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Glasse (Hannah) The Art of cookery, made plain and easy; which far exceeds any thing of the kind ever yet published, first edition, title with woodcut floral ornament, list of subscribers, A1 'To the Reader' misbound after title, title, 'To the Reader' and list of subscribers detached, title with lower corner torn and repaired, with loss of 'China-shop' of imprint, and repaired holes with loss of letter 'Y' and partial loss of letter 'E' of 'Cookery', a few marginal repairs, title and last few ff. water-stained (obscuring a few letters on final verso), some staining and spotting elsewhere, lightly browned, contemporary sheep, covers detached, worn, [Bitting pp.186-187; Maclean pp.59-61; Oxford pp.76-77; Vicaire 48], folio, Printed for the author; and sold at Mrs. Ashburn's, a China-Shop, Corner of Fleet-Ditch, 1747.⁂ A cornerstone for any collection of English cookery books. Our copy conforms to Marcus Crahan's description of the first issue (16pp. preliminaries rather than 20, without notice of second place of sale, without O2 and with the price of 6 [pence] entered by hand on title). The work includes one of the first English recipes for 'Currey the India Way'.

SCULPTURE INTEREST: HENRY MOORE, numerous books, including The Arts Council 1968; Sculptures In Landscape, unclipped, 1978; At The Serpentine, and other publications. Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer ‘Two Remarkable Ladies’ June Barrington-Ward 1922-2002 & Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s. June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”We have over 80 pieces of June’s impressive sculpture in the Art Section of this sale. Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection. They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall. Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year. The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

SCULPTURE INTEREST: August Rodin 1840-1917, containing forty plates of his work, Desfosses Neogravure, Paris, 1933; together with another book on Rodin, L'oevre de Daniel Marot, containing loose plates and other book specialising on the topic. Provenance: From the Estates of June Barrington Ward & Maggie Cameron Frazer ‘Two Remarkable Ladies’ June Barrington-Ward 1922-2002 & Maggie Cameron Frazer 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s. June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”We have over 80 pieces of June’s impressive sculpture in the Art Section of this sale. Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection. They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall. Maggie bought their magical house in North Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year. The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.

BOHN's ILLUSTRATED LIBRARY. 'China Pictorial, Descriptive, and Historical. With Some Account of Ava and the Burmese, Siam, and Anam,' original cloth, cracking to joints, loss to frontis map, Henry G. Bohm, London, 1853; Nineveh and its Palaces,' by Joseph Bonomi,' third edition revised, original cloth, ex libris stamps to endpaper, contemporary signature in ink to titlepage, H. G. Bohn, London, 1857; J. H. BRADY. 'The Dover Road Sketch Book,' rebacked original cloth, foldout map of Kent as frontis, Henry Ward, Canterbury, 1837; with five other works, with late to mid 19th century bindings including Vathek and 'The Art of Garnishing Churches at Christmas. (8)

Gilt framed piece of contemporary art - watercolour “happy & sad face” signed by the artist Stephen Reid, 34.5x28cm

Essche (Maurice Charles Louis van, 1906-1977). Still Life with fruit, knife and vase on a table, oil on hardboard, signed upper left, 56 x 68 cm (22 x 26 3/4 ins), framedQTY: (1)NOTE:Maurice Charles Louis van Essche was born 1906, in Antwerp, Belgium. He studied art at the Brussels Academy in 1924 under James Ensor, but halted his studies in 1925 for lack of funding. In 1933 he studied briefly under Henri Matisse in France, having met him by chance in an artist's supply shop in Cagnes, France. Thereafter he continued to paint and study full-time thanks to the sponsorship of his elder brother, Joseph Charles, and a group of friends. His break came in July 1939 when he won a scholarship in a competition organised by the Belgian Government, who commissioned him to undertake a painting expedition to the Belgian Congo, where his travels and experiences influenced him profoundly. In 1940 he and his wife Lucette moved to the Cape, South Africa, rather than return to war-torn Europe, where the artist founded the Continental School of Art in Cape Town in 1948, and became Professor of Fine Art at the Michaelis School of Fine Art at the University of Cape Town in 1951. As an active member of The New Group, the artist made a strong contribution to contemporary art in South Africa.

Will Maclean (20th century) - 'Navigation Lesson I' inscribed with the artist's name, the title of work and the date 2005, mixed media on canvas, unframed 12" x 12" - ** Provenance from The Art First Contemporary Art Exhibition, Cork Street, London, W1X 1PD

John BrunsdonWorms HeadA limited edition etching, No. 123/150Signed in pencil to the margin59.5 x 45cm (image size)With Christie's Contemporary Art Certificate**Artist resale rights may apply**

Bacon (Francis). Sylva Sylvarum: Or, a Naturall Historie in Ten Centuries, published after the authors death, by William Rawley, 2 parts in one, London: John Haviland for William Lee, 1635, engraved frontispiece (trimmed and laid down), additional engraved title, bound with New Atlantis. A Worke unfinished at end (with separate title and register), occasional water stains and a few tears and stains, contemporary calf, upper cover detached, rubbed, folio (ESTC S106936), together with Fuller (Thomas). The Holy State, 1st edition, Cambridge: Roger Daniel for John Williams, 1642, additional engraved title, engraved plate of the Prince of Wales' arms, engraved portrait of Joan, Queen of Naples, engraved portraits in text, occasional small wormtracks and light soiling, front hinge broken, contemporary calf, some wear to spine end edges, folio (ESTC R21710), plus Hale (Matthew). The Primitive Origination of Mankind, Considered and Examined according to the Light of Nature, 1st edition, London: William Godbid for William Shrowsbery, 1677, engraved portrait frontispiece, one or two small marginal tears, early owner signature at head of title, bookplate of William Fuller-Maitland (1844-1932, art collector and Liberal politician), later half calf, covers detached, a little rubbed, folio, together with other antiquarian including Gilbert Burnet's Some Letters containing an account of what seemed most remarkable in Switzerland, Italy &c., 1686, Richard Allestree's The Gentleman's Calling, 1687, and The Comedies, Tragedies, and Operas, written by John Dryden, 2 volumes, 1701 (lacking the engraved portrait)  QTY: (17)

[Wren, Christopher]. Numismatum antiquorum sylloge populis Græcis, municipiis, & coloniis romanis cusorum, ex Cimeliarchio editoris, London: Davidem Mortier, 1708, six engraved plates, some browning, armorial bookplates of Mark Cephas Tutet and Baron Northwick to front endpaper, 19th century half calf gilt, slim 4to, together with:Fro?hlich (Erasmus), Ad numismata regum veterum anecdota, aut rariora accessio nova, Vienna: Joannis Thomae Trattner, [1755], three folding engraved plates at rear, armorial bookplate of Baron Northwick to upper pastedown, 19th century half calf gilt, slim 4to,Caesar (Gaius Julius). De bellis Gallico et civili Pompeiano, nec non A. Hirtii aliorumque De bellis Alexandrino, Africano, et Hispaniensi commentarii, 2 volumes, Leiden: Apud Samuelem Luchtmans; Rotterdam: Apud Johannem Danielem Beman, 1737, additional engraved title to volume 1, letterpress title to each in red & black with woodcut vignette, 11 engraved plates (one folding) and three maps (2 folding), contemporary calf, gilt decorated spines, gilt panelled boards with central motif, joints splitting, some wear, 4to,Rufus (Quintus Curtius Rufus, & Snakenburg, Hendrik), De rebus gestis Alexandri Magni regis Macedonum, libri superstites. Cum omnibus supplementis variantibus lectionibus commentariis ac notis perpetuis..., one volume in 2, Delft & Leiden: Adrianum Beman & Samuelem Luchtmans, 1724, engraved frontispiece with ink stamp to verso, title in red & black, 14 engraved plates and one folding map, ink stamp to half-title in second volume, some toning, marginal browning to first and last few leaves, contemporary mottled sheep, gilt decorated spines, contrasting morocco labels, boards rubbed and scuffed, some wear to board edges, 4toQTY: (6)NOTE:Provenance of the first two works listed above: John Rushout, 2nd Baron Northwick (1769-1859), collector and connoisseur, with his bookplate. These two works formed part of the library at Northwick Park, Gloucestershire, and Thirlestaine House in Cheltenham (the latter purchased in 1863 by Sir Thomas Philipps, the famous antiquary and bibliophile); Patricia Milne-Henderson (1935-2018), art historian.

