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FRANK AUERBACH (B. 1931)Two Sketches for 'From the Studio' 2018 signed and dated 2018 to the lower sheet Each: pencil and coloured crayon on paper Each: 21 by 21 cm. 8 1/4 by 8 1/4 in. Footnotes:ProvenanceCollection of the artist, London (donated to benefit the National Saturday Club)Sale: Bonhams, London, Post-War & Contemporary Art, 3 October 2019, Lot 45Acquired directly from the above by the present ownerThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

FRANK AUERBACH (B. 1931)Working Drawing for the Mornington Crescent Paintings 1974 felt tip on paper 22.6 by 22.6 cm.8 7/8 by 8 7/8 in.This work was executed in 1974. Footnotes:ProvenanceMarlborough Fine Art, London Private Collection, London Private Collection, London (gift from the above in 1974) Sale: Bonhams, London, Post-War & Contemporary Art, 24 March 2021, Lot 30 Acquired directly from the above by the present owner ExhibitedLondon, Marlborough Fine Art, Frank Auerbach, 1974, no. 34d, illustrated in colour on the coverThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

JULIAN OPIE (B. 1958)Shahnoza with beads 2006 continuous computer animation on 49' LCD screen113.3 by 66.5 by 9.4 cm.44 5/8 by 26 3/16 by 3 11/16 in.This work was executed in 2006, and is number 3 from an edition of 4, plus 1 artist's proof.Footnotes:ProvenanceGalerie Bob van Orsouw, ZurichPrivate Collection, USSale: Bonhams, London, Modern & Contemporary Art, 17 December 2019, Lot 38Acquired directly from the above by the present ownerThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

MIKULÁŠ MEDEK (1926-1971)Sorrow of the IVth Inquisitor 1965 signed and dated 65; signed, titled and dated 65 on the reverse oil and enamel on canvas 129.5 by 180.5 cm. 51 by 71 1/16 in. Footnotes:This work will be included in the forthcoming catalogue raisonné being prepared by Eva Kosáková Medková.ProvenanceArt Centrum, Prague The University of Sydney, Sydney (acquired directly from the above in 1968)ExhibitedBerlin, Akademie der Künste, Tschechoslowakische Kunst der Gegenwart, 1966, no. 109Stockholm, Sveagalleriet, Tjeckoslovakisk nutidskonst, 1967, no. 68Prague, Art Centrum, Mikuláš Medek: Peintures, Paintings, Bilder 1958 - 1967, 1968Sydney, Farmer's Blaxland Gallery, Power Bequest Exhibition 2, 1969Melbourne, National Gallery of Victoria; Sydney, Art Gallery of New South Wales; Adelaide, Art Gallery of South Australia, The Power Survey of Contemporary Art, 1972LiteratureVratislav Effenberger, Petr Král and Stanislav Dvorský (Eds.), Surrealistické východisko (1938 - 1968), Prague 1969, n.p., illustrated in black and white (incorrectly titled and dated)Bohumír Mráz, Mikuláš Medek, Prague 1970, p. 146, no. 72, illustrated in colourVratislav Effenberger and Antonin Hartmann (Eds.), Mikuláš Medek, Prague 2002, p. 107, illustrated in colour (incorrectly titled)Widely considered as one of the most important representatives of Czech modern painting in the post-war period, Mikuláš Medek is an artist who only recently received the global attention and recognition he deserves. Having died in 1974 at the age of only 47 years of age, the artist became a legend to his Czech contemporaries during his lifetime and deeply influenced the development of Czech modern art. A free spirit through and through, Medek was in permanent conflict with the communist dictatorship in Czechoslovakia and ended up on the index several times. As a result, he was not allowed to exhibit, and public commissions were denied to him for much of his lifetime. Despite these limitations Medek developed a unique style, divided in three distinct creative periods, in an environment where Socialist Realism was the only acceptable art form and in a country that tried to expunge modern art, thought and international artistic the exchange. Sorrow of the IVth Inquisitor from 1965 is the first work of a cycle of 'Inquisitor' works and was executed in a rare time window where the artist was able to exhibit nationally and internationally. Having worked in secret for years under the oppression of the communist regime, the later 1960s between 1963 and 1969 presented a rare window of greater artistic freedom and exchange with Europe and the world. The Inquisitor cycle is an ironic take on Medek's critics and the censors in his life. Coming to the market for the first time in over half a century the present work has been widely exhibited and published. It was acquired by the University of Sydney in Australia only shortly after the work's execution in 1968 and has remained in the collection ever since. The sale will benefit the university's art collections. The present work shows three imposing abstract figures against a stark black background. The spectator is confronted with an intense, emotionally charged scene full of mystical energy and symbolism but also with a spiritual force reminiscent of a catholic altar piece. Three heads balance on sharp, neck like spikes tinted in bloody dark kraplak. Long lashes surround thin lines of unfathomable eyes, and the central figure bears a dark mouth teeming with sharp teeth. Medek used synthetic enamel, a deliberately modern medium, along with oil paint and varnish to create a shiny supple texture. Slashing and gauging the surface with palette knives, spatulas and brushes and layering the enamel and paint on thickly, Medek created a rich, organic, almost skin like texture. Whilst the three Inquisitors in the present work are the art historians Frantisek Smejkal and Vera Linhartova alongside the artist's wife Emila Medkova, the identity of the fourth, referenced in the title, remains unknown. Mikuláš Medek was born in Prague on 3 November 1926 to a prominent artistic and intellectual family. He was the son of the writer and officer Rudolf Medek, the grandson of the impressionist painter Antonín Slavíček and the brother of the music theorist and dissident Ivan Medek. He studied at the State School of Graphic Arts, at the Prague Academy of Fine Arts under the tutelage of Vlastimil Rada and at the College of Applied Arts in the studio of František Muzika and František Tichy. Initially influenced by the rich Surrealistic tendencies in Prague and artists such as Max Ernst and Salvador Dali, he later became one of the leading exponents of informal and non-figurative painting, despite living under an oppressive regime that considered his work to be subversive. Medek worked in private for much of his life, hiding his paintings from Czechoslovak State Security forces, but he was well known to, and greatly influenced a group of likeminded artists and intellectuals. At the end of the 1950s, Medek turned away from figurative painting and concentrated on abstraction, only to return to more figurative subjects towards the mid-1960s. Throughout his oeuvre Medek worked with the theme of the human condition, destiny and the endangerment of human existence and dignity. He created large-scale works for church interiors in Senetářov, Kotvrdovice and, probably the best known, in Jedovnice in Moravia. Today Medek's works are held in a number of Czech and international public institutions as well as in private collections. After a comprehensive exhibition of his work in Prague's Rudolfinum in 2002 and a major retrospective exhibition at the National Gallery Prague in 2020-21 there is finally increased international interest in his works which only rarely come up at auction. Mikuláš Medek continually strove for creative freedom in an age hostile to intellectual liberty and modern art and rightfully occupies a leading position in the cultural history of Post-War Czechoslovakia.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

