Zacke, Fine Netsuke, Sagemono & Okimono, 24 November 2018, Vienna, lot 153 (sold for 3,942 EUR). Furthermore, Jitsuga also appears to have provided carving for a snuff bottle, see Bonhams, Fine Japanese Art, 12 May 2011, London, lot 268 (sold for 7,200 GBP).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0463). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

SEIHO: A FINE CONTEMPORARY WOOD NETSUKE OF JIKOKUTEN WITH ONIBy Katsuo Azuma (Seiho, 1936-2003), signed Seiho 声方Japan, Ibaraki prefecture, c. 1990Published: Michael Spindel Ltd., An Exhibition of Contemporary Netsuke and Ojime, 1991, New York, p. 25, no. 38.Finely carved and stained, the eyes inlaid in shell. The guardian deity is shown with fierce expression, standing on an oni with both feet and plunging his sword downwards to the ground. Good himotoshi through the back and signed Seiho within a rectangular reserve.HEIGHT 8.3 cmCondition: Excellent condition, some natural flaws to the wood.Provenance: Collection Gabor Orszagh, Budapest, Hungary, purchased from Michael Strone.Seiho, born as Katsuo Azuma in 1936 in Ibaraki prefecture, studied carving under the famous Hose Maguro until he turned 22. Seiho is well known for his legendary and mythological figures, animals, and religious subjects. He was a member of the International Netsuke Carvers Association and has received several awards from the Ueno Royal Museum and the Japan Art Association.Jikokuten is one of the Four Heavenly Kings (Shitenno), Lord of the East, his literal translation being 'Guardian of the Nation' (持國天).

NICK LAMB: A STAINED BOXWOOD 'TIGER AND DRAGON' NETSUKEBy Nick Lamb (born 1948), signed with the artist's markUSA, late 20th centuryFinely carved and stained as a dragon emerging from a soft and fluffy cloud that wraps around the tiger's paws, the two-horned dragon with a puzzled expression and bulging eyes, below a tiger licking the cloud, its fur neatly incised and painted with stripes. Natural himotoshi and signed with the artist's mark on a gold, lozenge-shaped reserve. The eyes and horn of the dragon inlaid in mammoth tusk.HEIGHT 8.4 cmCondition: Excellent condition, minor wear.Provenance: Collection Gabor Orszagh, Budapest, Hungary.Nick Lamb is one of only a few non-Japanese netsuke carvers. Over the past three decades, he has built a reputation as being among the finest living practitioners of the art form and is known for his meticulous, graceful carvings, typically of animals. His work was exhibited in several museums, such as the British Museum and became part of many private collections, including that of the Imperial Family of Japan, the Robin Lehman Collection, the Robert O. Kinsey Collection, and the Tokyo National Museum.Literature comparison:Compare a related horn netsuke of a cat by Nick Lamb, in Contemporary Netsuke, Selected Ojime & Related Arts 1993, p. 18, no. 51. Compare a related boxwood netsuke of a tiger illustrated in the International Netsuke Society Journal (INSJ), 1999, vol. 19, no. 4, p. 30. Compare a related boxwood netsuke of a dragon illustrated in the International Netsuke Society Journal (INSJ), 1999, vol. 19, no. 4, p. 31.

AKIHIDE: A FINE CONTEMPORARY INLAID WOOD NETSUKE OF A KAPPA TRAPPING A NAMAZUBy Akira Kawahara (Akihide, born 1934), signed Akihide 明秀Japan, Tokyo, c. 1980The kappa hunching over a straw basket, one eye and one whisker of a namazu visible through a tear near the bottom and the rest of the earthquake fish visible below. The details, such as the kappa's warty skin and long hair, are finely carved. The subject is a clever mitate on the Shoki and oni theme, where the oni traps Shoki underneath a basket, however here the kappa and namazu are depicted, who tend to play a similar cat and mouse game. The kappa's carapace is neatly inlaid with highly polished, stained tortoiseshell, and the eyes of both are double inlaid in amber with dark pupils. Natural himotoshi and signed AKIHIDE within a slightly raised, rectangular reserve underneath.LENGTH 4.5 cmCondition: Excellent condition.Provenance: Collection Gabor Orszagh, Budapest, Hungary. Purchased from Michael Bernstein, New York.Akihide (actual name Akira Kawahara) was born 1934 in Tokyo. He learned carving as a teenager from his uncle who was an okimono carver. He is versatile in any material and has received high acclaim for his inlay work using highly-polished tortoiseshell. Literature comparison:Two closely related wood netsuke of kappa by Akihide are illustrated in Kinsey Miriam, Carver's Workshops at the INCS Convention III, International Netsuke Collectors Society Journal (INCSJ), vol.7, no. 4, p. 49, nos. 14 & 17.Museum comparison:A closely related wood netsuke of a kappa with child by Akihide is in the Art Gallery of Greater Victoria, accession no. 2007.016.038.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

A CONTEMPORARY WOOD NETSUKE OF A MYTHICAL BEASTUnsignedJapan, 20th centuryThe kirin-like creature standing with its arms touching its bent knees, the long neck curling and head nestled into the shoulders, the eyes inlaid in dark horn. A little bump on the forehead indicates a growing horn and the neatly carved mane rests against the creature's back. The long tail curls down the back, forming the natural himotoshi.HEIGHT 9.2 cmCondition: Excellent condition.Provenance: Collection Gabor Orszagh, Budapest, Hungary.The design is illustrated in the Soken Kisho of 1781, the first publication on netsuke and their carvers, where it is described as a to-bori - literally an 'eastern carving', suggesting its exotic or foreign nature.Literature comparison:A closely related wood netsuke by Ouchi Sosui depicting the same subject is illustrated in Sagemonya (1998) So School Netsuke, no. 74. Another closely related wood netsuke, signed Masahide and dated to the 19th century, depicting the same subject is illustrated in Rutherston & Bandini, Japanese Netsuke, Inro and Works of Art.

IKKU: AN UNUSUAL CONTEMPORARY KOKUTAN WOOD NETSUKE OF A STYLIZED SPARROWBy Isamu Kasuya (Ikku, born 1949), signed Ikku 一空Japan, Tokyo, 20th centuryCarved from kokutan (ebony) wood embellished with various colored inlays and formed as a möbius-like band of waves taking the form of a stylized sparrow. Two small beaked birds with gilt metal eyes emerge from the structure facing into the central opening. The back with a beautifully stippled ground and the two himotoshi formed by one larger and one smaller hole. Signed on a polished rectangular reserve IKKU.HEIGHT 5 cmCondition: Excellent condition.Provenance: Collection Gabor Orszagh, Budapest, Hungary, purchased from Michael Strone.Literature comparison: A closely related kokutan wood netsuke by Ikku depicting waves is illustrated in Spindel, Michael (1993) Contemporary Netsuke, no. 36.Auction comparison:A set consisting of a netsuke and ojime by the artist was sold at Bonhams, Asian Decorative Art, 28 September 2005, San Francisco, lot 4562 (sold for 7,637 USD).Ikku is widely regarded as one of the greatest contemporary netsuke carvers of the 20th century. His output is fairly limited, and he preferred to never repeat subjects. He studied under the master carver Yasafusa Saito.

BISHU: A LARGE BONE NETSUKE OF A WHALE WITH YOUNGBy Katsutoshi Saito (Bishu, born 1943), signed Garyu Bishu 臥竜美洲 with seal Bishu 美洲Japan, Tokyo, c. 1993Finely carved from bone, most likely whale bone, as a large bellowing whale nestling its young against its body with its right pectoral fin, the eyes of both inlaid in reddish horn. The cord attachment is formed by the elegantly curving tail of the adult. Signed underneath in a polished area Garyu BISHU.LENGTH 10 cmCondition: Excellent condition.Provenance: Collection Gabor Orszagh, Budapest, Hungary, purchased from Michael Strone.Bishu (actual name Katsutoshi Saito) was born 1934 in Tokyo. He studied sculpture at the Taiheyo Art Academy and learning carving from his father, Shosai Saito. In the “contemporary netsuke movement” that aimed to create new artistic work starting in the 1970s, Bishu was one of the central artists who exhibited new and novel contemporary netsuke. In 1981 his work was acquired by the British Museum.After recovering from eye surgery, Bishu changed his signature to read Bishu III and added the appellation “Garyu”, or “awakening dragon”.