Du Fresnoy, C[harles] A[lphonse] THE ART OF PAINTING TRANSLATED INTO ENGLISH WITH AN ORIGINAL PREFACE CONTAINING A PARALLEL BETWEEN PAINTING AND POETRY second edition, engraved frontispiece, contemporary sprinkled calf, ruled in gilt, spine gilt, a little worn at top, for W. Taylor, 1716; and a dictionary of artists, 1810, 8vo. (2)

Circle of Claude Corneille de Lyon,  Dutch / French 1500-1575- Portrait of King Francis I of France, bust-length, wearing a feathered cap and gold chain around his neck; oil on panel, bears two wax seals on the reverse, bears old labels attached to the reverse of the black mount and frame, the former inscribed 'Corneille (Claude), Ecole francaise XVI siecle. Histoire Etabli à Lyon ou il mourit. Peintre des rois François Iier, Henry II, François II et Charles IX. (Liret, page 104)'., 16.8 x 14 cm. Provenance:Rouen, 1885.;Where purchased by the family of Sir John Hay Williams (1794-1859), 2nd Baronet of Bodelwyddan, and of Rhianva, Anglesey, June 1859.; By descent to the present owner. Literature:Catalogue of Pictures, Rhianva, p.12 (which mentions the Rouen provenance and date).  Note:The subject, format, and technique, in particular the minute brushstrokes and subtle modulation of light in the present work are entirely reminiscent of the handling of Corneille de Lyon’s portraits. Cast on to the deep green background, that has become synonymous with Corneille’s art, the shadows of both the sitter and the frame are delicately rendered. The artist produced a large number of aristocratic and royal portraits which were often copied due to the illustrious identity of their sitters. The present work is presumably a contemporary copy of a lost original by Corneille or a period work heavily inspired by the master painter. It is also reminiscent of those by Joos van Cleve – see, for example, his c.1530 portrait of Francis I, held by the UK’s Royal Collection Trust [RCIN 403433]. Please refer to department for condition report

A tray of three contemporary Tiffany style and figural style table lamps, Art Nouveau style mantel clock

Reproduction Chinese porcelain jardiniere, two items of Art glass and an Italian contemporary design mantel clock of triangular form

Postcards, Foreign, a selection of approx. 45 Japanese cards in contemporary vintage album, mostly scenic art cards, a few military and parades (mainly gd)

Karen Nicol (contemporary), mixed media and embroidery textile art, dog portraits, 30cm x 20cm, framed (2)

Henry Herbert La Thangue RA (1859-1929)''In a Ligurian Garden''Signed, inscribed to original artist’s label verso, oil on canvas, 106cm by 89.5cmNot long before his death in December 1929, Henry Herbert La Thangue received a letter inquiring about his picture of Ligurian Flowers, in Blackburn Art Gallery. He replied recalling it having been painted in ‘1907 or 1908 … in one of the villages along the [Italian Riviera] coast.’The picture had been shown with In a Ligurian Garden, its companion piece, at the Royal Academy in 1908. Known only from a contemporary illustration, this latter work has long remained unlocated, and its appearance here is an important rediscovery.Over twenty years had passed since they were painted and La Thangue remembered these canvases ‘with pleasure … for the girl was so exceptionally nice and posed well’ and the garden, ‘where the picture was painted is the one of a fine old house … [that] presented even in its ruined state a very beautiful appearance …[1].Although not hung side-by-side in the exhibition, it was nevertheless obvious that the two paintings represented different views of the same pergola. It cut through an orange grove, the trees of which gave shade to a thick carpet of flowers, cultivated specifically for the nearby perfume factories at Eze and Grasse.[2] La Thangue informed the Blackburn curator that such was his liking for the old house he returned a year or two later to discover that the family had moved, and sadly, their daughter had died. It is probable nevertheless that he produced two further works showing the little viale of what he described as ‘pilasters’ on one or other of these occasions. Indeed, so significant was the flower harvest that he chose one of these later works, Violets for Perfume, as his Diploma Picture when he became a Royal Academician in 1912.[3] For further information relating to the artist and picture, please click HERE 

Poster Art.- Maindron (Ernest) Les Affiches Illustrées (1886-1895), out of series copy from an edition of 1025, this "Exemplaire Offert à Mr Frionnet", 1896; Les Affiches Illustrées, one of 525 copies, 1886 § Bauwens (Maurice) and others. Les Affiches Etrangères Illustrées, one of 1050 copies, 1897, numerous chromolithographed plates after Cheret, Toulouse-Lautrec, Choubrac, Mucha & others, illustrations in colour and black & white, original wrappers and spines bound in, bookseller's label to pastedowns, margins slightly toned, occasional light foxing, mostly marginal, uniformly bound in contemporary half grey morocco by Franz, spines slightly sunned with red morocco labels, rubbed with some light spotting and staining, a few scratches to covers, t.e.g., folio, Paris (3)⁂ A seminal reference work in the field of poster art.

Warfare.- Du Praissac (Sieur) The Art of Warre, or Militarie Discourses..., translated by J[ohn] C[ruso], 2 parts in 1, first English edition, numerous woodcuts, with the extra leaf after L1 (after p. 156), 2ff. [par] 1 & 2 bound at end instead of beginning, lacks the engraved leaf "The Military Encycle", later ink signature of George Gerbier on front free endpaper, contemporary calf, gilt, rubbed, spine worn with tears, red morocco label, [STC 7366], 8vo, Cambridge, Printed by Roger Daniel, sold by John Williams, 1639.⁂ First part deals with all subjects, such as levying, marching, building forts, ordnance, fireworks, duties, etc. The second part, A short method for the easie resolving of any military question propounded.Provenance: George Gerbier (fl. 1638-61), soldier and author; probably the son of Sir Balthazar Gerbier, art agent and architect.

An oil on canvas, Olender Jozef, (1962), contemporary art, title; Deszcz 50 x 70 cms approx, labels to verso, along with a lithograph of a black girl, circa 1960's

Nick Smith (British), 'Haring Dog (Red)', 2019, giclee print in colours with screenprint varnish in 330gsm Somerset Satin paper, signed, dated, and numbered from an edition of 66 in pencil, published by Rhodes Contemporary Art; sheet: 54 x 61cm ARR

Nick Smith (British), 'Haring Dog (Green)', 2020, giclee print in colours on 310gsm Canson Rag Photographique paper, signed, dated and inscribed PP in pencil, aside from the main edition of 12, published by Rhodes Contemporary Art; sheet: 48.5 x 57cm ARR

JULIA MINGUILLÓN (Lugo, 1907 - Madrid, 1965).Untitled.Oil on canvas.Signed in the lower left corner.Size: 70 x 50 cm; 84 x 63 cm (frame).Minguillón's work achieved great fame, being his scenes of infants the most popular ones. For this reason this piece stands out for the singularity of the subject matter in which two women can be seen; one fully dressed facing the viewer and the other with her back to the viewer naked. We only see the face of one of the protagonists, in such a way that the author suggests a game of identity that does not speak of specific characters, but rather alludes to women and their duality in post-war Spanish society, marked by strong masculine values.Julia Minguillón began her artistic training at the age of eleven with the painter Castro Cires in Valladolid. She later completed her studies in Madrid, first at the School of Arts and Crafts and later at the San Fernando School of Fine Arts, finally graduating in 1932 as a teacher of drawing and painting. During these years of apprenticeship she was taught by Manuel Benedito, Cecilio Pla, Joaquín Valverde, Ignacio Pinazo and Eduardo Chicharro. Minguillón developed a personal style halfway between postmodernism and naturalism, and painted both landscapes and genre scenes, the latter brimming with a naive lyricism full of sensitivity that would mark later Galician painting. This can be seen in this scene: a circus troupe resting in the middle of a wooded landscape. He became known through the National Exhibitions of Fine Arts, and in 1941 he was awarded a gold medal for "Escuela de Doloriñas" (Museo del Prado, on deposit at the Provincial Museum of Lugo). This work perfectly exemplifies Minguillón's style which, according to M.V. Carballo-Calero, is characterised by a tendency towards primitivism, which generally led him to paint on panel rather than on canvas, and by a schematic style with post-Cubist touches in its composition. This painter also took part in the most important international competitions, as well as in various group exhibitions. In 1948 she was awarded the Grand Prize for Fine Arts, and a year later she moved to Galicia, where she was appointed a corresponding member of the Galician Royal Academy. After a trip to America, in 1961 she settled permanently in Madrid, where she died four years later. She is currently mainly represented in the Provincial Museum of Lugo, although her works also form part of other collections such as the Nova Caixa Galicia, the Museum of Contemporary Art in Madrid and numerous museums in Galicia, the rest of Spain and abroad.