KENNETH NOLAND (1924-2010)Untitled 1983 signed with the artist's initials; inscribed GARNER FROM KEN WITH LOVE - S.F.CALIF 12.14.83 on the reversemixed media on handmade paper monoprint24 by 33 cm. 9 7/16 by 13 in. Footnotes:ProvenanceGarner Tullis Collection, US Sale: Sotheby's, London, Contemporary Art, 26 October 2000, Lot 148Acquired directly from the above by the previous ownerThence by descent to the present ownerFor further information on this lot please visit Bonhams.com

HANS HARTUNG (1904-1989)P1974-11 1974 signed and dated 74acrylic on baryte cardboard75 by 52.5 cm.29 1/2 by 20 11/16 in.Footnotes:This work is registered in the archives of the Fondation Hartung Bergman, Antibes.This work will be included in the forthcoming catalogue raisonné being prepared by the Fondation Hartung Bergman, Antibes.ProvenanceGalerie de France, ParisBourdon Collection, ParisSale: Sotheby's, London, Contemporary Art, 24 June 1993, Lot 95Acquired directly from the above by the present ownerThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

DAMIEN HIRST (B. 1965)7028. Nothing you can do 2016 from the Currency signed, titled, dated 2016 and stamped with the artist's blindstamp, microdot, watermark and hologram on the reverseone-shot enamel paint on handmade paper21.4 by 30 cm.8 7/16 by 11 13/16 in.This work is number 7028 from a series of 10,000 unique examples. The corresponding non-fungible token has been burned.Footnotes:ProvenanceHENI, LondonAcquired directly from the above by the present owner in 2021Damien Hirst's The Currency has been one of the most hotly discussed artistic projects of recent seasons that will culminate in a grand and fiery finale this October at the artist's Newport Street Gallery. Hirst, the definitive enfant terrible and impresario of contemporary art since his monumental rise to global stardom in the 1990s as the figurehead of the Young British Artists (YBAs), created waves with The Currency when it launched in 2021, forcing buyers of the 10,000 unique pieces to choose between a physical and digital version of the work by June 2022. In October 2022, Hirst will fulfil his promise of burning the unclaimed physical pieces, as well as his own works, daily from Tuesday 11th October, making the present piece, aptly named 7028. Nothing you can do, still more rare from this collection. This sale thus represents the opportunity to acquire and participate in an unprecedented artistic project that has offered one of the most thrilling critiques of desirability, market-dynamics, and the nascent digital realm.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

HELEN FRANKENTHALER (1928-2011)Untitled 1991 signed and dated '91mixed media on paper21.5 by 28.5 cm.8 7/16 by 11 1/4 in. Footnotes:ProvenanceCollection of the artistPrivate Collection, EuropeSale: Sotheby's, London, Contemporary Art, 26 October 2000, Lot 146Acquired directly from the above by the previous ownerThence by descent to the present ownerFor further information on this lot please visit Bonhams.com

Jaeger-LeCoultre. Rare et belle montre bracelet en or blanc 18K (750) rectangulaire réversible mouvement linéaire mécaniqueJaeger-LeCoultre. A Fine and rare 18K white gold manual wind straight line reversible rectangular wristwatch Model: Grande Reverso 101 Art DécoReference: 240.3.70, Limited Edition No.3/5Date: Purchased 5th November 2011Movement: 19-jewel Cal.101S manual windDial: Exposed to movement, outer mother-of-pearl flange with onyx baton markers, blued steel sword handsCase: Brushed and polished reversible rectangular, exhibition back, reeded ends with onyx inserts, inner Art Déco mother-of-pearl and onyx decoration, winding and adjusting, No.2687236Strap/Bracelet: Black Jaeger-LeCoultre alligator leatherBuckle/Clasp: Signed 18K white gold double folding claspSigned: Case & movementSize: 29mm x 36mm Weight: 118,51g Accompaniments: Jaeger-LeCoultre fitted box, Guarantee Certificate, Instructions for use, original purchase receipt, setting tool, magnifying glass, original crown replaced during service, spare black Jaeger-LeCoultre alligator strap, spare black Jaeger-LeCoultre galuchat strapFootnotes:The 'Grande Maison of the Vallée de Joux' developed in 1929 the smallest mechanical movement ever made: the Calibre 101, whose 74 components weigh only about 1 gram. A real technical achievement for the time. Jewellery versions have been worn on the most delicate of wrists, such as that of Her Majesty Queen Elizabeth II on the day of her coronation in 1953. The current example brings this model into the 21st Century in a contemporary sized case with onyx and mother-of-pearl decoration. It provides the calibre 101 with a sumptuous geometric backdrop bordered by the enamelled gadroons of the white gold case. The decoration is a vibrant homage to Art Déco with the contrasting marquetry celebrating the linear, pure and regular forms of this era.This lot is subject to the following lot symbols: Y RY Subject to CITES regulations when exporting items outside of the EU, see clause 13.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

A contemporary studio art glass square dish. 2001, with fused colours, inscribed in gilding with 'fly bird fly' and with the lyrics to 'Leaving on a jet plane, 1965', initialled in gilt and dated 2001, 57cms.

A Contemporary Art Glass charger, in fused and trailed glass in shades of brown and green with radiating tree design, unsigned, 43cms diameter.

John Brunsdon(20th Century)"Stubble Burning",signed,limited edition etching with aquatint, 48/150, 1983,46 x 40cms, framed.Provenance: Christie's Contemporary Art.

Wallhausen,J.J.v.: Art militaire à cheval. Instruction des principes et fondements de la cavallerie, et de ses quatre especes, ascauoir lances, corrasses, arquebus & drageons, avec tout ce qui est de leur charges & exercise. Frankfurt, de Bry, 1616. 30 x 19 cm. Mit gestoch. Titel u. 40 (st. 44) meist doppelblattgr. Tafeln. Titel, 7 nn. Bll. 135 S. Prgt. d. Zt. (Kl. Alterssp.). Cockle, p. 735. Lipperheide 2069 - Die franz. Ausgabe erschien parallel zur deutschen Erstausgabe. - Seltene Abhandlung über den Krieg zu Pferde, kurz vor Beginn des 30jährigen Krieges erschienen. , "Das bedeutendste Werk über Infanterie, welches vor dem dreißigjährigen Kriege erschien" (Jähns). Die Kupfer zeigen Marsch-, Schlacht- u. Lagerordnungen, Gebrauch der Waffen, Ausrüstung, - Title within wide engraved pictorial border, large engraved coat-of-arms on dedication leaf, 40 engraved plates (of 44, one folding, 33 double-page), light damp-stain in a few margins, contemporary vellum, lettered in ink on spine and upper cover, some soiling, lacks ties.