HIDEYUKI: A CONTEMPORARY WOOD NETSUKE OF SHOKI AND ONIBy Sakurai Hideo (Hideyuki, born 1941), signed Hideyuki 英之Japan, Tokyo, 20th centuryShoki grabbing an oni by its hand, looking down with a menacing expression, a sword in his right hand, his robe decorated with colorful inlays. The oni crouching fearfully next to demon queller, his arms and feet adorned with gilt bangles. The eyes are inlaid in pale translucent horn with dark pupils. Himotoshi through the back, signed HIDEYUKI on a rectangular gold plaque.HEIGHT 6.2 cmCondition: Excellent condition.Provenance: Collection Gabor Orszagh, Budapest, Hungary, purchased from Michael Strone.Sakurai Hideyuki, born as Sakurai Hideo (1941), learned carving from his father Sakurai Hirokichi who worked under the art name Kosei. Miriam Kinsey (1977), arguably THE authority on contemporary netsuke during the 20th century, notes: “[…] his netsuke are executed with his own original ideas and with delicate, detailed, and meticulous workmanship.”Auction comparison:Compare a related wood netsuke of an elderly Ainu by Hideyuki, 20th century, at Bonhams, Fine Japanese Art, 16 May 2013, London, lot 20 (sold for 2,500 GBP).

MORIKAWA TOEN: A RARE BAMBOO SASHI NETSUKE OF A GUARDIAN LIONBy Morikawa Toen (1820-1894), signed Morikawa Toen森川 杜園 and kakihanJapan, Nara, second half of 19th centuryPublished: Lazarnick, George (1976) The Signature Book of Netsuke, p. 384Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. II, p. 1096J. Hawley, article on Gyokkin in the INSJ, 25/2 (2005), illustrated on p. 20, no. 20Atchley, Virginia / Davey, Neil (2006) The Virginia Atchley Collection of Japanese Miniature Arts, p. 88, no. N106.Exhibited: International Netsuke Collectors' Society Convention, Honolulu, 1977Finely carved from a section of bamboo (metake) as a Buddhist Lion raised on a double lotus pedestal, the base with neatly carved flowerheads, the guardian seated on its haunches in a distinctly powerful posture, a large ring handle in its mouth. The design is faithfully copied from an incense burner in the Shoso-in repository in Nara. The natural surface of the material is heightened with clever polishing and staining to replicate the bronze surface. The neatly polished reverse with two himotoshi and the inscription Shosoin hoko heigoro no shishi baku [Copy of handled incense burner of shishi in the Shosoin treasure house] and signed MORIKAWA TOEN with kakihan.HEIGHT 10.4 cmCondition: Excellent condition.Provenance: Ex-collection Virginia Atchley, CA.Morikawa Toen's netsuke are rare. Along with his contemporary Kano Tessai (1845-1925), Morikawa Toen (1820-1894) was one of the few artists allowed inside the Shoso-in repository to produce artworks decreed by the Imperial household.Morikawa Toen was known for his Nara ningyo (dolls) sculptures and as a noh actor. His work was admired by the Daimyo of Tosa, the magistrate of Nara, who awarded him with names from Japanese mythology. The Imperial household also became his patrons. He received many prizes throughout his career and was later commissioned by the newly founded Tokyo Imperial Museum to make copies of ancient works of artThe Shoso-in is the treasure house of the Toda-ji temple in Nara, Japan. From the very beginning, the Shoso-in has been sealed by the Imperial family. One was permitted to enter only with explicit permission from the Imperial family. Ninety-five percent of the fine arts and crafts in the Shoso-in were produced in Japan around the 8th century, with the remainder imported from the Tang Dynasty, Central Asia, India, Iran, etc. during the same period. Although these collections are not open to the public, selections are shown at Nara National Museum once a year in autumn.

BRUCE LEE - Bruce Lee's Jeet Kune Do Centre-line Theory DrawingA centre-line theory drawing by martial arts legend Bruce Lee, created during the development of his revolutionary martial arts philosophy, Jeet Kune Do, or "The Way of the Intercepting Fist".This rare hand-drawn illustration, rendered in black-and-red ink and annotated for additional clarity, delineates Lee's explanation of the centre-line theory - a key concept in Wing Chun. The drawing illustrates the correct hand positions and the functional goals to correctly exploit the theory in combat. It also highlights the incorrect or off-line positions.In martial arts, a centre line refers to an imaginary line running through the centre of an opponent's body. A fighter will have a tactical advantage if they can exploit and control an opponent's centre line through accurate and strategic striking. This concept originates from classical Wing Chun, an art Lee studied under legendary Grandmaster Ip Man. However, Lee went on to evolve and modernise Wing Chun fighting techniques for more effective use in contemporary combat. This drawing is accompanied by a letter of authenticity detailing its history and further expanding on centre-line theory. Dimensions: 7.5 cm x 15 cm (3" x 6")Sold without copyright; see copyright notice in the Buyer's Guide. Estimate: £4,000 - 6,000 † This lot will be auctioned on Thursday, November 3rd. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Friday, November 4th; Saturday, November 5th; or Sunday, November 6th.

HOLZWARTH H. W. (Ed).  100 Contemporary Artists. 2 illus. quarto vols. in d.w's & slip case & 9 others re. modern & contemporary art.  (10).

20TH CENTURY SCHOOLTWO STILL LIVES OF EXOTIC BIRDS PERCHED IN TREES Oil on canvas the larger 121 x 89cm (excluding frame), the smaller 101 x 75cm (excluding frame) TOGETHER WITH A STILL LIFE OF FLOWERS Oil on canvas 100 x 74cm (excluding frame)(3)Condition Report: As catalogued these are fairly recent in manufacture These do not appear to be printed, there does appear to be some surface impasto - these are designed to be decorative works of art only not on Art Historical importance, they are not going to have great age and the condition overall reflects thisThe frames are 'aged' but are not old, they are probably contemporary with the pictures, some wear and marks to simulate thisSome surface craquelure where the paint appears to be thicker appliedOne small chip to the paintSome scuffs to the surfaceThe canvas is not taughtPlease refer to additional images for visual reference to conditionCondition Report Disclaimer

20TH CENTURY SCHOOL, A PAIR OF STILL LIVES OF PERCHING EXOTIC BIRDS Oil on canvas each 90 x 121cm (excluding frames) Condition Report: As catalogued these are fairly recent in manufacture and the condition reflects thisThese do not appear to be printed, there does appear to be some surface impasto - these are designed to be decorative works of art only not on Art Historical importance, they are not going to have great age and the condition overall reflects thisThe frames are 'aged' but are not old, they are probably contemporary with the picturesPlease refer to additional images for visual reference to condition Condition Report Disclaimer

A RARE WUCAI ROULEAU VASEShunzhiThe tall cylindrical vessel vibrantly decorated around the exterior with craggy rocks issuing dense chrysanthemum and peony, two birds in flight, all against a red petal-pattern ground and between floral patterned borders, the waisted neck with floral sprays. 39.5cm (15 1/2in) high. Footnotes:清順治 五彩花鳥棒槌瓶Provenance: Priestly & Ferraro Chinese Art, London, 10 July 2006來源：倫敦古董商Priestly & Ferraro Chinese Art，2006年7月10日The dense decoration of flowers on red ground, as found on the present lot is rare. See a jar with related decoration of flowers and rocks against a red diaper-pattern ground, Shunzhi, illustrated by T.Canepa and K.Butler, Leaping the Dragon Gate: The Sir Michael Butler Collection of Seventeenth-Century Chinese Porcelain, London, 2021, p.345. The same jar is illustrated in Seventeenth Century Chinese Porcelain from the Butler Family Collection, Alexandria, 1990, no.60, where the author notes that 'some pieces of this type were made for the Indian or Middle Eastern markets. Friedrich Volker asserts two red rolwagens were given to an Indian King in 1648'; see ibid., p.107.According to T.Volker in Porcelain and the Dutch East India Company: As Recorded in the Dagh Registers of Batavia Castle, Those of Hirado and Deshima and other Contemporary Papers, Leiden, 1971, p.105, in 1649 the Dutch wrote to Batavia on 31 May 'that they intend to present the King [of Surat] with...2 large red rolwagens with leaf work in relief and flowers...' The present lot, also with a predominately red tone, could therefore, have been made for the Indian or Middle Eastern market.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