JULIA MINGUILLÓN IGLESIAS (Lugo, 1907 - Madrid, 1965)."Children at school".Oil on canvas.Presents restorations.Signed in the right inferior zone.Measurements: 60 x 51 cm.Julia Minguillón began her artistic training at the age of eleven with the painter Castro Cires in Valladolid. She later completed her studies in Madrid, first at the School of Arts and Crafts and later at the San Fernando School of Fine Arts, finally graduating in 1932 as a teacher of drawing and painting. During these years of apprenticeship she was taught by Manuel Benedito, Cecilio Pla, Joaquín Valverde, Ignacio Pinazo and Eduardo Chicharro. Minguillón developed a personal style halfway between postmodernism and naturalism, and painted both landscapes and genre scenes, the latter brimming with a naive lyricism full of sensitivity that would mark later Galician painting. He became known through the National Exhibitions of Fine Arts, and in 1941 he was awarded a gold medal for "Escuela de Doloriñas" (Museo del Prado, on deposit at the Provincial Museum of Lugo). This work perfectly exemplifies Minguillón's style which, according to M.V. Carballo-Calero, is characterised by a tendency towards primitivism, which generally led him to paint on panel rather than on canvas, and by a schematic style with post-Cubist touches in its composition. This painter also took part in the most important international competitions, as well as in various group exhibitions. In 1948 she was awarded the Grand Prize for Fine Arts, and a year later she moved to Galicia, where she was appointed a corresponding member of the Galician Royal Academy. After a trip to America, in 1961 she settled permanently in Madrid, where she died four years later. She is currently mainly represented in the Provincial Museum of Lugo, although her works also form part of other collections such as the Nova Caixa Galicia, the Museum of Contemporary Art in Madrid and numerous museums in Galicia, the rest of Spain and abroad.

JOAQUIM TERRUELLA MATILLA (Barcelona, 1891 - 1957)."Landscape" 1918.Oil on canvas.Signed and dated in the lower left corner.Size: 48 x 58 cm; 68 x 78 cm (frame).Nephew and follower of Segundo Matilla, Joaquín Terruella was also a disciple of Santiago Rusiñol. He made a trip to Italy with the latter in 1923, as well as spending some time working together in Aranjuez. He also painted in Paris and Palma de Mallorca. He had his first solo exhibition at the now defunct Sala Goya in Barcelona in 1916. From then on he exhibited in Barcelona, especially in the Sala Parés (from 1924), and also showed his Impressionist landscapes in galleries in Paris (he exhibited there for the first time in 1922), Madrid, Palma, Saragossa, Bordeaux and Biarritz. From 1928 onwards he showed his work at the Sala Gaspar in Barcelona, where he would continue to exhibit until 1952. In 1956 he held his last exhibition at the Sala Busquets, also in his native city. Since then his work has been present in various group and anthological exhibitions, such as the one held at the Sala Gothsland in Barcelona in 1985. In 1993, Ángeles Cortina brought together a series of his oil paintings and drawings in her Barcelona gallery. Joaquín Terruella was a fundamentally landscape painter, in the wake of Impressionism, who reflected the Catalan landscape with delicacy and subtle transparency. Another of his favourite subjects was the world of bullfighting, and in fact he worked as a bullfighting illustrator for the publications "El Día Gráfico" and "La Noche". He also painted scenes of gypsies and concert cafés. His work is kept in the Museum of Contemporary Art in Barcelona, the Museum of Contemporary Art in Madrid and the Provincial Museum of Lugo.

Chinese school, modelled on WU GUANZHONG; 20th century."Village View".Ink and graphite on paper.There are tears on the outer perimeter without affecting the drawing.Apocryphal signature and inscription.Measurements: 31 x 41.8 cm.In the oriental culture, painting has a great link with calligraphy, materials such as brush and ink are fused in both disciplines. The material thus becomes a highly appreciated artistic motif, both for its form and for the content it is capable of conveying.Aesthetically, the work is close to the precepts of the multidisciplinary artist Wu Guanzhong, who worked in painting, ink and watercolour drawing, engraving, calotype and even made some enamelled porcelain pieces. Possibly the most renowned contemporary Chinese artist, Wu focused his work on the Chinese landscape, both natural and urban, depicting its architecture, plants and animals, characters and natural landscapes, in a style inspired by Post-Impressionism and drawing on traditional Chinese ink painting. He was also a prominent writer and critic of contemporary Chinese art. Born in Yixing (Jiangsu), he studied engineering at the Zhejiang Industrial School, and in 1936 moved to the Hangzhou National Academy of Arts in the same city to study both Chinese and Western painting under masters Pan Tianshou and Lin Fengmian. He graduated in 1942, and five years later he moved to Paris thanks to a scholarship from the Chinese government, which enabled him to study at the École Nationale Supérieure des Beaux-Arts in the city. On his return to China he took up a teaching post at the Central Academy of Art in Beijing, and later at Tsinghua University and the Normal School of Fine Arts in the same city, where he taught Western art. His exhibitions at the British Museum in London, the Metropolitan in New York and the Hong Kong Museum of Art are particularly noteworthy. Wu Guanzhong is currently mainly represented at the Singapore Art Museum, to which the artist himself made a major donation of work, although he is also present in other leading museums around the world.

Chinese school, modelled on WU GUANZHONG; 20th century."Floating water lilies".Ink on blue card.Slight lack in the upper left corner.Signed in the lower left corner.Measurements: 31,5 x 45 cm.In the oriental culture painting has a great link with calligraphy, the materials such as the brush and the ink are fused in both disciplines. The material thus becomes a highly appreciated artistic motif, both for its form and for the content it is capable of conveying.Aesthetically, the work is close to the precepts of the multidisciplinary artist Wu Guanzhong, who worked in painting, ink and watercolour drawing, engraving, calotype and even made some enamelled porcelain pieces. Possibly the most renowned contemporary Chinese artist, Wu focused his work on the Chinese landscape, both natural and urban, depicting its architecture, plants and animals, characters and natural landscapes, in a style inspired by Post-Impressionism and drawing on traditional Chinese ink painting. He was also a prominent writer and critic of contemporary Chinese art. Born in Yixing (Jiangsu), he studied engineering at the Zhejiang Industrial School, and in 1936 moved to the Hangzhou National Academy of Arts in the same city to study both Chinese and Western painting under masters Pan Tianshou and Lin Fengmian. He graduated in 1942, and five years later he moved to Paris thanks to a scholarship from the Chinese government, which enabled him to study at the École Nationale Supérieure des Beaux-Arts in the city. On his return to China he took up a teaching post at the Central Academy of Art in Beijing, and later at Tsinghua University and the Normal School of Fine Arts in the same city, where he taught Western art. His exhibitions at the British Museum in London, the Metropolitan in New York and the Hong Kong Museum of Art are particularly noteworthy. Wu Guanzhong is currently mainly represented at the Singapore Art Museum, to which the artist himself made a major donation of work, although he is also present in other leading museums around the world.

Chinese school, modelled on WU GUANZHONG; 20th century."Village View".Ink on blue card.There are tears and faults in the corners.It has damp stains.Signed in the lower left corner.Measurements: 44,5 x 32 cm.In the oriental culture the painting has a great link with the calligraphy, the materials like the brush and the ink are fused in both disciplines. The material thus becomes a highly appreciated artistic motif, both for its form and for the content it is capable of conveying.Aesthetically, the work is close to the precepts of the multidisciplinary artist Wu Guanzhong, who worked in painting, ink and watercolour drawing, engraving, calotype and even made some enamelled porcelain pieces. Possibly the most renowned contemporary Chinese artist, Wu focused his work on the Chinese landscape, both natural and urban, depicting its architecture, plants and animals, characters and natural landscapes, in a style inspired by Post-Impressionism and drawing on traditional Chinese ink painting. He was also a prominent writer and critic of contemporary Chinese art. Born in Yixing (Jiangsu), he studied engineering at the Zhejiang Industrial School, and in 1936 moved to the Hangzhou National Academy of Arts in the same city to study both Chinese and Western painting under masters Pan Tianshou and Lin Fengmian. He graduated in 1942, and five years later he moved to Paris thanks to a scholarship from the Chinese government, which enabled him to study at the École Nationale Supérieure des Beaux-Arts in the city. On his return to China he took up a teaching post at the Central Academy of Art in Beijing, and later at Tsinghua University and the Normal School of Fine Arts in the same city, where he taught Western art. His exhibitions at the British Museum in London, the Metropolitan in New York and the Hong Kong Museum of Art are particularly noteworthy. Wu Guanzhong is currently mainly represented at the Singapore Art Museum, to which the artist himself made a major donation of work, although he is also present in other leading museums around the world.