* MOIRA BEATY (SCOTTISH 1922 - 2015), A STILL LIFE OF VIBRANT FLOWERS oil on board, signed image size 60cm x 34cm, overall size 69cm x 43cm Framed. Note: Moira went to Glasgow School of Art in 1939 where her contemporaries included Joan Eardley and Margot Sandeman. These three young women were regarded by their lecturers as the brightest stars of their generation. After one year as a student she was recruited to Bletchley Park where she worked as a code breaker, one of Churchill's 'corkscrew thinkers'. She returned to GSA in 1947 to complete her studies. Moira's enduring talent was recognised again in 2014 at the age of 92 with a sell out exhibition in Kirkcudbright. Moira Beaty was a resolute and determined woman who was an integral part of the famous group at Bletchley Park who did much to aid the Allies' victory in the Second World War. She worked in Hut 8 where Alan Turing and Peter Twinn set up the Naval Enigma Code. Beaty was responsible to Twinn - the first mathematician to be recruited to Bletchley. ''I discovered something,'' Beaty modestly remarked years later, ''a code within a code. I was immediately moved to within the codebreakers and became a cryptographer working on the German Secret Service codes.'' The Twinn team was involved in breaking the secretive Abwehr codes which were even more complicated than the ordinary military messages. The information this provided to the Allies in such major operations as the desert campaign, the D-Day landings and the sinking of the battleship Tirpitz proved vital to the war effort. Her first solo exhibition was at the Open Eye Gallery in Edinburgh in 1979 and at the Collins Gallery in Glasgow. Her works were also seen at the Cadogan Contemporary Gallery in London and around Dumfries - notably at the Gracefield Arts Centre. In 2001 Gracefield held a major retrospective exhibition of both Moira and Stuart Beaty's works, entitled Full Circle. In 2014 Beaty officially opened the Kirkcudbright Summer Art Exhibition: Glasgow Girls 1920 - 1960, and held a solo exhibition in the town's Harbour Cottage Gallery. Both exhibitions were hugely popular and, at 92, Moira Beaty was still making a strong impression and gaining new collectors. The two most recent examples of Moira Beaty's work (both significantly smaller than "A Still Life of Vibrant Flowers") to have been offered through our auctions have achieved hammer prices of £700 and £800.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), FROM THE CAR PARK oil on board, signed and dated '99 44cm x 47cm Framed and under glass. Titled verso, but obscured by the backboard. Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).

* JOE MCINTYRE (SCOTTISH b. 1940), EVENING IN THE CITY KIOSK, BASTILLE, PARIS oil on canvas laid on board, signed image size 26cm x 20cm, overall size 45cm x 38cm Framed and under glass. Note: Joe McIntyre was born in Dundee in 1940. His work has been exhibited extensively around the UK and in the USA. Collections include: HM The Queen, HRH The late Duke of Edinburgh, HRH The Late Princess Margaret, Dundee City Chambers, J & B Scotch Whisky (New York), Dundee City Art Gallery, Pernod (London), The Scottish Arts Council, Fine Arts Society (London), Tayside Regional Council, Arbroath Art Gallery, The Lincoln Centre (New York), Johnston & Johnston (New York) and numerous other corporate collections. In the Scottish Contemporary Art Auction of 5th July 2020 "Summer in the City, Dundee" (lot 632) set yet another world auction record for McIntyre, selling for £1900 (hammer).

ANDRÉ DERAIN (1880-1954)Barques à marée basse signed 'a derain' (lower right)oil on canvas laid down on panel15.8 x 15.9cm (6 1/4 x 6 1/4in).Painted circa 1934Footnotes:The authenticity of this work has been confirmed by the Comité André Derain. ProvenanceContessa Anna Laetitia Pecci-Blunt Collection, France and Italy.Thence by descent to the previous owner.Private collection, Rome (acquired from the above).Anna Laetitia Pecci-Blunt (1885-1971), better known as 'Mimi', was a distinguished art collector in Italy. She was born into a noble and cultivated family from Perugia, and was the goddaughter of Pope Leo XIII (Gioacchino Pecci). Growing up in high society, Mimi spent her formative years abroad before making Rome her base. In 1919, she married the wealthy American banker, Cecil Blunt. The newlyweds settled in Paris where they opened their home to musicians, artists, poets, and dancers. Artists such as Serge Diaghilev, Jean Cocteau, Marie Laurencin, Salvador Dalí and Léonard Tsuguharu Foujita were frequent guests, the latter portraying the Pecci-Blunt family in 1923. It was in Paris that her life-long journey of art collecting started, and where her passion for fostering the exchange between Italian and foreign artists truly came to life. The Pecci-Blunt residence grew into an artistic hub where an eccentric mix of royals, intellectuals and celebrities would gather, and lavish costume balls were held. Homes in Tuscany, Rome and the US followed. In the late 1930s, Mimi opened an extension of her Roman gallery La Cometa in New York, where she was the first to showcase Italian contemporary artists in a scene still largely dominated by French art. After the liberation of Europe, the family returned to Italy where Mimi continued to be an advocate for the arts until her death in 1971.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Anthony Whishaw RA, British b.1930 - Taking Aim III, 1991-92; acrylic and collage on board, signed with initials lower centre 'AW', signed, titled and dated on the reverse of the frame 'Anthony Wishaw taking Aim III 1991/2' and with artist's label attached, 25.5 x 25.5 cm (ARR) Provenance: with Art First Contemporary Art, London (according to the label attached to the reverse of the frame); private collection and thence by descent Please refer to department for condition report

Barbara Rae RA RSA RSW, Scottish b.1943 - Belderrig Fields, 2002; mixed media on canvas, signed lower left 'Rae', 30 x 30.5 cm (ARR) Provenance: Art First Contemporary Art, London, according to the label attached to the reversePlease refer to department for condition report

Barbara Rae RA RSA RSW, Scottish b.1943 - Ceide Cliff, 2002; mixed media on canvas, signed lower left 'Rae', 30 x 30.5 cm (ARR) Provenance: Art First Contemporary Art, London (according to the label attached to the reverse)Please refer to department for condition report

Margaret Hunter, British b. 1948- Dancer's Tracks, 2006; oil on wood, signed and dated lower right 'Hunter 2006', 70 x 50 cm (unframed) (ARR) Provenance: with Art First Contemporary Art, London (according to the labels attached to the reverse); private collection, purchased from the above and thence by descent Please refer to department for condition report

Catherine Phelan, British b.1963 - Flowering Cherry, 2001; acrylic on canvas, signed on the reverse 'C Phelan', 25.2 x 30.3 cm (ARR) Provenance: with Art First Contemporary Art, London (according to the label attached to the reverse of the frame); private collection, purchased from the above on the 20th July 2001, and thence by descent Please refer to department for condition report

A revolving green leatherette desk chair; turquoise upholstered foot pouffe; contemporary dressing stand, part of this lot is offered for sale as a work of art, the upholstery may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason should not be used in a private dwelling