John SIMMONS (1871-1943) Three oils on canvas View From a Riverside, Farmstead and Rural VillageEach approximatley 46 x 61cm(3)John Simmons spent the first half of his working career within his family theatrical costumier firm ‘A. J. Simmons & Sons’, alongside his father who was a tailor by trade. It was not until the business was sold in 1912 that Simmons was able to dedicate more time to his artistic talent. Although there is no record formally, it is believed that Simmons spent time at the Slade School of Fine Art and trained under the notable painter and printmaker Walter Sickert. This time gave Simmons chance to travel as well as paint, and the two soon came to support each other with Simmons making many friends amongst his contemporary artists. Within his time in London, he became an acquaintance of Augustus John, who also trained at the Slade. Whilst holidaying in Lamorna, Cornwall he often visited Samuel John Lamorna Birch who was drawn to the area by the celebrated Newlyn School. He met many other artists working in England in the early twentieth century, as well as making many friends during his long painting expeditions through continental Europe during the interwar years. John Simmons exhibited at several galleries between 1925 and 1940: the Royal Academy, the Walker Art Gallery, the Royal Society of British Artists and the Royal Institute of Oil Painters to name a few. In contrast to the notoriety of these galleries, Simmons remained a quiet artist, a slow worker whose output was rather small, but at the same time he was a painter whose artistic merit remained a constant. All of Simmons’ paintings are of the same style; sensitive in colour and accurate in form.

John SIMMONS (1871-1943) Rural Landscape with Cottage Oil on board28 x 38cmJohn Simmons spent the first half of his working career within his family theatrical costumier firm ‘A. J. Simmons & Sons’, alongside his father who was a tailor by trade. It was not until the business was sold in 1912 that Simmons was able to dedicate more time to his artistic talent. Although there is no record formally, it is believed that Simmons spent time at the Slade School of Fine Art and trained under the notable painter and printmaker Walter Sickert. This time gave Simmons chance to travel as well as paint, and the two soon came to support each other with Simmons making many friends amongst his contemporary artists. Within his time in London, he became an acquaintance of Augustus John, who also trained at the Slade. Whilst holidaying in Lamorna, Cornwall he often visited Samuel John Lamorna Birch who was drawn to the area by the celebrated Newlyn School. He met many other artists working in England in the early twentieth century, as well as making many friends during his long painting expeditions through continental Europe during the interwar years. John Simmons exhibited at several galleries between 1925 and 1940: the Royal Academy, the Walker Art Gallery, the Royal Society of British Artists and the Royal Institute of Oil Painters to name a few. In contrast to the notoriety of these galleries, Simmons remained a quiet artist, a slow worker whose output was rather small, but at the same time he was a painter whose artistic merit remained a constant. All of Simmons’ paintings are of the same style; sensitive in colour and accurate in form.

John SIMMONS (1871-1943) Seated Beside the Lake Oil on boardSigned51 x 61cmandJohn SIMMONS (1871-1943)Rural LandscapeOil on boardSigned41 x 50cm(2)John Simmons spent the first half of his working career within his family theatrical costumier firm ‘A. J. Simmons & Sons’, alongside his father who was a tailor by trade. It was not until the business was sold in 1912 that Simmons was able to dedicate more time to his artistic talent. Although there is no record formally, it is believed that Simmons spent time at the Slade School of Fine Art and trained under the notable painter and printmaker Walter Sickert. This time gave Simmons chance to travel as well as paint, and the two soon came to support each other with Simmons making many friends amongst his contemporary artists. Within his time in London, he became an acquaintance of Augustus John, who also trained at the Slade. Whilst holidaying in Lamorna, Cornwall he often visited Samuel John Lamorna Birch who was drawn to the area by the celebrated Newlyn School. He met many other artists working in England in the early twentieth century, as well as making many friends during his long painting expeditions through continental Europe during the interwar years. John Simmons exhibited at several galleries between 1925 and 1940: the Royal Academy, the Walker Art Gallery, the Royal Society of British Artists and the Royal Institute of Oil Painters to name a few. In contrast to the notoriety of these galleries, Simmons remained a quiet artist, a slow worker whose output was rather small, but at the same time he was a painter whose artistic merit remained a constant. All of Simmons’ paintings are of the same style; sensitive in colour and accurate in form.Seated Beside the Lake: There is some surface dirt present on this piece, this is particularly evident to the right of the centre (please see additional image). There is some signs of peripheral losses present on each of the edges of this piece, the most prominent area being the top right corner and bottom edge (please see additional images). There is one specific area, to the left of the piece where a section of the paint has removed from the board (please see additonal image).  Rural Landscape: This piece is in the better condition of the two. There is one very minor mark in the left hand corner of the piece (please see additonal image), along with slight peripheral losses present on each of the edges (please see additional images). Both works are unframed.

Susan OGILVY (XX-XXI) Asparagus and Pears Watercolour, signed and dated 1996, 21x45cm Eight of Susan's painting are found in Doctor Shirley Sherwood's world-renowned collection of contemporary botanical art.

Two Publications The Sculpture of John Milne. Peter Davies. Published 200 by Belgrave Gallery London and St. Ives. Hardback.Catching The Wave: Contemporary Art & Artists in Cornwall. Tom Cross. Published 2002 by Halsgrove. Hardback.

Helen Malbunka. Women Dreaming - Bushtucker, acrylic on canvas, signed verso, 41cm x 32cm, exhibited in the Survey of Aboriginal Art Contemporary Works Exhibition, at the Bloomfield Galleries, Paddington, NSW, August 10th - September 7th 1989, with exhibition catalogue.

Two contemporary silver rings. One in the Art Deco style, size Q, the other set with a carved stone, size N

CONTEMPORARY SCHOOL WALL ART, 140cm H x 100cm W, untitled abstract, framed.

AUGUSTUS PUGIN: GOTHIC ORNAMENTS SELECTED FROM VARIOUS ANCIENT BUILDINGS BOTH IN ENGLAND AND FRANCE DURING THE YEARS 1828-1829 AND 1830, London, Henry G Bohn, 1854, 4to, contemporary quarter calf, boards soiled, lower board detached + CHARLES ROBERT COCKERELL: ICONOGRAPHY OF THE WEST FRONT OF WELLS CATHEDRAL WITH AN APPENDIX ON THE SCULPTURES OF OTHER MEDIEVAL CHURCHES IN ENGLAND, Oxford and London, John Henry Parker, 1851, 4to, later cloth + HISTORIC HOUSES OF THE UNITED KINGDOM DESCRIPTIVE HISTORICAL PICTORIAL, London, Cassell & Co, 1891, 4to, original cloth gilt + ADOLF FEULNER (INTRO): HISTORIC INTERIORS IN COLOUR, London, B T Batsford, 1929, 4to, original cloth gilt + HENRY R KNIPE: NEBULA TO MAN, London, J M Dent, 1905, 4to, original cloth gilt + CAMPBELL DODGSON: THE ETCHINGS OF JAMES MCNEILL WHISTLER, ed Geoffrey Holme, London, The Studio, 1922, 4to, original vellum backed boards gilt, v worn and soiled + WALTER SHAW SPARROW: ADVERTISING AND BRITISH ART, London, John Lane, The Bodley Head, 1924, 4to, original cloth backed decorative boards (7)

A collection of six Royal Doulton Nick Walker limited edition collector's plates, with contemporary street art designs, includes "Les Enfants Terribles" 27.5cm in diameter, with certificates in boxes

JON BURGERMAN,THE ONLY WAY IS UP,Screen print on 100% recycled quality natural paper 280 gsm, signed and marked AP,42cm x 59cm,Artist proofJon Burgerman is a UK born, NYC based artist instigating improvisation and play through drawing and spectacle. His work is placed between fine art, urban art and pop-culture, using humour to reference and question his contemporary milieu. His instantly recognisable art has been exhibited all over the world from DIY exhibition spaces to museums to even the White House. His works are held in the permanent collections of institutions including the Victoria and Albert Museum, London.

TRACEY EMIN,FINE BONE CHINA PLATE,20cm diameter,Open edition, published by Turner Contemporary,UnsignedTracey Emin lives and works in East London and Margate, UK, and is known for her autobiographical and confessionary artwork. She works in a variety of mediums: drawing, painting, sculpture, film, photography, neon text, and sewn appliqué. Emin came to prominence as one of the “Young British Artists” of the 1980s, and has since exhibited across the world. Emin’s artwork is held in some of the world’s most prestigious institutions, including the collections of The Museum of Modern Art in New York, the Tate Gallery in London, and the Goetz Collection in Munich.