JOAQUÍN TERRUELLA MATILLA (Barcelona, 1891 - 1957)."Picador", 1955.Ink and watercolour on paper.With oxidised paper and stains in the corners.Signed and dated in the lower right corner.Measurements: 23.5 x 33.5 cm; 40.5 x 51 cm (frame).Nephew and follower of Segundo Matilla, Joaquín Terruella was also a disciple of Santiago Rusiñol. He made a trip to Italy with the latter in 1923, as well as spending some time working together in Aranjuez. He also painted in Paris and Palma de Mallorca. He had his first solo exhibition at the now defunct Sala Goya in Barcelona in 1916. From then on he exhibited in Barcelona, especially in the Sala Parés (from 1924), and also showed his Impressionist landscapes in galleries in Paris (he exhibited there for the first time in 1922), Madrid, Palma, Saragossa, Bordeaux and Biarritz. From 1928 onwards he showed his work at the Sala Gaspar in Barcelona, where he would continue to exhibit until 1952. In 1956 he held his last exhibition at the Sala Busquets, also in his native city. Since then his work has been present in various group and anthological exhibitions, such as the one held at the Sala Gothsland in Barcelona in 1985. In 1993, Ángeles Cortina brought together a series of his oil paintings and drawings in her Barcelona gallery. Joaquín Terruella was a fundamentally landscape painter, in the wake of Impressionism, who reflected the Catalan landscape with delicacy and subtle transparency. Another of his favourite subjects was the world of bullfighting, and in fact he worked as a bullfighting illustrator for the publications "El Día Gráfico" and "La Noche". He also painted scenes of gypsies and concert cafés. His work is kept in the Museum of Contemporary Art in Barcelona, the Museum of Contemporary Art in Madrid and the Provincial Museum of Lugo.

Sir George James Frampton, RA (British, 1860-1928): A rare and apparently unique patinated bronze bust of St. Georgedated 1905the young male saint clad in armour with downcast eyes, his helmet with deep visor adorned with chain mail, his breastplates with two buckled straps, his backplate with a single buckled strap, his right shoulder raised, the arms erased, the rear signed and dated G.FRAMPTON, 1905, 38.5cm high overallFootnotes:Provenance: By family repute gifted by the sculptor to the vendor's great grandfather, John Henry Frederick Bacon, ARA (British, 1865-1914)Thence by descent to the vendor.Frampton and St George:The present lot, dated 1905, appears to be a cast bust reduction study for the smaller than life size bronze figure of St George on the King Edward VII Memorial in Northampton which was unveiled by King George V in 1913. The warrior saint is depicted on the monument as a slender, beautiful young man in elegant armour and there are undoubtedly influences of Frampton's contemporary Albert Gilbert who produced his own figure of St George for the Prince Albert memorial in the chapel at Windsor, dating from some ten years earlier. Frampton's full length figure of St George for the Northampton monument holds his right arm aloft as if indicating a weapon being raised above his head (originally the figure held a long sword, almost the height of the figure - now lost) and includes full armour and shield. Although the offered bust mirrors the pose of the full figure with the indication of an upheld right arm, these are not included in the composition. As such the feature of the neatly erased arms to the bust perhaps suggests that the cast, as a finished composition, may have been taken from the working model, perhaps as a gift. This is also confirmed by its earlier date (1905) in comparison to the monument (1913). In addition the use of St George as figural theme was not unique to the Northampton monument. Frampton's interest in St George as a theme however dates back to the late 1890s as he adapted his figure of the saint from a statuette of St George that surmounted the orb held by Queen Victoria on his famous and highly acclaimed Calcutta Memorial commissioned to commemorate the Diamond Jubilee. Although the statuette differs from the Northampton figure in that the right arm of the former is not raised, its influence is still undoubted. The importance of this small statuette to the overall composition is certainly felt by the writer of The Introduction to Royal Academy Pictures in 1899 who stated that statuette 'is the one power in the art world that sees irresistible, and its influence is daily becoming more convincing.Similarly, Frampton later used his figure of St George from the Northampton monument as the basis of his Maidstone War Memorial, with a near identical St George used in similar pose but holding a flagpole in place of a sword which was inaugurated in 1922. Sir George James Frampton, RA (British, 1860-1928):A key figure in the New Sculpture movement that championed dynamism and physical realism in sculpture, Sir George Frampton is best known today for his statue of Peter Pan, installed in Kensington Gardens.Frampton was born into a family of stone carvers. He initially worked in an architect's office before deciding to follow his father's profession. He studied sculpture at Lambeth School of Art and the Royal Academy Schools, where he met the artist Christine Cockerell. The two married in 1893 and their son, the painter Meredith Frampton, was born the following year. Frampton's reputation rose rapidly and he attracted early acclaim for his skilled use of many different materials, such as in his 1899 polychromatic bust, Lamia. Together with Lord Leighton, Sir Alfred Gilbert and Hamo Thornycroft, his work was seen as part of the 'New Sculpture' movement and was characterised by a sense of dynamism and layers of rich symbolism. After Queen Victoria's death in 1901, Frampton was commissioned to produce a bronze portrait bust to be installed in Calcutta and a full-length statue for memorials in Winnipeg, Merseyside and Leeds. He was elected a Royal Academician in 1904 and knighted two years later. Frampton enjoyed collaborating with architects and carried out decorative friezes for many public and private buildings, including Lloyd's Registry of Shipping, London (1898- 1901).In 1912, Frampton was commissioned by J.M. Barrie to produce a sculpture of Barrie's beloved character Peter Pan, who had first appeared on the stage eight years earlier. Barrie saw the sculpture as a gift for the children of London, and took out an announcement in The Times on the morning of its instalment, reading: 'There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning ... a May-day gift by Mr J M Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree.' Frampton died in 1928 and his son Meredith took over his studio. Two years later, a memorial to him was installed in St Paul's Cathedral, showing a child holding a miniature version of Frampton's beloved Peter Pan.John Henry Frederick Bacon, ARA (British, 1865-1914)The second son of the well-known lithographer, John Cardanall Bacon, John Henry Frederick Bacon established himself in his teenage years as a gifted black-and-white illustrator and undertook a professional tour of India and Burma. He studied at Westminster School of Art, under the painter and art teacher Frederick Brown (British, 1851-1941), and at the Royal Academy Schools, winning the Creswick Prize for Landscape Painting in 1888. A year later, he began to exhibit regularly at the Royal Academy of Art. He was elected an associate of the Royal Academy in 1903.Bacon and his wife lived at Pillar House, Harwell, Berkshire but returned to London in 1899, living in Hampstead before moving to St John's Wood. It was during the 1890s that Bacon moved back to illustrating, working on books and contributing to periodicals. Bacon contributed to some significant editions of the works of Charles Dickens, including Dombey and Son, Little Dorrit and Martin Chuzzlewit for Gresham's Imperial Edition of 1901.Bacon's images helped construct perceptions of nation and empire, as in his most famous paintings – The City of London Imperial Volunteers Return to London from South Africa (1900, Guildhall) and the Coronation Portrait of King George V and Queen Mary (1912, Buckingham Palace). He was awarded the Royal Victorian Order in 1913.It is very likely that Frampton and Bacon were close artistic colleagues and interacted regularly, perhaps especially when Bacon moved back to London. A sketch of Frampton by Bacon dating from 1901 (The Studio Volume 22, The Offices of the Studio Ltd. London 1901) confirms that the sculptor would have sat for the artist around this time. In addition verbal recollections and reminiscences passed down through the Bacon family to the present vendor confirm that members of the Royal Family frequently came for portrait sittings at the family's London home in the early 20th century. As such, given that the bust of St George was probably gifted to Bacon by Frampton, it seems most likely that Frampton and Bacon, with their multiple commissions for Royal monuments and Royal portraits, would have had much in common and may well have even have been close friends if their paths crossed regularly.For further information on this lot please visit Bonhams.com

Unbekannter Gegenwartskünstler, 21. Jh."Gye Nyame. allmacht & unsterblichkeit Gottes". Farblithografie, 2005. In Blei unterhalb der Darstellung rechts signiert und datiert. Signatur evtl. Joe Sam Essandon. Hinter Glas gerahmt. 75 x 55 cm (Ra). Gye Nyame ist ein Adrinka-Symbol (eine Art symbolhafte Metapher) vom Volk der Akan aus Ghana und meint die Allmacht und Gegenwärtigkeit eines Gottes. In der motivischen Verwendung dieses Symbols liegt die Vermutung, der Künstler entstammt ghanaischen Wurzeln. Unknown contemporary artist. Gye Nyame. Colour lithograph, 2005. Signed and dated in pencil below the motif right. Framed behind glass. The Adrinka symbol Gye Nyame means "nothing but God" and using the symbol may refer to the thought that the artist comes form Ghana.