§ NORMAN GRANT (1943-2017) 'MOLECULAR STRUCTURE OF PLANKTON' NECKLACE, EDINBURGH 1975 silver and enamel, stamped NG, hallmarked Edinburgh 1975Dimensions:pendant 9cm diameterNote: Note: Norman Grant was born in Forres, Moray in 1943 and studied at Gray’s School of Art in the 1960s. He was a student of David Hodge who established a goldsmithing and jewellery course at Gray’s in 1954, leading the department until he retired in 1975. Hodge remembered Grant as one of the students who made his teaching career memorable.In the late 1960s, Grant began to design jewellery, initially working in a shed in his garden. His preferred medium was translucent enamel which he combined with sterling silver. Having originally studied graphic design before switching to silversmithing, Grant often maintained that he was influenced by the natural forms of the coastal landscape he had grown up with. Inevitably these influences found their way into his early jewellery designs; microscopic plant cell structures, petals, stamens, seed heads, trees, driftwood, shells, seaweed, anemone-like forms and later fish, wave and cloud motifs can all be seen in his work.Grants' work began to be sought by London shops such as Liberty’s and Harrods and was also picked up by Bonwit Teller & Co. and Marshall Field in America. His jewellery became synonymous with the Art Nouveau revival of the early 1970s. Its distinctive shapes and colourful plant-based forms provided the ideal accessories for contemporary designers such as Mary Quant and Biba.In 1976 Norman Grant founded Dust Jewellery, established in its own workshops in Lundin Links in Fife, Scotland. Grant himself left to work for DeBeers in the early 1980s however Dust Jewellery continued producing jewellery into the 1990s. Several examples of his work are held in Aberdeen Art Gallery & Museum.

Rich (Jeremiah). [The Book of the New Testament of our Lord and Saviour Jesus Christ, according to the art of short writing invented by Jeremiah Rich, London, circa 1660], lacking engraved portrait frontispiece, title page and preliminaries before sig. A1, engraved text throughout mostly in shorthand, also lacking leaves X1, X2 and final leaf N8, bound with Rich (Jeremiah), [The Whole Book of Psalms in meter according to the art of short-writing. Written by Jeremiah Rich author and teacher of the said art, London, circa 1660], lacking engraved portrait and title, engraved text throughout mostly in shorthand, sewing weak and broken in places and some leaves frayed to margins and detached, marbled endpapers lacking front free endpaper, all edges gilt, contemporary dark brown morocco, gilt panelled and decorated, engraved white metal clasps, spine worn at head with loss to headcap, extremities rubbed, 64mo in 8s (60 x 40 mm)QTY: (1)NOTE:Bondy pp.17-20. The number of leaves signed varies from copy to copy. "Amongst the most extraordinary volumes are the all-engraved editions of the Whole Book of Psalms in Meter and the New Testament in the shorthand of Jeremiah Rich, a leading stenography specialist of the period (circa 1660) who perfected the system invented by his uncle, William Cartwright, but without giving him credit, claiming it to be his own invention. The late Percy E. Spielmann had copies in his collection... The Spielmann copy of the Psalms ... also has a frontispiece with Rich's portrait and at the end a short list of 'the Names of those Ingenious Persons of my Schollars that were the first Incouragers of this incomparable peice'. Other editions, all published around the year 1660, were 'sold by Samuel Botley over against Vintners Hall' or 'at Colonel Masons Coffee House in Cornhill', or published 'for the author and sold by Henry Eversden'. All the copies we have seen are extremely well engraved, showing hardly any signs of wear and must have taken years to produce. Their manufacture did evidently require a very steady hand and infinite patience. Most copies are beautifully bound in contemporary black morocco and are finely gilt-tooled. They were obviously prized possessions and have remained most desirable collector's items to this date, notwithstanding the fact that hardly anyone will nowadays be able to decipher their obsolete shorthand" (Bondy).Sold with all faults, not subject to return.

Ruskin (John). Modern Painters, 6 volumes, new edition, London: George Allen, 1897, all edges gilt, contemporary vellum by Bickers & Son, 8vo, together with:Ruskin (John), Fors Clavigera, Letters to the Workmen and Labourers of Great Britain, 6 volumes only (of 8), plus index, 1872-1887, monochrome plates, uniform contemporary calf, gilt decorated spines with contrasting morocco labels, gilt decoration & device to upper boards, 8vo (comprising vols. for 1872-76, 1878-84),Ruskin (John), Notes by Mr. Ruskin on his Collection of Drawings by the Late J. M. W. Turner, London: Fine Art Society, 1878, engraved frontispiece and plates, double-page map at rear, top edge gilt, remainder untrimmed, contemporary morocco-backed cloth, spine rubbed, 4toQTY: (14)

Lépicié (M.). Catalogue Raisonné Des Tableaux Du Roy, Avec Un Abrégé De La Vie Des Peintres, Fait par ordre de Sa Majesté, 2 volumes, 1st edition, Paris: De L'Imprimerie Royale, 1752, bookplates to the front pastedowns, some light toning & spotting, contemporary uniform gilt decorated mottled full calf with gilt armorial decorations to the front & rear boards, slightly rubbed to head & foot with some minor loss, large 8vo, together with:Bedford (W. K. R.), Malta And The Knights Hospitallers, London: Seeley And Co, 1894, 4 monochrome plates plus 25 in-text illustrations, bound with The Picture Gallery Of Charles I, by Philip Claude, London Seeley And Co., 1896, 4 monochrome plates plus 32 illustrations, and Whitehall Historical And Architectural Notes, by W. J. Loftie, London: Seeley And Co., 1895, 4 monochrome plates plus 23 illustrations, some light toning & spotting, top edge gilt, bound in contemporary gilt decorated half vellum, spine slightly rubbed, 8vo, plusSeeley (J. R.), Life And Times Of Stein; Or, Germany And Prussia In The Napolonic Age, 2 volumes, Boston: Roberts Brothers, 1879, monochrome portrait frontispiece, bookplates to the front pastedowns, some toning, top edges gilt, contemporary uniform hilt decorated red half morocco bound by R. W. Smith, volume 1 front board sympathetically repaired, slightly rubbed to head & foot, and other 18th, 19th & early 20th-century art reference & literature, including Catalogue Of The Pictures In The Collection Of The Hon, Sir John Ward...At Dudley House, Park Lane, Privately Printed, 1927, period inscription to the front endpaper by Wilfred Parling (?), original gilt decorated blue half calf, 8vo, all leather bindings, some foreign language & odd volumes, overall condition is generally good/very good, 8vo/4toApproximately 60 volumesQTY: (3 shelves)

Westwood (J. O.). Palaeographia Sacra Pictoria: Being a Series of Illustrations of The Ancient Versions of The Bible, copied from Illuminated Manuscripts executed between the Fourth and Sixteenth Centuries, London: William Smith, 1843-45, numerous colour plates plus monochrome in-text illustrations, bookplate to the front pastedown, gutters cracked, some spotting, top edge gilt, contemporary gilt decorated red half morocco, slightly rubbed, large 4to, together with:Brieger (Peter et al), Illuminated Manuscripts of the Divine Comedy, 2 volumes, 1st edition, London: Routledge & Kegan Paul, 1969, numerous monochrome illustrations, original uniform cloth in dust jackets, spines faded with minor rubbing & tears to head & foot, large 8vo, plusWarner (George F.), Miniatures And Borders from the Book of Hours Of Bona Sforza, Duchess of Milan in the British Museum, London: published by The Trustees, 1894, 65 monochrome plates, some minor toning, top edge gilt, contemporary gilt decorated green full morocco bound by H. Sotheran & Co., spine slightly faded & rubbed, 8vo, andLewis (Suzanne), The Art of Matthew Paris in the Chronica Majora, 1st U.K. edition, Aldershot: Scolar Press, 1987, numerous monochrome illustrations, original cloth in dust jacket, large 8vo, plus other illuminated manuscript reference & facsimiles, mostly original cloth, many in dust jackets, G/VG, 8vo/4toQTY: (3 shelves )

A contemporary Art Pottery bottle vase with floral decoration on a turquoise ground, impressed marks to the underside, height 26cm, together with an unusual Continental ceramic bowl with scrolling handle and stylised decoration (2).