JAMES JOYCE,EYE,3 colour silkscreen print, signed and numbered,51cm x 36cm,Edition of 100James Joyce was born in Wolverhampton, England and studied at Walsall College of Art and Kingston University. He lives and works in London. He works in a variety of media including painting, drawing, sculpture and screen-printed editions, with the content often subverting recognisable symbolism. That approach was demonstrated by his recent involvement with Banksy’s contemporary art show Dismaland, where Joyce exhibited a large video installation of a rotating and collapsing smiley face titled ‘Perseverance in the Face of Absurdity’. The piece became the signature image for the exhibition.

JOSH ROWELL,VF#17, 2021,Digital Print on Hahnemuhle paper with varnish overlay, signed,62cm x 80cm,Edition of 30Born in 1990 in Kent, England, Josh Rowell graduated from Kingston Art School in 2013, where he received a first class BFA with honours. Following a course in Art Criticism at Central Saint Martins college, Rowell returned to Kingston Art School for an MFA in 2015, where he was awarded a first- class distinction. His works have been exhibited in London, New York, Miami, Seattle, Basel, Hong Kong and Mexico and his works are part of public collections including the Uffizi Gallery in Florence, the Gregorian Foundation in Washington, London Kingston University's contemporary art collection, and the Matilda collection in San Miguel De Allende.Condition is good overall.

CARL CASHMAN,JAZZ CABBAGE #2,Acrylic on wood, signed, titled and dated verso,30cm x 30cm,OriginalCarl Cashman is a contemporary artist based in Devon, who creates stunning, vibrant geometric-based optical art. Some of Carl’s work is painted using UV reactive paint, which adds a further visual element to the pieces when seen in the right environment.

DAN BALDWIN,GO WITHIN, BREATHE OUT, BREATHE IN, Archival Inkjet on Somerset Satin Enhanced 330gsm Paper, signed, titled and marked AP, 29.7cm x 42cm,Artist ProofDan Baldwin works and lives in Sussex, UK, and his practice combines screen-printing techniques with household paint, found objects, and spray paint. He once remarked on how he never plans his artwork beforehand. His multi-layered allegorical artworks often evoke strong contrasting ideas of nostalgia, innocence, decay and love. His artwork deals with contemporary topics such as politics, religion, and innocence. Throughout his thirty year career, Dan has been featured in art fairs worldwide and produced over twenty solo exhibitions since 1998 in destinations such as Paris, New York City, London, Los Angeles, and Brighton. In 2016, the Saatchi gallery hosted a retrospective from his print editions. He currently works with a selection of international galleries, and features in the permanent collections of The Groucho Club, Café Royal, and Club at St. Barnabas.

KORP,Posca pen on cardboard, signed,30cm x 13cm,OriginalThe UK artist known as Korp employs multi-layered stencil techniques and marker pens to create utterly contemporary and frequently iconographic images. Lately Korp is better recognised for his marker work which consists of an army of mutated worms. Korp was an early member of the global art movement known as Free Art Friday and in 2012 he featured on the BBC Culture Show alongside Fin DAC and My Dog Sighs.

8MAIL,CUT LINEN,Charcoal and chalk on paper, signed and titled verso,40cm x 49cm,Original8Mail is a rising star in the Street Art world. Born in England in 1999, he started painting at the age of 13. With his young and yet deep vision on modern society he’s able to immortalize the problems of the contemporary world, making every work of art a statement against injustice. His favourite subjects are riots, protests, fights scenes and migratory movements, which he captures with quick lines in charcoal and chalk. He has taken part in various street art festivals, and he has exhibited in shows in London, where he currently works and lives. 8Mail has studied art at both Central St Martin’s, University of the Arts London and Goldsmiths, University of London.

SWOON,PIGEON FEEDING FAMILY, BROOKLYN 2005,Inkjet print on heavyweight rag, signed and numbered,48cm x 33cm,Edition of 175Caledonia Curry, who works under the moniker Swoon, unites art and activism throughout her expansive multimedia practice. Swoon is perhaps best known for her monumental structures that explore how communities can heal through crisis, and for her large-scale, cut-out portraits of everyday city dwellers, which she often wheatpastes on the sides of buildings. She also works across printmaking, installation, animation, and other media. Swoon studied at Pratt Institute and has exhibited in New York, London, Paris, Tokyo, and Los Angeles. Her work belongs in the collections of the Museum of Modern Art, the Tate, the São Paulo Museum of Art, and the Institute of Contemporary Art, Boston.

MARK VESSEY,LADYBIRD,C-Type – Photographic Archival Print on Cotton Rag paper, signed and numbered,48cm x 108cm,Edition of 50Mark Vessey is a British photographic artist whose work is inspired by the idea of creating art from collections of everyday objects. He spends his life searching for that elusive edition of a magazine; that one book that will make his collection complete. He explores every facet of them with an intensity that only a collector can. His ongoing body of work is called Collections. It takes inspiration from Vessey’s love of vintage magazines like The Face and Playboy, as well as groundbreaking contemporary titles like Attitude.

HIJACK,YOU'RE NEVER TO YOUNG TO DREAM BIG,Hand finished screenprint on paper, signed to front and stamped verso,46cm x 46cm,1 of 1Born and raised in Los Angeles, Hijack is a contemporary artist who combines fine art and street art to create visual commentaries inspired by social and political issues. His work ranges from one color stencils to large-scale murals executed with painstaking realism. The son of ‘Exit Through the Gift Shop’ star Mr. Brainwash, Hijack, grew up in a world surrounded and inspired by renowned street artists such as Invader, Banksy, and Shepard Fairey. He was able to observe first hand the creative processes of some of the world’s most prolific and successful street artists. He learned how to set up his own studio, how to approach a large-scale mural, and even how to stealthily--albeit illegally--put up stencil art.Condition is good overall

BEN TURNBULL,GUNG HO,Digital inkjet print with a screen printed varnish overlay on somerset satin 330 gsm, enhanced paper,75cm x 75cm,From an edition of 50Ben Turnbull is a British contemporary pop artist who, fascinated by the dominance of American culture, crafts his realizations about the country’s relationship with violence by adopting toys and objects from the Americana youth. Born in 1974 in London, Turnbull is a self-taught artist and craftsman. As a child, Ben found escape through comic books which heavily influenced his future art.

COPYRIGHT,REDEEMING HEARTBREAK,Hand finished Giclee print, signed and marked TP,50cm x 69cm,1 of 1Copyright is a graffiti artist based in the UK known for his distinct urban stencil style that combines traditional subjects with contemporary art techniques, fusing together the old and the new. After using stencils to create his base image, Copyright adds depth and texture with spray paint and a brush. Copyright’s striking work often focuses on strong women, often surrounded by iconic symbolism, yet his bold graffiti style adds an element of brutality to his artwork.

§ Denis Mitchell (British 1912-1993) Untitled, 1969 unique, initialled and dated (to underside of base), brassDimensions:26cm x 2.5cm (10 1/4in x 1in) excluding baseProvenance:Provenance: Commissioned by the artist George Dannatt and thence by family descent;Askew Art, London, where acquired by the present owner.Note: Exhibited: Maltby Contemporary Art, Winchester; Rosenberg & Co., New York.Literature: George Dannatt and Friends, exhibition catalogue, Osborne Samuel, London, 2015, p.50, illustrated p.62; Modern British Masters, Rosenberg & Co., New York,2017.Note: This unique sculpture, dating from 1969, was a commission from Denis Mitchell’s friend, the art connoisseur turned painter George Dannatt. Initially Mitchell’s sculptural work was characterised by direct carving of wood and stone, skills developed in his war service work in the Geevor tin mine, before he spent ten years as assistant to Barbara Hepworth. Mitchell explained; ‘we carved side by side . . . I was her hands.’ By the late 1960s he had developed an assured approach in the casting of both brass and bronze to create polished and dynamic sculpture. His love of pure form shines through in this deceptively simple work; the jagged edges, pierced holes and shining warm surface divide, reflect and reveal the light and space around and behind the slim form, conjuring a potent presence much greater than its stature.