[Insane 17th-century annotator] The Most Notable Antiqui[ty] of Great Britai[n], vulgarly called on Salisbury Plain. Restored by Inigo [Jones]. London: printed by James Flesher, [1655]. First edition, folio (27.7 x 18.2cm), disbound, lacking E2, portrait frontispiece and 4 folding woodcut plates (of 7; the remaining plates with old repairs), with 3 initial blanks (all detached), title-page defective, browning, damp-staining towards front. With profuse ink marginalia throughout in a contemporary hand (closely trimmed in places; occasional concomitant paper corrosion), in English and occasionally Latin (and a few phrases in French), unrelated or only tangential to the printed text, in a rambling, scurrilous and repetitive style, with numerous references to 17th-century figures and events, and exhibiting a fixation with large sums of money, the printed dedication 'To the Favourers of Antiquity' (A4) signed 'Pembroke & Muntgomrye' in the same hand as the marginalia, the signature asterisked with an accompanying annotation by an 18th-century hand, 'This Philip E. of Pembroke and Mongomery [sic], was the writer of these wild notes. A Wood woud have less belyed him, in calling him a mad man, than in saying he was illiterate & coud not write his name', 19th-century annotation to initial blank, 'There is reason to believe that the notes scrawled upon these pages are written by the Philip Earl of Pembroke & Montgomery to whom the book is dedicated, E. D.'Note: The dedicatee of the work was Philip Herbert, fifth earl of Pembroke (1621-1669), though the 'writer of these wild notes' is more likely to have been his son, the infamous seventh earl (1653-1683), also Philip, who succeeded in 1674 and 'quickly acquired an unenviable reputation for barbarous and violent behaviour' (ODNB). He was reported by John Aubrey in Brief Lives (1680) to keep at the family seat of Wilton House a menagerie of exotic animals, was committed to the Tower for blasphemy, and killed two men in separate drunken incidents, escaping punishment first through claiming privilege of peerage, and second by royal pardon. The character who emerges from these annotations is obsessed with money, and those who have it, motifs which recur throughout a bewildering variety of ravings, doggerel verse and arbitrary lists, written in spelling eccentric even for the period, altogether suggesting a person of entirely unsound mind. If he was not the earl of Pembroke, references to Wilton House and Ramsbury suggest that he at least thought he was, and the annotations are perhaps dateable to the 1660s on the basis of a recollection that 'some 40 or rather 44 years agoe, there was a great faction betwixt ye Digberians & ye Buckingamians' (p. 26); another remark, 'How ould art thou? fifteen come Lent. If Christmasse lasted all ye year, then what should become of Lent' (p. 15), suggests that the annotator was an exact contemporary of the seventh earl's. Further examples include: 'If hee be mad as my Lady Harewood says whose tongue is not slaunder it is rather for wantinge ye ten thousand pounds an year his father promisd to give him tha[n] yt hee thinkes 6000 an year to bee too mutch for him to manage with Wilton & Ramesberye' (p. [vi]); 'And was it not strange, that in one week His Grace should loose one thousand pounds at gleeke? or 4000 ls at gleeke. Hath hee burned ye teats of her virginity? Certayneley that ould woeman wanted businesse that sette London bridge afyre, shee did [?] the city of London to ye value of cent mil escu au moins' (p. 1) 'The house of ye Howards is now goinge towards theyre woonted declininge, for when they are great, they emprison & beat, & then ye sunne leaves shining then thousand hee & shee hereticks, ten thousand hee & shee Armineans, ten thousand hee & shee Armenians, London lickpenny, Lincolne lickpenny, Mrs Sarah Graunty widdow hath a 1000 an year land of inheritance to live on' (p. 14); 'Ravilliack Crummewell is to bee pulld apeices wth 4 wild horses upon London streets & then to bee hang draiwen & quartered not decapite[d]' (p. 31); 'Hinnico Jones alias Iniguity Jones a justice of peace of ye qudrum and custos rotilorum hath for keepinge ye kinges houses in repayre deaux cens mil escu per an, three score thousand ls starlinge an year and well payed hee is 4 score years ould. Midwife Mrs Bullard midwife Mrs Whiteby midwife Mrs Cutler twoo parsons widdowes' (p. 34); 'Mathew Cardroe lyeth heer, whooe drunke too mutch of bottle bear. I care noe more to kill them in bravado then forto drinke a pipe of Trinidado [...] Tom Tippett uppe & downe doth walke & cannott see himself in his owne optick glasse' (p. 41); 'Wilton House Ramsberye house Pembrokes Earl Pembrokes & Muntgomeryes then Lord Chamberlaynes. Personal suppositum intelligens ten of 20 ls an year augmentation monye to ye Greeke lecture or buildinge at Cambridge, Oxford Caius de Antiquitate Cantabrigi' (p. 43); 'I kneaw ye 3 Mackullyes taylours all three Scottshmen & brothers ye woorst of them dyed woorth twenty-thousand pounds they three dyed in all woorth three score thousand starlinge deaux cens mil escu au moins' (p. 50); 'I was nurst 2 years at Mourtleack two years togither [...] by Nurse Beck, whoe nurst ould mad Besse Tallmatch' (p. 61); 'Sr Ferauncis Cranes hanginges all ye suits at Mourtleck upon ye Thames where I was nurst cost ten thousand pounds at least. Hee made my Lord keeper Williams ye 4 seasons of ye year & sould them to him for £500 Sir Firauncis Crane of Grafton Auditour Crane' (p. 63); 'Hee & shee marquesse Ormonde, hee & shee Marquesse Toosmond, Hee & shee Marquesse Desmond, Rabshekais & Achitophells, Madam you must bee whippt at a cart stayble, or you shall ride in a dunge cart, or have rotten eggs throwne at you[r] Irish honour' (p. 69).

Costume, Art and Travel 7 volumes comprising: Hope, Thomas. Costume of the Ancients. London: W. Miller, 1812. New edition, 2 volumes, 4to, 300 engraved plates, contemporary diced calf, spines gilt, rubbed, one cover detached; Halliday, Andrew. A General History of the House of Guelph, or Royal Family of Great Britain. London, 1821. 4to, inscribed 'from the author. W. Seymour Esq.', with pencil annotations and corrections as if for a revised edition, probably by the author, bookplate of Lady Seymour, contemporary maroon calf; Wright, Rev. G.N. The Shores of the Mediterranean. London: Fisher & Son, [1839], 4to, additional engraved title, double-page map, and 63 engraved plates, tissue guards, contemporary calf, neat repair to head of spine; Hogarth, William. The Works, with descriptions by John Trusler. London: Jones, 1833. 4to, engraved portrait and 96 plates, contemporary black half calf, spine gilt; Fox, Charles James. A History of the early part of the reign of James the Second. London; W. Miller, 1808. 4to, engraved frontispiece offset onto title, contemporary tree calf, red morocco label upper cover detached; Naples. Monuments principaux du Musée National de Naples. Naples: Ferrante, [n.d.] 4to, 110 engraved plates, original pictorial wrappers, the wrappers somewhat soiled (7)

History, Art, Travel and Economics 26 volumes comprising: Leighton, John M. History of the County of Fife. Glasgow, 1840. 3 volumes, 4to, additional engraved titles, plates, contemporary half calf, somewhat spotted, two volumes rebacked; Millais, John Everett. [Collection of 67 woodcuts by Millais, engraved by Swain and Dalziel], no title, 19th century maroon morocco gilt, lettered on upper cover; Gibbon, Edward. The History of the Decline and Fall of the Roman Empire. 1827. 12 volumes, 8vo, contemporary half calf gilt; Kitto, John. The Gallery of Scripture Engravings. London, c. 1840. 2 volumes, 4to, plates, contemporary maroon morocco gilt; Blackwoods Magazine. Travel, Adventure and Sport from. Edinburgh, [c.1880], 6 volumes, 8vo, contemporary half calf gilt; Torrens, R. An Essay on the External Corn Trade. London, 1826. 3rd edition, 8vo, contemporary half calf; and 1 other; sold as a collection not subject to return (26)