A collection of assorted Studio and contemporary Art Pottery including three vases by Brady & Jordan of Liverpool, temmoku glazed table lamps, a SilvaC bookend.

MURANO; a contemporary Art Glass vase with internal mottled and linear decoration, indistinct signature to the underside, height 28cm.Additional InformationLight base wear but good condition.

PETER LAYTON; a contemporary Art Glass vase of triangular form with interanl linear decoration, signed to the rim, height 26cm. (D)Additional InformationVery minimal wear but good condition.This lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

PETER LAYTON; a contemporary art glass pebble vase, with linear decoration on a iridescent ground, signed and dated 1983, height 12cm. (D)Additional InformationLight base wear but good condition with no chips, cracks or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

Will Shakespeare for Shakespeare glass; a contemporary art glass jug of tapering cylindrical form, internally decorated with stylised motifs, height 41cm. Additional InformationGood condition with minimal wear. 

CHARLIE MACPHERSON; an art glass bowl of circular form, internally decorated with linear motifs, signed, diameter 12cm, together with an Isle of Wight cylindrical vase, further contemporary vase and scent bottle and stopper (4). (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

MICHAEL HARRIS FOR ISLE OF WIGHT GLASS; a contemporary Art Glass bowl with internal linear decoration, signed, diameter 47cm. (D)Additional Informationlight scratches and wear to the underside. But good condition with no chips, cracks or damage. This lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

SIDDY LANGLEY; a contemporary art glass vase of bulbous form, decorated with stylised clouds on an iridescent ground, signed, height 12cm. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

SIDDY LANGLEY; a contemporary Art Glass vase with stylised motifs, signed and dated 1992, height 18cm. (D)Additional InformationLight wear to the underside but good.This lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

Three pieces of modern contemporary Art Glass including green glass vase, relief decorated with a lizard, height 28cm, etc (3).

A contemporary Art Glass bowl with veined decoration on an amber and orange ground, smooth pontile mark to the underside, diameter 29cm.Additional InformationLight base wear and scratches but good condition.

ATTRIBUTED TO WMF IKORA; three contemporary Art Glass bowls with internal veined decoration, diameter of largest example 37.5cm (3).

LAURENCE (JOHN)The Clergy-Man's Recreation: Shewing the Pleasure and Profit of the Art of Gardening, third edition, engraved frontispiece, Bernard Lintott, 1715; The Gentleman's Recreation: or the Second Part of the Art of Gardening Improved. Containing... Curious Observations relating to Fruit-Trees: Particularly, a New Method of Building Walls with Horizontal Shelters, FIRST EDITION, engraved frontispiece and 3 folding plates, Bernard Lintott, 1716, 2 parts in 1 vol., contemporary panelled calf, red morocco spine label, spine ends repaired [Henrey 935 & 942], 8voThis lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

LAURENCE (JOHN)The Clergy-man's Recreation: Shewing the Pleasure and Profit of the Art of Gardening, sixth edition, Bernard Lintot, 1726; The Gentleman's Recreation: or the Second Part of the Art of Gardening improved, third edition, Bernard Lintot, 1723, 2 parts in 1 vol., engraved portrait frontispiece to part 1, frontispiece to part 2, and 4 folding plates, a few woodcut illustrations, ownership inscriptions of Joseph & henry Brock, blind-stamps of 'IHA', contemporary calf, paper spine labels, worn [Henrey 938, 944 & 939]--[RAPIN (RENE)] Of Gardens. A Latin Poem... translated by James Gardiner, second edition, engraved portrait and 3 (of 4) folding plates, contemporary panelled calf [Henrey 1254], W. Bowyer, [1718], 8vo; and 2 others (4)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

M[ORTIMER] (J[OHN])The Whole Art of Husbandry, FIRST EDITION, contemporary calf, gilt panelled spine (defective at ends)[ESTC T72675], J. H. for H. Mortlock and others, 1707--WORLIDGE (JOHN) Dictionarium rusticum, urbanicum & botanicum: or, a Dictionary of Husbandry, Gardening, Trade, Commerce, and All Sorts of Country Affairs, second edition, 2 engraved plates (one folding, browned), woodcut illustrations, contemporary panelled calf, joints cracking, extremities worn, J. Nicholson, 1717--[MARSHALL (WILLIAM)] Planting and Ornamental Gardening; A Practical Treatise, contemporary half calf, spine worn [Henrey 1228], J. Dudley, 1785--FARLEY (JOHN) The London Art of Cookery, tenth edition, staining and foxing, frontispiece torn and slightly defective, contemporary sheep, rebacked, worn, Scratcherd & Letterman, 1804, 8vo (4)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

JOSÉ MOÑU (Zaragoza, 1981)."Card games". 2015.Acrylic on paper.Signed in the left margin.Size: 46 x 32 cm; 63 x 49 cm (frame).Portraiture is José Moñu's favourite pictorial genre, in which he deploys his "disfiguring figuration", based on a visceral gesturality supported by the use of generous matter. Halfway between Art Brut and the heritage of abstract expressionism, the multicoloured marbling that transforms the face into pure delicacy is the product of an unusual alliance between spontaneous gesture and meditated composition.José Moñu is an artist who has renewed the genre of the new pictorial figuration. Drawing on the influence of abstract expressionism, he has developed a personal and inimitable universe. After living in Berlin for several years, he became involved in the Barcelona project of the Hans & Fritz Contemporary Gallery. In 2021, she undertook a residency in New York, with a grant from the CAI Foundation. Solo exhibitions (selection): 2022 Turbo packet, CTA Gallery, Zaragoza. 2021 La tertulia, Navelart, Madrid. Double Prosecco, ACE Hotel, New York. 2020, CAI Foundation, Huesca. Selection of group shows: 2022 "JustMad" Neptuno palace, Olga Julián Projects, Madrid. 2021 CAI Collection, CAI Foundation, Zaragoza. "Postcards from Limbo" Fourth Space, Zaragoza. "JustMad" Neptuno palace, Olga Julián Projects, Madrid. 2020 Carmen Terreros Gallery, Zaragoza.