§ Ndidi Ekubia (British 1973-) Tornado Swirl, 2007 patinated copper with applied gold leafDimensions:46.5cm high, 86cm wide (18 3/8in high, 33 7/8in)Provenance:Provenance:Purchased directly from the artist by the current vendor;Private Collection, London.Note: "I am excited by the sensual and rich forms that can be created by the rhythmic process of making and believe my nature is reflected through my work. It is delightful to be absorbed in every stage, from design to the finished piece." (Ndidi Ekubia) Celebrated British silversmith Ndidi Ekubia’s large vessel forms are instantly recognisable for the fluidity of their hand-finished, planished surfaces. Born to Nigerian parents in Manchester in 1973, Ekubia studied 3D Design in Wolverhampton before obtaining an MA in Goldsmithing, Silversmithing, Metalwork & Jewellery at the Royal College of Art in 1998. Her practise involves ‘pushing the metal to its limit, emphasising the fluid vitality of each form’ (Glanville, Philippa, Fluid Vitality: the Silver of Ndidi Ekubia, Goldsmiths’ Review 2013-4, pp. 30-33) and she immerses herself in the creative process to produce works that emphasise the inherent quality of the material and permit the viewer to experience its three-dimensional aspects, as with the current work, where each angle offers a different view. Ekubia is represented in important private and public collections of contemporary craft including the Victoria and Albert Museum, London; Ashmolean Museum, Oxford; Crafts Council, London; Aberdeen Art Gallery, Aberdeen; Winchester Cathedral, Winchester and the Goldsmiths’ Company, London. She was awarded an M.B.E. for services to silversmithing in 2017.

Jack Goldstein (Canadian 1945-2003) Untitled acrylic on canvasDimensions:213cm x 274cm (83 7/8in x 107 7/8in)Provenance:Provenance:Private Collection, London, since 1992.Note: Described by David Pagel in The Times as ‘a master at capturing some of the mystery that lurks just beneath reality’s surface’, Jack Goldstein remains one of the most prominent figures in conceptual art and was heralded for his role in the re-birth of painting in the late twentieth century. Born in Montreal in 1945, he relocated to California with his family as a child. Goldstein received his training at the Chouinard Art Institute and as a member of the inaugural class of the California Institute of Arts, worked under the celebrated conceptual artist John Baldessari. After initial conceptual performance works in the early 1970s, he became involved in the Pictures Group. Taking their name from their 1977 exhibition Pictures at New York’s Artists Space gallery, the group including well-known figures such as Cindy Sherman and Robert Longo, strove to re-establish the genre of painting, with shared themes such as an interest in representational imagery and references to mass media. During the exhibition critic Douglas Crimp described Goldstein as the most prominent and most paradigmatic appropriation artist. In direct reaction to this classification Goldstein decided to start painting, continuing this for the rest of his life to the extent that many remember Goldstein primarily as a painter, rather than for his other achievements as film-maker, performance artist, musician and photographer. With their psychedelic imagery and supernova like epicentres, the current works reflect Goldstein’s interest in documentary and archival painting developed as he sought to capture ‘the spectacular instant’ that had predominately been the domain of photography. Each painting is quiet yet explosive, instantly impactful yet pensive, distinctly contemporary yet unequivocally intertwined with history. Often struggling with the notions of experience and presence, he was one of the first artists who sought others to carry out the physical production of his work. This desire to remove himself from his practice perhaps echoes his nihilistic explorations of the emptiness and purpose of postmodern society via authorship and documentation. Critic Ronald Jones notably described Goldstein’s painting practice in 1987 explaining ‘Time and again he portrays the spectacular instant, its gorgeous effects: intimidating thunderstorms, majestic views of interstellar space, the staggering effects of computer imaging, the utter silence of night flying. Before his pictures it is natural to remember the vivid and poignant scenes of J.W.M. Turner and Frederic E. Church, or James McNeill Whistler’s Nocturne in Black and Gold: The Falling Rocket. It is natural, but rarely useful. Goldstein portrays the drama of split-second timing, the precipitous vision of the photograph and the video screen. It is his way to leave us without recourse to the narratives so necessary to the meaning of earlier art. Goldstein’s art suspends time and our gaze precisely at the point where origins and endings blur beyond recognition’ (R. Jones, Jack Goldstein: Recent Work, 1986-1987, New York, 1987, n.p.).

Jack Goldstein (Canadian 1945-2003) Untitled, 1988 signed, dated and inscribed 'A/C' (to reverse), acrylic on canvasDimensions:213.5cm x 243.5cm (84in x 95 7/8in)Provenance:Provenance:Private Collection, London, since 1992.Note: Described by David Pagel in The Times as ‘a master at capturing some of the mystery that lurks just beneath reality’s surface’, Jack Goldstein remains one of the most prominent figures in conceptual art and was heralded for his role in the re-birth of painting in the late twentieth century. Born in Montreal in 1945, he relocated to California with his family as a child. Goldstein received his training at the Chouinard Art Institute and as a member of the inaugural class of the California Institute of Arts, worked under the celebrated conceptual artist John Baldessari. After initial conceptual performance works in the early 1970s, he became involved in the Pictures Group. Taking their name from their 1977 exhibition Pictures at New York’s Artists Space gallery, the group including well-known figures such as Cindy Sherman and Robert Longo, strove to re-establish the genre of painting, with shared themes such as an interest in representational imagery and references to mass media. During the exhibition critic Douglas Crimp described Goldstein as the most prominent and most paradigmatic appropriation artist. In direct reaction to this classification Goldstein decided to start painting, continuing this for the rest of his life to the extent that many remember Goldstein primarily as a painter, rather than for his other achievements as film-maker, performance artist, musician and photographer. With their psychedelic imagery and supernova like epicentres, the current works reflect Goldstein’s interest in documentary and archival painting developed as he sought to capture ‘the spectacular instant’ that had predominately been the domain of photography. Each painting is quiet yet explosive, instantly impactful yet pensive, distinctly contemporary yet unequivocally intertwined with history. Often struggling with the notions of experience and presence, he was one of the first artists who sought others to carry out the physical production of his work. This desire to remove himself from his practice perhaps echoes his nihilistic explorations of the emptiness and purpose of postmodern society via authorship and documentation. Critic Ronald Jones notably described Goldstein’s painting practice in 1987 explaining ‘Time and again he portrays the spectacular instant, its gorgeous effects: intimidating thunderstorms, majestic views of interstellar space, the staggering effects of computer imaging, the utter silence of night flying. Before his pictures it is natural to remember the vivid and poignant scenes of J.W.M. Turner and Frederic E. Church, or James McNeill Whistler’s Nocturne in Black and Gold: The Falling Rocket. It is natural, but rarely useful. Goldstein portrays the drama of split-second timing, the precipitous vision of the photograph and the video screen. It is his way to leave us without recourse to the narratives so necessary to the meaning of earlier art. Goldstein’s art suspends time and our gaze precisely at the point where origins and endings blur beyond recognition’ (R. Jones, Jack Goldstein: Recent Work, 1986-1987, New York, 1987, n.p.).