Scotland Collection of pamphlets and proclamations, 17th-18th century including: [Monipennie, John]. Certayne Matters concerning the Realme of Scotland. London: for John Flasket, 1603. Second edition, 4to (18.1 x 13.2cm), 20th-century boards, spine defective, light browning, occasional staining, headlines often shaved, repairs to title-page (A1) and B1-2 obscuring a few letters, title page with contemporary annotations and a pen trial, final leaf N1/A2 with closed tear in gutter [ESTC S112838]; Hamilton, James, 1st Duke of Hamilton. [Incipit:] Whereas some have given out that by the Act of Councell [...]. Edinburgh: Robert Young, printer to the Kings most excellent Majestie, 1638. 4to (18.5 x 13.2cm), modern boards, typographic headpieces, woodcut initials, retaining final blank (C4), book-label of noted bibliographer F. S. Ferguson (1878-1967), slight toning [ESTC S103719]; Charles I. [Incipit:] Charles, by the grace of God, King of Scotland, England, France, and Ireland, defender of the faith. To our lovits [blank] messengers, our sheriffs [...], greeting. Edinburgh: Robert Young, 1638. 4to (17.8 x 13cm), modern boards, woodcut headpiece (royal arms) and initial, F. S. Ferguson book-label [ESTC S116895]; Ward, Richard. The Analysis, and Application of the Sacred and Solemne League Covenant. London: J. Dollam, 1643. First edition, 4to (19.5 x 15.3cm), disbound, slightly dust-soiled, tide-mark to foot, edges nicked [ESTC R5685]; [Covenanters]. A True and Impartial Account of the Examinations and Confessions of the several Execrable Conspirators against the King and his Government in Scotland. London: Andrew Forrester, 1691. First edition, folio (28.7 x 18.7cm), disbound, final 2 leaves near detached and with closed tears [ESTC R21336]; [Medicine]. [Drop-head title:] Unto the Right Honourable the Lords of Council and Session the Petition of John Monro Chirurgeon Apothecary in Edinburgh humbly sheweth that where in the competition betwixt your petition, as executor to the deceast Lieutenant Nisbet, and Janet Nisbet, executrix ... debated last week before the Lord Justice Clerk, 7 February 1701. Folio, 3 [1] pp., disbound, deckle edges, stitched together with an apparent continuation of the petition and 'Answers for Janet Nisebet and Peter Bell Merchant in Slagow her Husband ... to the Petition of John Monro against them], 2 and [2] pp., one with closed tear, [Defoe, Daniel]. Observations on the Fifth Article of the Treaty of Union, humbly offered to the Consideration of the Parliament, relating to Foreign Ships, [Edinburgh: no printer, 1706]. 4to (19.3 x 15.2cm), 20th-century quarter skiver, 4 pp., browned, bookplate of Robert A. S. Macfie (1868-1935), authority on the Roma [ESTC T55499: 10 UK copies, of which 7 in the National Library of Scotland]; Idem. A Short View of the Present State of the Protestant Religion in Britain, Edinburgh: [no printer], 1707. 8vo (18.4 x 11.4cm), 20th-century quarter skiver, a few page-numbers shaved, Macfie ownership inscription [ESTC T55491: 7 UK copies]; Almanac. Perth's True Almanack; or a New Prognostication for the Year of our Lord 1719 ... Calculated exactly (according to Art) for the Meridian of the Town of Perth ... by Mr. Patrick Stobie, Edinburgh: John Moncur, 1719. 8vo (14.8 x 9.4cm), A-B8, [32 pp.], eclipse woodcut on A4 r., detailed contemporary annotations to rear blanks, stitched in contemporary marbled wrappers (split along spine but remaining attached), final 2 leaves closely trimmed at head; and 12 others similar (these not collated), including 5 Acts of Parliament, 18th century (e.g. To prevent the infamous Practice of Stock-jobbing, 1734; For Settling and Establishing a Court of Exchequre in the North Part of Great Britain called Scotland, 1708; For rebuilding the Tron Church of the City of Glasgow [...], 1793, etc.; all disbound) (21)Note: Item 1 (Monipennie) was first published c.1594. Item 2 concerns the continuance of episcopal government in Scotland and was later published with other works as An Explanation of the Meaning of the Oath and the Covenant. No editions of The Petition of John Monro Chirurgeon Apothecary in Edinburgh or Perth's True Almanack traced in ESTC. The two Defoe pamphlets are notably rare in commerce.

A pair of contemporary Art Forma armchairs, 100cm high, 92cm wide, the seat 52cm wide and 66cm deep (2)

Koons, JeffYork/Pennsylvania, geboren 195526 x 26 x 11 cm"Balloon dog (orange)", 2015. Porzellanskulptur, farbig verchromt, mit Tellerhalter und Handschuhen in Orig.-Karton. Unterseitig in der Glasur signiert, betitelt und datiert sowie in Goldstift nummeriert 249/2300. Beiliegend auf einem Zertifikat von Michel Bernardaud nummeriert. Herausgeber: Museum of Contemporary Art, Los Angeles.

CANDELA MUNIOZGUREN (Madrid, 1986)."Tree nodes_02", 2016.Patinated steel, Color patina Steel. Unique piece.Enclosed certificate issued by the artist.Measurements: 140 x 18 x 15 cm.The tree nodes series, which consists of three sculptures, is inspired by Japanese architecture of the mid-20th century. The artist uses screwed iron modules, which form dynamic and flexible structures that adapt to the space, as if they were organic cells.Candela Muniozguren began her artistic training in 2005, studying Fine Arts at the Complutense University of Madrid. Throughout her professional career she has participated in numerous exhibitions, both collective and individual. An example of this is the group exhibition "Domus et Animalia" in Madrid, held in 2009, which marked the beginning of his professional career. His solo exhibition "Recicla Navidad", which took place in 2013, stands out among all his exhibitions. She has also participated in important fairs such as FLECHA, Just Madrid, or Art Madrid. In addition, she has been awarded for her artistic career on numerous occasions. Her work stands out for her interest and research in sculpture. Starting from constructivist roots, she has created a unique and personal language, in which she presents pieces of open and dynamic conception. On many occasions the author plays with the concept of Meccano, urging the spectator to participate, making him or her an accomplice in the piece. It is also worth mentioning that, in many of her works, colour has a strong presence. The art critics have singled her out as one of the representatives of the Upcycling trend, which consists of the revaluation of objects on an artistic level. Today her work is found in important private collections and centres of great artistic and cultural interest, including the Obispo Vellosillo Museum of Contemporary Art in Segovia, the Arrazafa Hospital in Cordoba, the Laboratorio joven in Murcia, Terra Natura in Benidorm and the sculpture cabinet of the UCM in Madrid.

MASAAKI HASEGAWA (Tokyo, Japan, 1987)."I guess this is the shape of my desire (white), 2022.Mixed media (acrylic and tacks) on wood.Attached certificate issued by the artist.Signed on the back.Size: 10,5 x 10,5 x 4,5 cm.Linked to the world of sport, after winning the Inter High School Taekwondo Championship in Japan, Masaaki Hasegawa began his career as a professional MMA fighter in Japan, while studying finance and obtaining a degree in International Business. He then began his career as an investment strategist at Daiwa Capital Markets. However, he changed his life to devote himself fully to art, focusing especially on conceptual art. In his artistic work he founded Creatvida in 2014, which is a platform that hosts different creative profiles worldwide. In 2015 he published his first book "Yes, you are creative" and, in 2016, the second book, "New paradigm of creativity", in addition he also leads the project "Connect People Thru Art Beyond Borders" and is an advisor to the Contemporary Museum of Calligraphy in Moscow. His work has been exhibited at the Bauhaus Center in Tel-Aviv, Paper Pavilion in Madrid, Urvanity Art and We Crave, and he has intervened in Google installations. Masaaki Hasegawa has also created the largest calligraphy work in Europe on the rooftop of the Zapadores Museum in Madrid.

MASAAKI HASEGAWA (Tokyo, Japan, 1987)."13F19". Series A-B-S-S-T-R-A-C-T, 2019.Acrylic on canvas.Attached certificate issued by the artist.Signed in the lower right corner. Signed and dated on the back.Measurements: 101 x 120 cm.The artist's website dedicates these words to the work: "Pain is a simple word, but there are so many different types of pain. This artwork represents a memory with pain that is repressed and locked in a small box in the mind, so much so that you don't remember it every day. However, the memory itself remains in the mind for so long that it creates pain without you even realising it. The Abstract series to which this work belongs visualises human emotions that are not easily captured in words. It challenges the linguistic perception of oneself and is an attempt to label the phenomena of the human mind. Through the process of creation, it tries to reduce the amount of conscious intensity of the human attempt to make something perfect in order to extract the unconsciousness, which it can handle to gain more information and allows access to the essence of human experiences / Seeing humanity as a small part of the universe. partially experiencing universal phenomena the process of creation tries to incorporate the essence of nature/universe in an attempt to turn inorganic materials into organic beings.Linked to the world of sports, after winning the Japan Inter High School Taekwondo Championship, Masaaki Hasegawa began his career as a professional MMA fighter in Japan, while studying finance and earning a degree in International Business. He then began his career as an investment strategist at Daiwa Capital Markets. However, he changed his life to devote himself fully to art, focusing especially on conceptual art. In his artistic work he founded Creatvida in 2014, which is a platform that hosts different creative profiles worldwide. In 2015 he published his first book "Yes, you are creative" and, in 2016, the second book, "New paradigm of creativity", in addition he also leads the project "Connect People Thru Art Beyond Borders" and is an advisor to the Contemporary Museum of Calligraphy in Moscow. His work has been exhibited at the Bauhaus Center in Tel-Aviv, Paper Pavilion in Madrid, Urvanity Art and We Crave, and he has intervened in Google installations. Masaaki Hasegawa has also created the largest calligraphy work in Europe on the roof of the Zapadores Museum in Madrid.