"KAWS" Brian Donnelly (New Jersey, 1974)."Alone again", 2019.Silkscreen on paper.Publisher: MOCAD (Museum of Contemporary Art Detroit).Features ink stamp of the artist.Signed and dated.Size: 25.5 x 20.5 cm; 47.5 x 42.5 cm (frame).Brian Donnelly, known professionally as Kaws (stylised as KAWS), is an American artist and designer. His work includes the repeated use of a cast of figurative characters and motifs, some of which date back to the beginning of his career in the 1990s, initially painted in 2D and later realised in 3D. Some of his characters are his own creations, while others are modified versions of existing icons. Kaws' sculptures range in size from a few centimetres to ten metres tall, and are made of various materials including fibreglass, aluminium, wood, bronze and an inflatable steel pontoon raft. His work is exhibited in galleries and museums, held in permanent collections in public institutions, and avidly collected by individuals, including music producer Swizz Beatz and rapper Pharrell Williams. Several books illustrating his work have been published. He lives and works in Brooklyn, New York, creating sculptures, acrylic paintings on canvas and screen prints, while also collaborating commercially, predominantly on limited edition toys, but also on clothing, skateboards and other products.Kaws' work can be characterised by an emphasis on colour and line, distinctive graphics, such as the repeated use of "x" in the hands and eyes, and a re-appropriation of pop culture icons such as Mickey Mouse, the Michelin Man, the Smurfs, Snoopy, and Snoopy. Snoopy, and SpongeBob SquarePants. His characters are generally depicted in a timid or helpless pose often with their hands over their eyes.

JAUME PLENSA (Barcelona, 1955)"Freud's children", 2001.Steel, plaster and water pump, copy 25/25.Signed and numbered.Size: 31 x 31 x 26 cm."Freud's children" is a simple piece in its configuration and subjugating in its minimal forms and enigmatic silence. The hands cupped to catch water from the basin formally contrast the organic and the formal minimalism of the cylinder, and at the same time put the elusive and elusive idea of water and the solidity of metal into dialogue. Plensa studies these synergies and latent dialogues between materials as bearers of meaning. And so, through the visual, he constructs meanings that do not require explanatory words. Rather, they awaken feelings and ideas linked to commitment, to the collective, to love, to the unconscious and to mutual help.Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in terms of both material and form, and began to use different materials such as metal waste, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.

JORDI ALCARAZ I TARRADAS (Calella, Barcelona, 1963)."Calligraphy".Wrought iron and cardboard.Signed in the lower corner and titled on the back.Size: 60 x 80 x 17,5 cm.Jordi Alcaraz began his artistic career in the field of sculpture and engraving. He graduated from the Taller de Músics in Barcelona and is a great fan of the plastic arts. He is self-taught in painting, writing and photography. In 2010 he started his project @ para4gatos (on social networks), based on photography, editing exclusively with mobile device applications. During this period he has made around 2000 visual metaphors, and counting. With an ironic tone, he invites the viewer to observation and reflection, to discover the poetry hidden within the most common objects, subjecting them to slight transformations and altering their function, context and habitual uses. During this period he has carried out commissions for major brands such as Schwarzkopf Professional, Harley Davidson and El Terrat de Producciones. His work has been exhibited in galleries in Pamplona, Lisbon, Bilbao and Barcelona. His musical training has led him to work for different groups of the Barcelona music scene such as Zulu 9:30, Pablo Selnik Cuarteto, Eufuria, Sexteto Guardiola, etc .... He currently collaborates with "El Periódico de Cataluña" taking different photographs, always with a poetic tone, about national current affairs. Mayka Navarro, a Barcelona journalist with a long career, defined his work very aptly: "Each image of this virtual photographer from Barcelona is an accurate punch to the senses. Jordi Alcaraz reconverts reality into committed messages that come to life and move us. Everyday objects are transformed into animated information capsules that concentrate so much intensity that sometimes it seems as if they are alive and will come running out at any moment. Since its beginnings, throughout these twenty-five years of activity, he has held numerous solo and group exhibitions in Spain, Belgium, Germany, Italy, Canada and Switzerland, and has been present at some of the most important fairs on the international contemporary art circuit (Arco, Art Basel, Art Frankfurt, Art Cologne, Art Chicago, Art Miami and Arte Lisboa, among others). He is currently represented at the Centre Cultural Contemporani Pelaires in Palma de Mallorca, as well as in various private collections around the world.

LUIS FEITO LÓPEZ (Madrid, 1929).Untitled.Watercolour and ink on paper.Signed in the lower right corner.Size: 32 x 45 cm; 42 x 54 cm (frame).Born and educated in Madrid, Luis Feito was one of the founding members of the El Paso group. In 1954 he held his first individual exhibition, with non-figurative works, at the Buchholz gallery in Madrid. From then on Feito exhibited regularly in the most important cities in the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor at the San Fernando School of Fine Arts in 1954, two years later he left teaching and went to Paris on a scholarship to study the avant-garde movements in force. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works were figurative painting, followed by a phase in which he experimented with cubism and finally moved fully into abstraction. At first he only used black, ochre and white colours, but when he discovered the potential of light he began to use more vivid colours and smooth planes. He evolved until he used red as a counterpoint in his compositions (from 1962) and, in general, more intense colours. In his abstract phase, which includes the 1970s, Feito showed a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled and can therefore be recognised by a number assigned to them. Among his awards is his appointment as an Officer of the Order of Arts and Letters of France in 1985. In 1998 he was awarded the Gold Medal of Fine Arts in Madrid, and was made a Full Member of the San Fernando Royal Academy of Fine Arts. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most important artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums around the world, including the Gallery of Modern Art in Rome, the Guggenheim, the MoMA and the Chase Manhattan Bank in New York, the Museums of Modern Art in Tokyo, Paris, Rio de Janeiro and Montreal, the Lissone in Italy and the Albright Art Gallery in Buffalo.