A group of 32 Islamic Art and Antiquities catalogues and books, comprising:Ernst J. Grube, Eleanor G. Sims, Islamic Art II, Islamic Art: An Annual Dedicated to the Art and Culture of the Muslim World (Geneva, New York, 1987)Sheila S. Blair and Jonathan M. Bloom, Images of Paradise in Islamic Art John Beckwith, Caskets from Cordoba (London, 1960)Godfrey Goodwin, The Janissaries (London, 1994)Oleg Grabar and Sheila Blair, Epic Images and Contemporary History, The Illustrations of the Great Mongol Shahnama (London and Chicago 1980)Marc-Edouard Enay, Oriental Manuscripts, Autographs, Calligraphies and Binding (2010)A.S. Melikian-Chirvani, Les Frises Du Shãh Nãme Dans L’Architecture Iranienne Sous Les Ilkhãn (Paris, 1996)La Collection Charles Kettaneh, Bijoux Archéologie - Islam Glyptique, Glyptique Bijoux Antiques en or Archéologie Arts de L’Islam (Paris Les 29 Février et 1er Mars 1988)Antiques Arts De L’Islam, Collection de L’Ambassadeur X Anciennes Collections J. Matossian – J. Pozzi – N. Landau A Divers, Drouot Montaigne – Salle Bourdelle (Paris 1989)Claude Boisgirard, Arts D’Orient, Jeudi 25 September 1997 Claude Boisgirard, Archéologie Islam, Hotel Drouot, Paris. 30 Juin – 1er Juillet 1993Arts D’Orient, Claude Boisgirard, Jeudi 25 September 1997, Islam – Art Chrétien D’Orient, Vendredi 26 September 1997 Archéologie, Hotel Drouot Archéologie Art Musulman, Collection du Docteur X. et A Divers Amateurs Claude Boisgirard Jeudi 26 et Vendredi 27 November 1987 Hotel Drouot – Salle N 4Arts D’Orient, Archéologie et Islam, Claude Boisgirard, Le Mercredi 14 Décembre 1994 à 30, Hotel Drouot – Salle 7. Paris.B.W. Robinson, Fifteenth – Century Persian Painting: Problems and Issues, New York (New York and London. 1991)Oriental Art, Autumn 1982, Volume XXVIII No. 3Annemarie Schimmel with the assistance of Barbara Rivolta, Islamic Calligraphy, The Metropolitan Museum of ArtThe Society of the Friends of the A.U.B. Museum, Calligraphy: In the Arab and Islamic World, Exhibition Dates: 27th October – 12th December 1999, at A.U.B. MuseumR.W. Hamilton, F.S.A. with a contribution by Dr. Oleg Grabar, KHIRBAT AL MAFJAR, An Arabian Mansion in the Jordan Valley, (Oxford, at the Clarendon Press, 1959)The Dyson Perrins Collection Part II, Sotheby & Co. Auction, 1959, (Day of Sale: Tuesday, December 1, 1959), Catalogue of “Forty-Six Western and Oriental Illuminated Manuscripts”, the property of the late C.W. Dyson Perrins, ESQ., D.C.L., F.S.A. HALI, Carpet, Textile and Islamic Art, Issue 113 November – December 2000, The Pazyryk Felts, Ersari Rugs, Moroccan Shawls, Punjabi Phulkaris & Baghs, Caucasian Pictorial Rugs, Hemp & Ramie in Guizhou, Chinese – Style Bird Paintings in PersiaLadan Akbarnia with Francesca Leoni, Light of the Sufis: The Mystical Arts of Islam, The Museum of Fine Arts, Houston (Distributed by Yale University Press, New Haven, and London 2010)Hashem al-Khattat, Iraqi Cultural Centre Gallery, 11 October – 2 November 1978David Roberts: A Journey in Egypt, Commentary on drawings by David Roberts: Rita BianucciDavid J. Roxburgh, Writing the Word of God: Calligraphy and the Qur’an, The Museum of Fine Arts (Houston 2007)Prof. Dr. A. Schimmel, Iconography of Religions XXII, I, (Leiden 1970)SOTHEBY'S CATALOGUE, BIBLIOTHECA PHILLIPPICA, New Series: Medieval Manuscripts Part I, 30/11/1965 SOTHEBY'S CATALOGUE, BIBLIOTHECA PHILLIPPICA, New Series: Medieval Manuscripts Part IV, 25 and 26/11/1968Art Ottoman, Objects d’art de I’lslam, 3 Centenaire de la Maison Soustiel 1883 – 1983, Exposition: Galerie Jean Soustiel, Paris. 13 avril 1984. George Manginis, Mount Sinai: A History of Travellers and Pilgrims (London, 2006).R. Pinder-Wilson, Paintings from Islamic Lands, Oriental Studies, Volume IV (Bruno Cassirer Publishers Ltd. 1969)Harry Adès, A Traveller’s History of EGYPT, (Gloucestershire, 2007). (32) Please refer to department for condition report

A group of 72 catalogues on Islamic and Indian Arts, comprising of:Ader Nordmann, Orient - Extreme Orient, Drouot-Richelieu, 2 mars 2012.Thos. Agnew & Sons Ltd., Persian Miniatures: An exhibition of seventeen pages from the Houghton Shahnameh, 3rd July - 24th August, 1979.G. M. Meredith-Owens, Persian Illustrated Manuscripts, (The Trustees of the British Museum, 1965).G. M. Meredith-Owens, Turkish Miniatures, (The Trustees of the British Museum, 1963). (2)M. Lings, Y. H. Safadi, The Qur'an, A british Library Exhibition World of Islam Festival, 1976. (6)The Metropolitan Museum of Art Bulletin, April 1971.Morton & Eden, Important Coins of the Islamic World, 22nd of April 2013.Morton & Eden, Important Coins of the Islamic World, 4th of April 2011.Sotheby's, Islamic works of art, carpets and textiles, 12th and 13th of October 1982.Oriental Art Auctions, Islamic Art Auction, 18th November 2020.Christie's Paris, Mobilier et Objets d'Art, Art Islamique, Ceramiques Europeennes et Verre, 7 novembre 2006.Christie's Paris, Art des Terres d'Islam, 5 novembre 2008. (2)Sotheby's, Regard sur l'Orient, 28 octobre 2009.Sotheby's, Regard sur l'Orient, 30 mars 2011. (2)Sotheby's, Regard sur l'Orient, 23 juin 2010.Sotheby's, Collection Patrick Guerrand-Hermes, 9 octobre 2012.Sotheby's, Regard sur l'Orient, 9 octobre 2012. (2)Sotheby's, Arts of the Islamic World Evening Sale, 4th October 2011.Sotheby's, Arts of the Islamic World Day Sale, 5th October 2011.Sotheby's, Arts of the Islamic World, 25th April 2018.Pierre Berge&Associes, Arts d'Orient, Archeologie, 17 juin 2010.Pierre Berge&Associes, Archeologie, Arts d'Orient, Extreme-Orient, 27 et 28 avril 2007.Pierre Berge&Associes, Archeologie, Arts d'Orient, Extreme-Orient, 27 et 28 octobre 2006.Pierre Berge&Associes, Arts d'Orient, Extreme-Orient, 13 mai 2009.Pierre Berge&Associes,Art Primitif, Extreme-Orient, Art d'Orient, 30 novembre 2007.Pierre Berge&Associes,Archeologie, Art de l'Islam, Art Africain, Art Precolombien, 28 et 29 avril 2006.Pierre Berge&Associes, Art d'Orient, Extreme-Orient, Archeologie, 28 et 29 mai 2008.Bonhams, Orientalist Pictures&Works of Art, 11th May 2009. Bonhams, Modern and Contemporary Turkish Art, 5th April 2011. Bonhams, Modern and Contemporary Middle Eastern Art, 7th October 2014.Bonhams, Modern and Contemporary Middle Eastern Art, 28th November 2017.Bonhams, Egypt's Awakening and Modern&Contemporary Middle Eastern Art, 18th April 2018.Bonhams, Modern and Contemporary Arab, Iranian, Indian and Pakistani Art, 3rd March 2008.Bonhams, Photographs, 13th April 2011.Bonhams, The Art of Lebanon, 27th April 2016.Bonhams, A Century of Iraqi Art, 20th April 2015.Bonhams, A Century of Iraqi Art Part II, 7th October 2015.Bonhams, Modern and Contemporary Middle Eastern Art, 26th April 2017.Bonhams, Modern and Contemporary Middle Eastern Art, 7th October 2015.Bonhams, Modern and Contemporary Middle Eastern Art, 20th April 2015.Bonhams, Modern and Contemporary Middle Eastern Art, 12th October 2016.Bonhams, Islamic&Indian Art, 23rd November 2011. Bonhams, Modern and Contemporary Middle Eastern Art, 8th April 2014.Bonhams, Islamic&Indian Art, 5th April 2011.Bonhams, Islamic&Indian Art Part II, 6th April 2006. Bonhams, Modern and Contemporary Middle Eastern & South Asian Art, 11th October 2010.Christie's Paris, Tableaux Orientalistes et Art Moderne Arabe et Iranien, 17 decembre 2008.Christie's Paris, Tableaux Orientalistes et Art Moderne Arabe et Iranien, 3 juin 2008.Christie's Paris, Tableaux Orientalistes et Art Moderne Arabe et Iranien, 9 novembre 2010.Christie's Paris, Orientalisme, Africanisme et Tableaux Africains Contemporains, 18 decembre 2007.Christie's, Orientalist Art, 2nd July 2008.Christie's, Orientalist Art, 14th June 2006.Christie's Paris, Tableaux Orientalistes et Art Moderne Arabe et Iranien, 16 juin 2009.Christie's, Orientalist Art, 9th July 2009.Christie's Paris, Une Importante Collection Privee d'Art Orientaliste, 20 juin 2013. Christie's, A Window on the Orient, 4th November 2010.Christie's South Kensington, Arts of Islam, 1st October 2012.Christie's, A Private Collection Donated to Benefit the University of Oxford, 26th April 2012.Christie's Paris, Art Islamique et Tableaux Orientalistes, 6 juin 2007.Christie's Paris, Arts d'Orient, 18 decembre 2007. (72)Please refer to department for condition report