MANUEL OCAMPO (Quezon City, Philippines, 1965).Toy 2r.Paint and resin.Signed on the base.With stamped Toy 2R on the base.Size: 22 x 13 x 10 cm.Qee is a line of designer dolls created by the founder and president of Toy2r, Raymond Choy. Born in 2002 in Hong Kong, Quee has revolutionised the world of design, introducing contemporary art into the vinyl toy market. Under the slogan "Everyone can design", Choy's identifying idea has brought together the creations of important artists from all over the world, from Eugenio Merino, Emilio García, Albert Pinya and Elenza Monzo to Chu Uroz, Manuel Ocampo and Max Ripo. In this way, each artist expresses on these dolls - a particular "3D canvas" - his or her way of understanding the world. These curious characters are available in various sizes including 1.5", 2.5", 8", 16", 36" and the 60" Qee. Toy2r also provides D.I.Y (Do It Yourself) Qees for aspiring designers. They are articulated, as they move the head, arms and legs. Since its birth, Toy2r has received numerous internationally renowned awards around the world, making it a leading firm in design toys.Manuel Ocampo is considered the most important Filipino artist today. His painting, described by the media as "devastating", "brutal" and "ferocious", undergoes frequent strategic shifts in response to new contexts and subject matter, and is influenced by Punk and cartoons. He works mainly from his hometown, although he has also been based in other places such as California, Seville or Luxembourg. He has had numerous national and international exhibitions, including: 2018, Yes, Sir/Ma'am! No, Sir/Ma'am! Right Away, Sir/Ma'am! at Tyler Rollins Fine Art (NYC); 2017, Oeuvres: 1994 - 2016, Galerie Nathalie Obadia, Paris; 2017, Hello! Belle Peinture: Thinking of the Beginning of the End of the Death of Painting, Nosbaum Reding Art Contemporain, Luxembourg; 2016, The Corrections, Finale Art File, Makati, Philippines; or in 2016, Sweating the Green Parrot Out, Marie Kirkegaard Gallery, Copenhagen, Denmark.

JAUME PLENSA (Barcelona, 1955).Untitled, 1992.Mixed media on paper.Signed and dated in the lower margin.Size: 68 x 48 cm; 71 x 51 cm (frame).Jaume Plensa studied at the Llotja School and the Sant Jordi School of Fine Arts, 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 both material and formal terms, and began to use different materials such as metal scraps, 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.

JAUME PLENSA (Barcelona, 1955).Untitled, 1992.Mixed media on paper.Signed and dated in the lower margin.There is a tear and a sticker stain in the lower margin.Measurements: 68 x 48 cm; 71 x 51 cm (frame).Jaume Plensa studied at the Llotja School and at the Sant Jordi School of Fine Arts, 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 both material and formal terms, and began to use different materials such as metal scraps, 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.

A pair of Art Nouveau Doulton ware vases with lustre borders, c1910,  impressed and incised marks and initials and two and two pairs of contemporary Doulton ware vases (8) Art Nouveau vases in good condition. Tallest pair - on chipped. Vase with flared neck - neck damaged, the three other vases in good condition

After Gerhard Richter (German, b.1932) - A large 20th Century 1990s museum poster for the Collection Of Contemporary Art - Gerhard Richter. Printed in 1991 in Germany. Framed and glazed. Measures approx; 124cm x 123cm.   

A contemporary late 20th Century wall mirror having a modern art form frame with the human form depicting stylised in plaster and painted surrounding the central mirror panel. Measures approx; 50cm x 29cm.

RÉCIFE FOUNTAIN PEN, LIMITED SERIES MYSTIQUE REPLICA SENIOR.Blue and white resin barrel.Nib plated in 18 kts. gold and platinum.No box.Measurements: 14.80 cm. length; 14.80 mm. diameter.The Mystique collection consists of feathers with an incomparable dress whose character surprises and fascinates. The handcrafted manufacturing process makes each pen unique, with bold colour combinations that are never repeated.In 1930, Constantin Samard, descendant of a family dedicated for generations to leather working and saddlery, decided to set up his own company specialising in the manufacture of luggage in Vincennes, just outside Paris. This was to be the seed of what later, when his grandson, Stephan Arnal, took over the business, would become the company Récife. A second phase, which began in 1987, was characterised by the expansion and diversification of its product catalogue, which from then on would include an important branch dedicated to the production of writing instruments. Récife writing instruments are currently divided into three main product lines: the Urban Chic series, defined by its elegance and fascinating designs; the Art Factor range, characterised by the use of variegated resins that give it a highly original and daring appearance; and lastly, the Pop line, the lowest of the three, made up of youthful, colourful and highly contemporary writing instruments. In addition to these three main lines, which are in turn made up of different collections, there is also the sporadic launch of limited edition pieces, usually dedicated to outstanding figures of art or music, their works and their cultural legacy, which find in Récife writing implements a unique "container" to convey their greatness. A constantly evolving catalogue of products that speaks to us of the concerns and commitment of Récife's managers and designers, of their perfectionist zeal and, in short, of their unwavering desire to make a name for themselves in the world of handwriting.

* ALFRED ALLAN (SCOTTISH b. 1944),AT THE BEACH oil on board, signedimage size 48cm x 48cm, overall size 60cm x 60cmFramed. Artist's label verso.Note: Alfred Allan also paints under the name Allan Nelson. He is a well-known artist living in Fife and he paints the surrounding areas. Recent sales of Alfred Allan's paintings in The Scottish Contemporary Art Auctions have included hammer prices of £1100, £850, £800, £750, £700 & £650.

* ETHEL WALKER (SCOTTISH b. 1941),WINTER SUNoil on board, signed, titled label versoimage size 54cm x 46cm, overall size 70cm x 63cm Framed and under glass.Label verso: The Stenton Gallery, Stenton.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. Ethel Walker's work has been exhibited widely over many years in Scotland, London and around the UK. In The Scottish Contemporary Art Auction of 5th December 2021 "The Lace Cloth" (lot 594) by Ethel Walker sold for £3000 (hammer).

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),SCAMPI BOATS, PITTENWEEMoil on board, signed, titled label versoimage size 26cm x 34cm, overall size 35cm x 42cm Framed.Artist's label verso. Handwritten label verso.Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie. Condition is good overall, with no visible signs of restoration, damage, or known issues. Additional images have been uploaded to our website. 

* PAUL REID (SCOTTISH b. 1975),CROUCHING WOMANmixed media on paper, signedimage size 40cm x 33cm, overall size 62cm x 53cm Mounted, framed and under glass.Note: Paul Reid is undoubtedly one of the great figurative painters to have emerged out of Scotland in recent years. His personalized interpretations of ancient myths have attracted a growing and enthusiastic audience, with highly successful exhibitions recently held in Edinburgh and Harrogate. A major publication of his work was published by 108 Fine Art in 2006, with an introduction written by His Royal Highness The Prince of Wales and essay by Laura Gascoigne. Paul Reid studied at Duncan Of Jordanstone College Of Art, Dundee from 1994 – 1998. He was awarded a Carnegie Trust Vacation Scholarship and the John Kinross Scholarship. His work is held in numerous public and private collections including JK Rowling and HRH Prince of Wales. In 2002, The New Statesman named him as one of the "Best of New British under the age of 35". In 2004 Paul accompanied HRH The Prince of Wales on a trip to Turkey and Jordan, completing a series of paintings and drawings based on the landscape and people of the areas visited. In 2009 he again accompanied HRH on a visit to Canada. His first public art gallery exhibition was arranged by 108 Fine Art, and toured the UK in late 2007 / 2008. The exhibition charted the development of his work over the previous ten years, with the emphasis on his series of paintings, based on ‘The Minotaur’ and, ‘Circe’. In a review by Iain Gale, “Six of the best painters point the way forward”, in Scotland on Sunday: “Since he burst on to the British art scene three years ago, shaking up received notions of what contemporary art was about, Paul Reid has been gathering a loyal audience with his unique take on the apparently redundant tradition of neo-classical painting. His art is unlike anything else you will see on the contemporary scene. While some others might imitate the old masters, Reid creates his own vocabulary and towers over his rivals through his sheer draughtsmanship and feel for paint. But there is nothing reactionary about this work. Reid is not attempting single-handedly to subvert the current trend for conceptualism, some of which he admits is powerful and valid. Rather he sees himself as part of a bigger picture, using Greek myth as it was originally intended to be used, as a metaphor through which to tap into basic human truths and mysteries.” Paul Reid is represented by The Scottish Gallery (Edinburgh).

* MICHAEL G CLARK PAI RSW (BRITISH b. 1954), WHITE ROSESoil on linen, signed, titled label versoimage size 41cm x 41cm, overall size 55.5cm x 55.5cm Framed.Label verso: The Framework Gallery.Note: an exceptionally rare auction appearance for the work of Michael G Clark. The only example of Michael G Clark's work to be offered in The Scottish Contemporary Art Auctions in recent years was "Provencal Hotel" a 51 x 51cm oil on canvas which achieved a hammer price of £2200 (lot 674, 20th June 2021),

* IAN ELLIOT (SCOTTISH b. 1946),ACROSS THE FIELDS, AYRSHIREoil on canvas, signed, titled labels versoimage size 47cm x 47cm, overall size 61cm x 61cm Framed and under glass.Handwritten artist's label verso.Label verso: The Home Gallery.Note: Ian Elliot was born in Glasgow in 1946. He attended Glasgow School of Art. Ian visits, and gains much inspiration from, the island of Mallorca and from Italy and France, sharply contrasting environments from that of his native shores. He is known for incorporating the strong colours of the Mediterranean in all his landscapes. Ever a growing force, exhibiting in the RSW Exhibition, Edinburgh, the Royal Glasgow Institute (RGI), the Paisley Art Institute (PAI), the Aberdeen Artists’ Society (AAS), The Affordable Art Show, Battersea, The Glasgow Art Fair, The Scottish Show Thompson’s Gallery, Marylebone, The Scottish Show Richmond Hill Gallery, the Eton Gallery, The London Art Fair along with successful displays in regular exhibitions in a variety of Scottish galleries and charity events, with English galleries showing an ever-increasing interest. Ian, apart from one-man shows, is also involved regularly in a variety of group shows. Besides Britain, has works hanging in Eire, Germany, Spain, Belgium, Canada and The United States, amongst others. Ian Elliot’s work appeared in the prestigious International Artist magazine as one of ten finalists in their (global) landscape competition. His work has been widely reproduced as prints, calendars and as greeting cards. Ian Elliot's work appears at auction infrequently but in The Scottish Contemporary Art Auction of 16th August 2020 lot 760 (a 51 x 51cm oil on canvas by him) sold for £650 (hammer).

* DOUGLAS PHILLIPS (SCOTTISH 1926 - 2012),ON THE EDGEoil on board, signed, titled label versoimage size 36cm x 54cm, overall size 66cm x 83cm Mounted, framed and under glass.Artist's label verso.Label verso: Aberfeldy Gallery, Aberfeldy.Note: Douglas Phillips was born and brought up in Dundee. He studied at the former Dundee Art College in Bell Street before being called up to the army towards the end of the Second World War for service in India and Ceylon. On returning to Dundee he began work in the art department of DC Thomson where he illustrated for The Rover and The Victor, amongst others. After leaving D C Thomson’s went on to illustrate over 100 books but also continued to maintain a connection with the company, featuring in more than one thousand issues of The People’s Friend as the pen and brush of J Campbell Kerr. He also documented old Dundee with his lively pen and ink drawings and book collaborations with the late journalist, broadcaster and Courier columnist Ron Thompson. Latterly he followed in the footsteps of two artists he greatly admired, Joan Eardley and his good friend Lil Neilson, producing vibrant, expressive paintings of Catterline and the East Coast of Scotland which he loved so much. His work is held in public and private collections worldwide. Although his work appears at auction infrequently, in The Scottish Contemporary Art Auction of 6th March 2022 lot "At Johnshaven", (less than half the size of "On the Edge"), sold for £300 (hammer).

* JOHN LOWRIE MORRISON OBE (JOLOMO) (SCOTTISH b. 1948),RAIN PASSING, ERRAID FROM IONAoil on canvas, signed and dated 2001, titled versoimage size 41cm x 41cm, overall size 59cm x 59cm Framed and under glass.Note: Jolomo remains one of Scotland's most celebrated contemporary artists. In The Scottish Contemporary Art Auction of 13th December 2020, lot 717 "Birlinn Leaving the Uists" by Jolomo sold for £7000 (hammer) and on 20th June 2021 lot 641 "Nick'sTug at Crinan" achieved £6000 (hammer). In our August 2021 auction, "Portnahaven, Islay" sold for £6000 (hammer). These being just three of numerous recent auction prices which reflect the strong and ever-growing collector demand from both the UK and abroad for the vibrant work of John Lowrie Morrison.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),MEDITERRANEAN HARBOUR oil on board, signedimage size 58cm x 65cm, overall size 78cm x 86cm Framed and under glass.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. Recent examples of Sheila Macmillan's paintings in The Scottish Contemporary Art Auctions have included prices of £1700, £1400, £1100, £900, £850 & £800 (all hammer prices) which well illustrates the depth of collector interest in Sheila Macmillan's work.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),LAY-BY ON THE ROAD TO RONDA (10th September 2001 am)oil on board, signed and dated 2001; titled in the artist's hand verso but obscured by the backboard41cm x 43cmFramed and under glass.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. Recent examples of Sheila Macmillan's paintings in The Scottish Contemporary Art Auctions have included prices of £1700, £1400, £1100, £900, £850 & £800 (all hammer prices) which well illustrates the depth of collector interest in Sheila Macmillan's work.

* SCOTT SUTHERLAND DA RSA FRBS (SCOTTISH 1910 - 1984),MOTHER & CHILDwood carving, signed, titled and dated 1982 to base34cm high.Note: Sculptor Scott Sutherland was born at Wick, Caithness. He trained at Gray's School of Art, Edinburgh School of Art and Ecole des Beaux Arts (Paris), and briefly in Egypt, Germany, Greece and Italy. He taught sculpture at Dundee College of Art from 1947. Sutherland's most important work was The Commando Memorial at Achnacarry (about a mile from Spean Bridge). He won an open competition in 1949 to design the memorial which was unveiled by the HM The Queen Mother on 27 September 1952. Other large-scale works include The Black Watch Memorial (1966) at Powrie Brae, Dundee and The Hugh Dowding Memorial (1972) at Moffat, Annandale & Eskdale. Among his other sculptures are: statues of famous Scotsman for the Empire Exhibition in Glasgow 1936; the Coat of Arms (in sandstone) for the entrance to National Library, Edinburgh; a bronze capercaillie for the school at Kenmore; the Robert Burns statue at Arbroath; the carved slate memorial panel to the crew of Broughty Ferry Lifeboat Mona; the silver trophy of the Royal Observer Corps and the Leaping Salmon Fountain for the Norrie Miller Memorial Garden at Perth in Perthshire. Sutherland won the Guthrie award in 1940. Only once in recent years has a wood carving by Scott Sutherland appeared in The Scottish Contemporary Art Auctions and "Diana" a 34cm high signed, titled and dated (1979) example sold for £1,100 (hammer), lot 588 12th September 2021.

* ETHEL WALKER (SCOTTISH b. 1941),PATTERNS OF BLUEoil on board, signed, titled and dated 1996 label versoimage size 63cm x 58cm, overall size 82cm x 77cm Framed and under glass.Label verso: The Gatehouse Gallery, Glasgow.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. Ethel Walker's work has been exhibited widely over many years in Scotland, London and around the UK. In The Scottish Contemporary Art Auction of 5th December 2021 "The Lace Cloth" (lot 594) by Ethel Walker sold for £3000 (hammer).

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),EVENING LIGHT, GUBBIO (UMBRIA, ITALY)oil on board, signed and dated '93, titled label versoimage size 101cm x 44cm, overall size 117cm x 62cm Framed. Label verso: Roger BIllcliffe Fine Art, Glasgow.Comment: Like many great Scottish artists before him, Bill Birnie often painted the relationship between human architecture and monumental nature. "Evening Light, Gubbio" is an outstanding late example and the profile and physical dimensions of the picture emphasise the significance of the tree. Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.