MIQUEL BARCELÓ (Felanitx, Mallorca, 1957)."Bestiaire", 1990.Lithography on Velin paper. Copy 8/26.Published by Talleres Item, Paris.Signed and numbered at the bottom.Size: 45 x 33 cm; 48 x 36,5 cm (frame).A painter and sculptor, Barceló began his training at the School of Arts and Crafts in Palma de Mallorca, where he studied between 1972 and 1973. In 1974 he made his individual debut, at the age of seventeen, at the Galería Picarol in Mallorca. That same year he moved to Barcelona, where he enrolled at the Sant Jordi School of Fine Arts, and made his first trip to Paris. In the French capital he discovered the work of Paul Klee, Fautrier, Wols and Dubuffet, as well as "art brut", a style that was to exert an important influence on his first paintings. During these years he reads extensively, and is enriched by works as diverse as the writings of Breton and the surrealists, Lucio Fontana's "White Manifesto" and Arnold Hauser's "Social History of Literature and Art". In 1976 he held his first solo exhibition in a museum: "Cadaverina 15" at the Museum of Mallorca, consisting of a montage of 225 wooden boxes with glass lids, with decomposing organic materials inside. That same year, back in Mallorca, he joined the Taller Lunàtic group and took part in its social, political and cultural protest actions. In 1977 he made a second trip to Paris, and also visited London and Amsterdam. That same year he exhibits for the first time in Barcelona, and meets Javier Mariscal, who becomes one of his best friends in the city. Together with him and the photographer Antoni Catany, as a member of the group "Neón de Suro", he takes part in exhibitions in Canada and California, and collaborates with the publication of the magazine of the same name. It was also in 1977 that he received his first large-scale painting commission: a mural for the dining room of a hotel in Cala Millor, Mallorca. The following year, at the age of twenty-one, he sold his first works to some collectors and galleries, and finally moved to Barcelona. His international recognition began in the early eighties, giving a definitive boost to his career with his participation in the São Paulo Biennial (1981) and the Documenta in Kassel (1982). In 1986 he was awarded the Premio Nacional de Artes Plásticas, and since then his work has been recognised by the most important awards, such as the Prince of Asturias Award for the Arts (2003) and the Sorolla Prize of the Hispanic Society of America in New York (2007). Barceló is currently represented in the most important contemporary art museums in the world, such as the MoMA in New York, the Centre Pompidou in Paris, the Guggenheim in Bilbao, the Marugami Hirai in Japan, the Reina Sofía in Madrid, the Patio Herreriano in Valladolid, the CAPC in Bordeaux, the Carré d'Art in Nimes, the Museum of Contemporary Art in Caracas and the Museum of Fine Arts in Boston, among others.

RAFAEL ZABALETA FUENTES (Quesada, Jaén, 1907-1960)."Untitled. Paris, 1950.Ink on paper.Signed, dated, located and dedicated in the lower part.Size: 31 x 24 cm; 45 x 38 cm (frame).Born into a well-to-do family, Rafael Zabaleta showed his interest in painting from an early age, so after finishing his high school studies he moved to Madrid and entered the San Fernando School of Fine Arts in 1925. His teachers there were Lainez Alcalá, Cecilio Pla and Ignacio Pinazo, and in 1932 he took part for the first time in a group exhibition, that of the San Fernando students. One of his works, entitled "La pareja" ("The Couple"), was selected to illustrate the critical review by Manuel Abril for the magazine "Blanco y Negro". Three years later Zabaleta made his first trip to Paris, where he studied the works of the masters of contemporary painting. In 1937 he was appointed delegate of the National Artistic Treasury, and also around this time he began a series of drawings on the Civil War. At the end of the war he was denounced and briefly spent time in the Higuera de Calatrava concentration camp and in Jaén prison, where his two albums of drawings made during the war were confiscated. Finally freed, in 1940 he settled in Madrid, where he attended the gatherings at the Café Gijón and drew and painted at the Círculo de Bellas Artes. Two years later he visited Aurelio Biosca, director of the Madrid gallery Biosca, with a letter of introduction from the sculptor Manolo Hugué. There he held his first individual exhibition that same year, after being rejected at the National Exhibition of Fine Arts. However, the following year he took part in the First Salón de los Once and became a member of Eugenio d'Ors's Academia Breve de Crítica de Arte, to which Biosca also belonged. Zabaleta took part in most of his Salones de los Once and anthological exhibitions. In 1945 Zabaleta took part in the group exhibition "Floreros y bodegones" held at the National Museum of Modern Art, while he continued to exhibit individually and collectively in galleries in the capital. In 1947 he held his first personal exhibition in Barcelona, at the Argos gallery, and his first monograph was published. Two years later he travelled again to Paris, coming into contact with Picasso, Óscar Domínguez, M. Ángeles Ortiz and others. The year of his definitive consecration was 1951, when he held a solo exhibition at the Museum of Modern Art in Madrid. In 1955 he won the UNESCO Prize at the Hispano-American Biennial in Barcelona. That same year he took part in the Mediterranean Biennial held in Alexandria, and held a solo exhibition in Bilbao. During his last years, Zabaleta became a fully recognised artist, invited to the most important exhibitions and salons both in Spain and in foreign cities of the importance of Paris. The most important collection of his work is to be found in the Zabaleta Museum in Quesada, although it is also present in the most prestigious museums in the world, in cities such as Buenos Aires, New York and Tokyo.

MARCELA JARDÓN (Buenos Aires, 1964)."Mutating perception III".2017.Acrylic and oil on canvas.Size: 100 x 100 cm.Degree in Visual Arts. National Professor of Visual Arts. National School of Fine Arts Prilidiano Pueyrredón, Buenos Aires. Her works have been exhibited and published in America, Europe and Asia, in institutions such as the University of Valencia, Sociedad Argentina de Artistas Plásticos de Buenos Aires, the Opera House of Sydney, Australia, the Kanazawa Art Center Citizen, Japan, the Museo Universidad de Alicante, the Bangkok Regional Office of The Rockefeller Foundation, the Centro de Cultura Contemporánea de Barcelona, the Departamento de Expresiones Artísticas de la Universidad de Panamá, the Museo Social Argentino de Buenos Aires, Buenos Aires, the Centro de Cultura Contemporánea de Barcelona, the Museo Social Argentino de Buenos Aires, Buenos Aires, and the Museo Social Argentino de Buenos Aires, Buenos Aires, the Museo Social Argentino in Buenos Aires, the Museo Provincial de Quilmes in Argentina, the Museo de Arte Moderno in Buenos Aires, the Museo y Archivo Histórico Cabildo de Montevideo in Uruguay, the Museo de Aveiro in Portugal, the Museu de Reus, the Museo La Neomudéjar in Madrid, the Centro de Arte Santa Mónica in Barcelona, the Reial Cercle Artístic de Barcelona, at the Spectrum Fair Miami (2018), LA Art Show, Fair (2019) and in several galleries. Some of them already belong to private and public collections in Argentina, Spain, Canada, Panama, Australia, Italy, Germany, France, UK, Japan, Sweden, USA, Mexico, Netherlands, Belgium, among others.Work in public collections -Catalogue of the Department of Fine Arts and Cartography of the National Library of Spain, BNE. -Library Specialising in Contemporary Photography of the Forvm Foundation for Photography, in Tarragona -AICOA -Art Fund of the University of Valencia. -Pinacoteca Universitaria, University of Panama, Panama -Procreation-Postcreation. womanifesto2003. Bangkok Regional Office, The Rockefeller Foundation, Thailand. -The University of the West of England, Department of Creative Arts, Centre for Fine Print Research, Bristol. Awards and recognitions 2004 -First Prize, Azulazul Audiovisual Competition, Barcelona; -Finalist in Canariasmediafest04. 2002 -Finalist in Canariasmediafest 02. 2001 -Finalist for the Discoveries of Photoespaña 01;-Third Prize in the Photography Competition "mirar i veure" University of Valencia;2000 -Accessit Photography Competition "Festa Major de Gracia 2000" Barcelona. 1995 - Mention in the Small Format Exhibition at Neumann Gallery & Assoc,Bs As; 1993 - First Prize Salón Sociedad Argentina de Artistas Plasticos, Bs As.1992 -First Prize VII Salón la Actualidad en el Arte, Buenos Aires; -Second Prize IX Salón de Artistas Plásticos Municipalidad de San Isidro; -First Prize II Salón de Almagro, Buenos Aires; 1991 -Third Prize IV Salón Arte Joven, Municipalidad de San Isidro; -Second Prize VIII Salón Anual de Artistas Plásticos, Municipalidad de San Isidro; 1990 -First Prize III Salón de Arte Joven, Municipalidad de San Isidro. His artistic practice is at the intersection of drawing, photography, video, new media, installation, visual poetry, artist's books. He investigates the relationship between images and language as symbolic productions. The exploration of hybrid forms, vision and production process spans various disciplines and distances between the past and the present, the analogue and the digital. In his projects he incorporates texts as "graphic repentisms", fragments of texts, decontextualised quotations from different sources, as well as original photography, and the recreation of fragments of his own earlier works. He works using everyday images, rescuing previous images, simple objects, exploring the dark places of the unconscious, controversial concepts, and the hidden histories that often underlie what surrounds us.

. ART PEPPER - ORIGINAL UK CONTEMPORARY LP PACK. A lovely pack of 3 x LPs. Titles include Art Pepper Meets the Rhythm Section (OG UK - LAC 12066 - Ex Record with a few hairline marks to the playing surface, Sleeve is in Ex condition), Art Pepper + Eleven - Modern Jazz Classics (LAC 12229 - Ex+ / VG+ and Art Pepper Quintet - Smack Up (LAC 12316 - Ex+ / VG+).

Christopher Richard Wynne Nevinson ARA., British 1889-1946 - The Thames, 1911; oil on canvas, signed and dated left edge 'C. R. W. Nevinson. 1911', bears further inscriptions to the reverse, 40.5 x 50.7 cm Note: this rare and early example of Nevinson's work was completed during his later years at the Slade School of Art. As a student at the prestigious art school from 1909-1912, Nevinson was part of a new wave of British Art studying alongside the likes of Stanley Spencer, Paul Nash, David Bomberg, William Roberts and Adrian Allinson, whilst building close friendships with Mark Gertler and Dora Carrington. During his period at the Slade, Nevinson's style was predominantly in the Impressionist format (noticeable in the present work), with close associations to the French Impressionists and Post Impressionists. He would even go on to attend the exhibition; 'Manet and the Post Impressionists' in 1910 with Charles Lewis-Hind and Gertler, contributing to the merging of French and English traditions in his future artworks. In his 1937 autobiography, he mentions that he often sketched in the Impressionist manner by the banks of the Thames while he was a student at the St John's Wood School of Art (1908-09), and had a tendency to pick London and Paris scenes, especially those involving water for his larger works. The present work seems to depict a view along Cheyne Walk & Chelsea Embankment. To the left there are iron railings which are still there today, above is the Old Anglican Church which was bombed during WWII. In the middle distance are buildings of the industrial area of Battersea, later replaced by the Power Station. Very few paintings of this period have been located, making this oil a unique example of the artist's early style. The composition closely resembles 'The Railway Bridge, Charenton', completed in the same year, now held at Manchester Art Gallery. The handling of the paint and impasto surface on both works are similar, capturing a fleeting moment along the banks of the river. Nevinson cleverly explores the play of light on moving water in the present work, whilst capturing an everyday scene from contemporary society, void of any specific narrative. Nevinson's style evidently changed in the years after his period at the Slade. By mid-1913 he had discovered Futurism which he remained closely associated with for the next few years. A large proportion of his most well known war art were executed in this style, and remains today a moving insight to the traumas of war. We are grateful to Dr. Jonathan Black for his assistance with the cataloguing of this work. Please refer to department for condition report

Elwin Hawthorne, British 1905-1954 - St Mark's Church, Victoria Park, 1929; watercolour and pencil on paper, signed and dated lower right 'E Hawthorne 1929' and titled lower left 'St Marks Church Victoria Park', 16.8 x 22.3 cm (ARR) Provenance: the Estate of the Artist; Roseberys, London, Modern & Contemporary British Art, 11th June 2019, lot 53; private collection, purchased from the above Note: the work is accompanied by a copy of a certificate of authenticity signed by the son of the artist on the 11th March 2019 The artist exhibited with the East London Group at the Lefevre Gallery alongside his uncle Henry Silk. He had solo exhibitions at the gallery and worked as an assistant to Walter Sickert. Please refer to department for condition report

Circle of James Green (British, 1771-1834)Portrait of a gentleman, identified as Mr B. H. Smart, circa 1820Bust-length, with wavy dark hair, wearing a dark red drape and high white collarOil on canvasThe reverse bearing a contemporary or near-contemporary paper label*59 x 49cm excluding later frame*the indistinctly inscribed label reads: This portrait of Mr B. H. Smart was painted by Mr Greene [?] … exhibited with that of Mrs Smart at the Royal Academy …. About 18??When the exhibition was held [……]The one of Mr Smart [……..] art exhibition.

Stella Auchinleck (Scottish Contemporary, b. 1961) Cat Napping Oil on canvas, 64cm x 59cm, with artist's card verso for her solo exhibition at Ancrum Gallery, 3rd to 24th May 1987.  ARR Stella Auchinleck was born in Edinburgh in 1961 and studied at Edinburgh College of Art from 1979 to 1983.  She has exhibited at the Scottish Society of Woman Artists and the Royal Society of Watercolourists, held at the RSA at The Mound, Edinburgh.  She is currently living and painting in Turkey.

Ca. 100 BC - 100 AD A necklace composed of variously shaped agate beads arranged in a symmetrical manner with a large, central bead serving as a pendant. Restrung on a modern thread and suitable for contemporary wear. Size: L:350mm / W:mm ; 53.84g Provenance: Property of a London Art gallery; formerly acquired on the US Art market; previously in US collection I. G. formed before 1970.

Alan Cotton (Contemporary) "Hillside Orchard in the Luberon", a rich, sun-bleached hillside in Provence, Southern France, oil on canvas in frame, signed by artist, inscribed with artists name and title on label verso, 67 cm x 67 cm [Cotton, a British landscape artist has been represented by Messum's Fine art in London for the past twenty years, he paints using painting knives and works with rich pigments]

Malcolm Wilson RIBA NAA (contemporary, Cumbria) "Holme Eden #3" and "Holme Eden #4", oil on artists' board, uniformly framed and mounted under glass, 23 cm x 33 cm framed. [Holme Eden Abbey, near Carlisle, built 1833-37. "Malcolm has exhibited work several times at the Royal Academy both as an artist and an architect. The past president Sir Hugh Casson, described his landscapes as being of National Importance. Born in a small mining village, in County Durham, he was encouraged by his art teacher at the age of just 14 to paint and understand the importance of light and its pivotal role in Art History. His work revolves around this traditional English Landscape, its changing weather and a true backbone of Art History in this country. He qualified as a Chartered Architect in 1979 and is the director of a Private Architects Practice in Cumbria having worked most of his professional life in Southern England and London. He now lives closer to the landscape he loves". www.malcolmwilson.com]