Dieter Rams (Wiesbaden, Germany, 1932)Pair of chairs, 620 Chair Program for Vitsoe and auxiliary table 621 for Vitsoe + Zapf / Vitsoe. Designed and created in 1962.The cushions are rather worn.These are two of the most iconic creations from the collaborations between Dieter Rams and the Vitsoe firm, which began in 1959.Rams was design director of Braun from 1961 until the mid 90s. According to their website, "Dieter Rams is one of the figures crucial to the understanding of industrial design over the last hundred years. His ten “Good design” principles – among which the maxim "less, but better" stands out – and the work he developed over decades for the electronics company Braun and the furniture makers Vitsoe+Zapf made him key to understanding the sector in the 20th century. The Chief Design Officer of Apple, Jonathan Ive, and the renowned British designer Jasper Morrison have publicly recognised their admiration for Rams’ legacy."Similarly, as explained in the design, architecture and contemporary creation magazine roomdiseno.com, "Dieter Rams established that products have to be like tools, not decorative objects or works of art. [.. .] In his 620 Chair Series for the Vitsoe firm, the modular facet [is repeated] in a system of individual easy chairs, which can also compose, together, a sofa of various seats. Its birch wood base and its frame, covered with a rubber fibre moulding and a synthetic veneer in black or white, gives it an elegant and timeless look. An example of the fact that the aesthetic is not only something that surprises but also endures.”The 620 chair has been awarded various prizes, such as the Rosenthal Studio award in 1966 and the Golden Medal in the International Furniture Exhibition in Vienna in 1969.This model has formed part of the permanent collection at the Victoria and Albert Museum in London since 1970, a fact which shows the extent of its importance in the history of design.Reference bibliography:- Braun Design. (s.f.). Dieter Rams. Https://www.braundesign.es/- Braun Design. (s.f.). Dieter Rams y su colaboración con Vitsoe. Https://www.braundesign.es/dieter-rams-y-su-colaboracion-con-vitsoe/- Moon, A. (4th June 2021). 10 objetos de Dieter Rams a través de su decálogo. Room Diseño. Https://www.roomdiseno.com/10-objetos-de-dieter-rams-a-traves-de-su-decalogo/

PABLO PICASSO (Malaga, 1881- Mougins, 1973)."Pichet Poule", 1954, Vallauris.Glazed and painted ceramic.Print run of 500 copies.With Madoura and D'Apres Picasso stamp on the base.Size: 12 x 18 x 9 cm.Since Pablo Picasso discovered ceramics with his brilliant style in Vallauris (the town where the Madoura workshop was located), this town became the great town of ceramics in France. The artist had already known the town in 1936, but it was after the Second World War, in July 1946, that he became infatuated with ceramics. He was spending a holiday in Golfe Juan-les Pins, a nearby town, and after discovering the Madoura workshop, heir to a long family tradition of ceramic work, the artist began a frenetic production that gave birth to more than two thousand pieces in one year.Pablo Ruiz Picasso is the great genius of contemporary painting. Pablo Ruiz Picasso is the great genius of contemporary painting. The creator of cubism together with Braque, his capacity for invention and creation places him at the top of world painting. He was born in Malaga, where his father was a drawing teacher and director of the Municipal Museum. The Ruiz Picasso family soon moved to La Coruña, and from there to Barcelona, where the young Pablo began his artistic studies at the Provincial School of Fine Arts (1895). Although the school's style was entirely academic, the painter soon came into contact with modernist groups which changed his form of expression. Only two years later, in 1897, Picasso held his first solo exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. The painting of these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange forms.

IMANOL MARRODÁN, (Bilbao, 1964)."E.L 15, Ref. 75." Emotional landescapes series, 2006.Lacquered painting on aluminium panel.Signed, titled and dated on the back.Measurements: 48 x 77 x 1 cm.Imanol Marrodán is an interdisciplinary artist. He currently lives and works in Vitoria. He has exhibited in countries such as the United Kingdom, France, Germany, Portugal, Belgium, Korea, Argentina, Switzerland and the United States. His work has been shown at international contemporary art fairs such as ARCO, VALENCIA ART, ARTE SANTANDER and DFOTO (Spain), ART COLOGNE and KUNST KÖLN (Germany), KIAF (Seoul, Korea), ArteBA (Buenos Aires, Argentina), BALELATINA (Basel, Switzerland). In 2009 he gave a workshop seminar at the Bilbao Art Foundation entitled "New technologies and applications in contemporary painting". Recent solo exhibitions: Juan Silió Gallery in Santander, Blanca Soto Gallery in Madrid, Krisis Factory in Bilbao. He has been awarded in: V Bienal de Pintura Ciudad de Estella Lizarra; V Bienal de Pintura Cuidad de Albacete; First prize in the Sculpture Competition for the Natural Park of Aiako Harria; III Premio de Artes Plásticas Gobierno de Cantabria .... His work is represented in numerous private and institutional collections, including the Artium, Basque Museum of Contemporary Art; Bilbao Museum of Fine Arts; Caja Castilla La Mancha Collection; Museum of Navarre; Olor Visual Collection, etc. He also intervenes with large-scale works in public spaces: "Plenitud y Vacío, Centro", Aiako Harria Natural Park, Oiartzun. Gipuzkoa; "Conversations between Oteiza and Serra", Sculpture, Amurrio; etc. The series of "codified paintings" is inspired by the I Ching or "Book of Mutations", in Taoist thought. They are resolved with an innovative technique based on two-layer paint for car bodywork. Going beyond representation, which through "emotion cores" takes us into utopia through sensory communication. In "Emotional landscapes" he takes this research to a more refined level, suggesting horizons that only exist in our imagination. The pulsations recorded by an echocardiogram or the hexagrams of the I Ching provide more information about the phenomenological world, about the flowing universe in which we are immersed, than any documentary record of the apparent reality we inhabit. Marrodán's pictorial and photographic work draws on these informative references to make visible the energetic flow that underlies the objects.

JAVIER LEÓN PÉREZ (Seville, 1977)."Crumpled universe 06", 2019. Seville, "Estratum" series.Japanese paper, yellow ink and cadmium yellow pigment on canvas.Unique piece.Signed, dated, titled and located on the back.Protected by a methacrylate urn.Measurements: 39 x 29 x 6 cm, 40 x 30 x 8 cm (urn).Trained at the School of Arts and Crafts in Seville and at the University of Fine Arts in the same city, the artist Javier León develops an almost meditative creative process by means of which he studies and works the landscape genre in an abstract way, elaborating spaces external to reality. The work processes followed by the artist contain a certain component of randomness where the stages of construction and growth seek a naturalness that, despite responding to a logic that emanates from the work itself, find a correlation with systems and organisations that occur in nature or in the cosmos. Both his pictorial work and his three-dimensional work made with Japanese paper and his bronze sculptures are closely related, as they are closely related to each other.His work has been exhibited in many national and international contemporary art galleries, including the Spanish AJG Gallery (Seville), the Dutch Judy Straten Gallerie (Hors) and the Portuguese Trema Arte Contemporânea (Lisbon). He has also participated in various fairs such as Arte Lisboa Art Fair (Lisbon), Swab Arte Contemporáneo (Barcelona), CASA//ARTE (Madrid), Liste Coln (Cologne), PAM (Amsterdam), Kinitting And Stitching Show Art Fair (London). In the section of Contemporary Art Biennials, Javier León's work, made on Japanese paper, has been exhibited and recognised at the Biennial Paper of Contemporary Art held at the Rijswijk Museum (Holland), and awarded at the Biennial of Contemporary Art of Lalin (Pontevedra, Spain). Some of his works are part of collections such as the Valentín de Madariaga Foundation (Seville), International University of Andalusia, DEARTE Collection (Soria, Spain), CAIXA Foundation Collection, ABANCA Art Collection and collections of different public institutions in Spain.

MERSAD BERBER (Bosnia, 1940-2012)."Horse composition.Mixed media on paper.Signed in the upper right corner.Slight damage in the lower left corner.Measurements: 80 x 119 cm.Mersad Berber was the most important artist to emerge from the chaos of the Balkan wars in the 1990s. Resident in Zagreb since 1992 - far from the established centres of contemporary art - he has overcome the periphery of his origin thanks to a very personal work, of exquisite technique, which has allowed him to achieve international prestige. In practical and theoretical terms, Berber declares himself to be a defender of figurative art and pictorial language. One of the aspects that is surprising when one discovers his work is his great mastery of drawing.His paintings focus on aspects that have brought him worldwide admiration. These include elegant female portraits, based on High Renaissance prototypes, with which he challenged the 16th century masters of the Venetian school; paraphrases of Velázquez, which express his deep admiration for the great Spanish master; and paintings of horses, which recall his love for the peasant life of the Bosnian countryside. There are also some poignant and penetrating self-portraits, made shortly before his death. They give a good idea of the breadth of his cultural interests, but the frequent fragmentation of the images also makes it clear that they are the product of an extremely contemporary sensibility.He achieved a degree of international celebrity previously unknown to any artist coming from this region of Europe, with exhibitions in London, Hamburg, Istanbul, Chicago, Abu Dhabi, Moscow, Madrid, Zurich and New York. His last major performance before his death was a major retrospective covering his entire career, held in 2009 at the CaixaForum in Barcelona.

LITA CABELLUT (Sariñena, Huesca, 1961).Untitled, 2020.Lithograph on Hahnemühle photo rag 308 gr. paper, copy 30/50.Signed, dated and justified by hand.Enclosed certificate issued by Marc Latorre in 2021.Measurements: 43 x 30 cm.Of gypsy origin, Lita Cabellut was born in the small town of Sariñena, in Huesca, in a family with serious dysfunctionalities. Abandoned by her parents, she was raised by her grandmother in the city of Barcelona. Las Ramblas, the Boquería market, the Port Vell and the Plaza Real, places full at the time of outsiders, artists and show business personalities but also tourists, were the setting for her childhood, marked by dyslexia and the need, at times, to beg. The death of her grandmother when she was only ten years old led to her placement in an orphanage, where, at the age of thirteen, she was adopted by an upper-class Catalan family. The paintings of Goya, Velázquez, Ribera and Rembrandt, discovered during visits to the Prado Museum, revealed her artistic vocation and, in 1978, the artist held her first exhibition, at the Masnou Town Hall. In 1982 she moved to Holland with her family, where she studied with a scholarship at the Gerrit Rietveld art academy until 1984. The painting of the great Dutch baroque masters was essential in the construction of her art, not so much in terms of style as in terms of technique. The artist works with oil on canvas as well as drawing on paper, sculpture, photography, visual poems and video art. Sometimes her works take on certain aspects of the Italian "buon fresco", or she adds a crackle effect to her oil paintings that produces a strong plastic, visual impact. His work abounds in portraits, where the strong influence of Rembrandt, Francis Bacon or Jackson Pollock can be seen, all of them characterised by the expressiveness of the line and the disfigurement of reality in an attempt to reflect the inner tearing of his models. Reflecting violence, sordidness and cruelty, which are sometimes hidden under a superficial layer of glamour, under an evanescent and ephemeral beauty, is one of his main objectives. Her work is grouped in collections or series, such as the one dedicated to Frida Kahlo or A Portrait of Human Knowledge (2012), where she effigies some of the most significant figures in the world of culture and science of the last 150 years, from Stravinsky to Marie Curie, Billy Holiday or Federico García Lorca. The artist has participated in numerous solo and group exhibitions in major cities such as New York, Dubai, Miami, Singapore, Hong Kong, London, Paris, Venice, Monaco and Seoul. She has received numerous awards and recognitions, such as the Gypsy Culture Award for Painting and Plastic Arts from the Institute of Gypsy Culture in 2011. She is also one of the most sought-after living artists on the current art market. In 2015, Artprice magazine ranked her 333rd on its list of 500 most sought-after contemporary artists, placing her only behind Miquel Barceló and Juan Muñoz as far as Spanish artists are concerned.

JAUME SANS (Sitges, Barcelona, 1914-1987)."Untitled".Mixed media on paper.Signed in the lower left corner.Size: 18 x 12 cm; 31 x 25 cm (frame).Jaume Sans spent most of his childhood in Cuba. Years later, already in Barcelona, he came into contact with the magazine L Amic de les Arts, one of the periodicals that contributed to revolutionising the artistic panorama of the 1920s, published in Sitges between 1926 and 1929. Artists such as Salvador Dalí, the critic Sebastià Gasch and the writers J.V. Foix and Lluís Montanyá were grouped around the magazine. During the first decades of the 20th century, avant-garde centres in Spain were almost non-existent, with the rare exception of Barcelona. The city was a centre for artists exiled from the First World War and its tradition of innovation allowed for the appearance of more daring exhibition programmes. Exhibitions such as that of the Galeries Dalmau in 1912, which was the second Cubist art exhibition held outside Paris, or the Universal Exhibition of 1929, which included Mies van der Rohe's revolutionary German pavilion, placed the city on the European art map. During 1932 and 1933 Jaume Sans attended the School of Arts and Crafts, in the face of his family's opposition, where he met Ángel Ferrant, who was to have a profound influence on his work. Sans was a member of Amics de l'Art Nou (ADLAN), a group of artists who promoted the dissemination of new arts and organised exhibitions such as Alexander Calder's Circus in Miniature and Joan Miró's Objects. In 1935 he showed his sculptural work together with Ramon Marinel-lo and Eudald Serra at the Tres Esculptors exhibition organised by ADLAN at the Galeries d'Art Catalònia in Barcelona. This surrealist-style exhibition was a key event in the evolution of contemporary Catalan sculpture.

Walnut single weight Vienna regulator wall clock, the 7" white dial with subsidiary seconds dial, within a glazed case with ebonised barley twist pillars, 45" high (pendulum, weight & key); also a contemporary Kieninger two train wall clock in need of assembly, within an art deco style case 34" high (movement and dial but no pendulum or weights), a small contemporary drop dial timepiece, 22" high overall and a Stentorian Miner Cabinet speaker, 9" high (4)

Tiziana Bendall-Brunello (Contemporary), a rectangular fused glass dish, embellished with a variety of precious metal inclusions6.5 x 50 x 35cmProvenance:With Cambridge Contemporary Art, where acquired in February 2004

A unusual contemporary art of a fish signed R.Brent.Maldne

Hugh McNeil McIntyre (b.1943), 'Rear Window at 151, Brazil', signed and dated '97, oil on canvas, 91 x 91 cm, The Contemporary Fine Art Gallery, Eton label on the frame.

THOMSON, William "Praktische Anweisung zur Lackirkunst und zum Oelfarben-Anstrich""Kunst alle Arten Firnisse und Lackfirnisse, als Weingeist-, Copal-, ... zu bereiten und auf die verschiedenen Gegenstände, als: Holz, Metall, Leder, Horn, ...aufzutragen". Verlag von Gottfried Basse. Quedlingurg und Leipzig. 1828. 19 x 10,5 cm. Einband mit zeitgemäßen Altersspuren. THOMSON, William "Practical Instruction for Lacquer Art and for Painting with Oil Colors""Art all kinds of varnishes and lacquer varnishes, as wine spirit, copal, ... To prepare and apply to the various objects, as: Wood, metal, leather, horn, ...apply". Published by Gottfried Basse. Quedlingurg and Leipzig. 1828. 19 x 10.5 cm. Binding with contemporary signs of age. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Coxwold Cabinet Makers, Geoffrey Taylor-Gell and Jonathan Dixon, Unicornmen of Yorkshire - a contemporary dining table and set of ten conforming Chippendale design dining chairs, comprising eight side chairs and a pair of carvers, each carved and applied with unicorn signature, the table 78.5cm high, 244cm long, 107cm wide, the side chair 95.5cm high, 50cm wide, the seat 42cm deep, the carver 95.5cm high, 65.5cm wide, the seat 46cm wide and 42cm deepNB - This lot is offered for sale as a work of art, the cushions may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling