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Artist: Karima Muyaes (Mexican, b.1960). Title: "Invitación". Medium: Color linocut. Date: Composed 1989. Dimensions: Overall size: 7 1/16 x 5 1/8 in. (179 x 130 mm). Image size: 3 x 2 3/8 in. (76 x 60 mm).Lot Note(s): Signed and dated in pencil, lower right; annotated "P/A" in pencil, lower left. An Artist Proof aside from the regular edition. Printed on white wove paper. Full margins. Fine impression. Very good to fine condition. Upon request, a Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2022. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [20203-0-150]

Artist: Karima Muyaes (Mexican, b.1960). Title: "My Magritte [etching & aquatint]". Medium: Etching & aquatint. Date: Composed 2018. Dimensions: Overall size: 22 x 19 1/4 in. (559 x 489 mm). Image size: 11 5/8 x 9 5/8 in. (295 x 244 mm).Lot Note(s): Signed, titled, dated, and edtioned in pencil. Edtion of 30. High-grade archival paper. Fine impression. Fine condition. Provenance: Estate of a private collector, Rome. A Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [29977-0-400]

Artist: Andy Warhol (American, 1928 - 1987). Title: "Butterflies [drawing]". Medium: Color marker drawing on paper. Date: Composed 1977. Dimensions: Overall size: 7 x 8 in. (178 x 203 mm).Lot Note(s): Hand-signed and dated, lower center. Drawn on light cream wove paper. Very good to fine condition. Provenance: The work comes from the collection of Urbano Quinto and was acquired by him directly from Andy Warhol in 1977 during a meeting of the two at the Studio 54 nightclub in New York City. The noted Italian author, art dealer, and art collector Urbano Quinto met Andy Warhol in the 1970s at Warhol’s “factory” in New York City. Quinto acquired a number of drawings from Basquiat, Haring, and Warhol as well as other Pop, Graffiti, and Contemporary artists, directly from the artists in the 1970’s – 80’s. The original Letter of Authenticity by Urbano Quinto pertaining to this work accompanies the lot. Comment(s): Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). Warhol image copyright © The Andy Warhol Foundation for the Visual Arts/Artists Rights Society (ARS), New York. [30391-1-1000]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Autoretrato con Criaturas". Medium: Oil on paper. Date: Composed 1986. Dimensions: Overall size: 18 15/16 x 16 1/4 in. (481 x 413 mm). Image size: 18 15/16 x 16 1/4 in. (481 x 413 mm).Lot Note(s): Signed and dated in pencil, lower right. Good condition. Upon request, a Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [20197-0-500]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Equinoccio". Medium: White line color etching with aquatint. Date: Composed 2007. Dimensions: Image size: 11 3/16 x 15 3/4 in. (284 x 400 mm).Lot Note(s): Signed, titled, and dated in pencil. Edition of 30. Pale cream wove paper. Full margins. Fine impression. Fine condition. Two zinc plates utilized. Printed by Emilio Payan in Mexico City. Literature/catalogue raisonne: James Orr's provisional catalogue number PR156. Provenance: Private collection, Kentfield, California. A Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [17913-0-400]

Artist: Karima Muyaes (Mexican, b.1960). Title: "El Juego". Medium: Color linoleum cut. Date: Composed 2007. Dimensions: Overall size: 27 x 18 3/4 in. (686 x 476 mm). Image size: 17 3/4 x 11 15/16 in. (451 x 303 mm).Lot Note(s): Signed, titled, dated and numbered in pencil. Print #1 of Edition of 3. Printed on white wove paper. Full margins. Fine impression. Fine condition. Upon request, a Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): Created using the "Jaledcut" technique. A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2022. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [19545-0-300]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Ostrich". Medium: Color collagraph. Date: Composed c1980s. Dimensions: Overall size: 13 15/16 x 10 7/8 in. (354 x 276 mm). Image size: 12 3/4 x 9 3/4 in. (324 x 248 mm).Lot Note(s): Signed in pencil, lower right; annotated "P/A" in pencil, lower left. Artist proof. Good condition. Upon request, a Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [20212-0-225]

Artist: Karima Muyaes (Mexican, b.1960). Title: "Parabola del Mar (a)". Medium: Color linoleum cut. Date: Composed 1989. Printed 1989. Dimensions: Overall size: 18 3/4 x 13 7/8 in. (476 x 352 mm). Image size: 11 7/8 x 7 15/16 in. (302 x 202 mm).Lot Note(s): Signed and dated in pencil, lower right; annotated "P/A" in pencil, lower left. Artist proof, aside from regular edition of 20. Wide margins. Good condition. Upon request, a Letter of Authenticity (LOA) from the Artist accompanies this lot. Comment(s): From "10 Grabados en Linoleo de Karima Muyaes, Textos de Sylvia Rittner." Printed by the artist. A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2021. Muyaes’s work has sold at Sotheby's (New York City), Swann Auction Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas), among others. In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [22053-0-300]

[Women Artists] Lee Lozano, Meret Oppenheim (1) Lee Lozano, Thesis 'All Men Are Hardly Created Equal'. New York City, The Letter Edged in Black Press, 1968. Small bound artists' book, 7.5 x 12 cm, containing an 'erotic thesis' printed on 46 pp. presented through words and images. Patterned cover held with a lavender satin ribbon. The multiple was produced for the legendary art journal S.M.S. (Shit Must Stop), No.2. in an edition of 2000. Apart from a small abrasion at the lower spine, a very good copy.(2) Meret Oppenheim. Stockholm, Moderna Museet, 1967. Softcover. 29.5 x 21 cm, 44 pp. Exhibition catalogue, text in Swedish and French. Small bump on upper right corner, fine copy. (3) Stuart Morgan, Meret Oppenheim. London, Institute of Contemporary Arts, 1989. Multiple containing a green velvet pouch with embroidered face and artists' monogram, housing an essay booklet and a set of 16 colour postcards featuring works by Oppenheim (1913-1985). Good copy. (total 3)

[Women Artists] Agnes Martin, lot of 2 (1) Agnes Martin. München, Kunstraum München,1973. Softcover, 27 x 28 cm, 85 pp. Edited by Herman Kerrn, text in German and English, edition of 1000. Contains reproductions of colour drawings in original size, and notes for Martin's lecture 'On the perfection underlying life' held Feb. 14 1973 at the Institute of Contemporary Art in Philadelphia. Corners bumped, covers toned, interior fine.(2) Agnes Martin: Paintings and Drawings 1957 - 1975. London, Arts Council of Great Britain, 1977. Tan wraps, 21 x 16.5 cm, 47 pp. Numerous colour plates, essay by Dore Ashton and the text of a lecture (in facsimile handwriting) given by Martin at Yale University, on April 5, 1976 titled 'We are in the midst of reality responding with joy'. Spine toned, some spots on front cover, interior very good. (total 2)

[Women Artists] Sanja Ivekovic, Tragedija Jedne Venere / A Tragedy of a Venus 1975 Zagreb, Galerija Suvremene Umjetnosti, 1976. Stapled softcover, 20 x 29 cm, 36 pp. Text in English and Croatian. First edition, printed in 500 copies on the occasion of Ivekovic's one-woman show in the Gallery of Contemporary Art in Zagreb. Staples show moderate rust, dog-ears lower right, else a fine copy. Momentous and scarce artists' book. Sanja Ivelovic (1949, Zagreb) was one of the first feminist artists to emerge from the former Yugoslavia’s experimental art scene of the 1970s. In 'Tragedy of a Venus' she presents a selection of tabloid photos of Marilyn Monroe juxtaposed with similarly composed snapshots of the artist herself, offering a reflection on the prescribed ideals of femininity by Hollywood/consumer images.

[s and 1970s] Art and artists, the first numbers of the glossy magazine for the contemporary visual arts published by Hansom Books, London. (1) Volume 1 Nos 1-10. April 1966 - January 1967. (2) Volume 3 No 10. January 1969. (3) Volume 4 No 1-5. February - May 1969. Edited by Mario Amaya. Includes a special on the Venice Biennial (June '66) and issue on Destructive Art (August '66) featuring articles on Gustav Metzker, Wolf Vostell, Yoko Ono, Luciano Fontana et al. The former owner cut a hole (as instructed) in Ono's piece 'cut along dotted line and look at the sky through the hole'. Magazines in used state. (total 15)

[s and 1970s] Eleven rare catalogues and artists' books from former Yugoslavia, 1974-1980 Mostly published by the Gallery of Contemporary Arts/ Galerija Suvremene Umjetnosti in Zagreb, featuring emerging artists drawn to conceptual or performance art. Includes: (1) Goran Trbuljak, 1973. (2) Signalizam: Abramovic, Aleksic, Jankovic, Matkovic, Paripovic, Popovic, Poznanovic, Russulj, Salma, Stojanovic, Stojiljkovic, Szombathy, Todorovic, Vukanovic, 197. (3) Ivan Kozaric, 1975. (4) Beautiful artists' book by Dalibor Martinis. Krivotvorine/Falsifications, 1975. Foxing on cover, otherwise clean and crisp. (5) Damnjan, Todosijevic, Urkom, 1975. (6) Konfrontacije od 30.09.1976, Mica Basicevic, Dalibor Martinis et al, Galerija Benko Horvat 1976. Mimeographed artists' book, heavily toned and creased. (7) Grupa Junij: Mestna galerija Ljubljana, 1977. (8) The New Art Practice in Yugoslavia 1966-1978, 1978. Edited by Marijan Susovski. Features Marina Abramovic et al. (9) Naše skupno delo = Our group work, 1979. Galerija studenskog kulturnog centra, Belgrade, and Studio galerije Suvremene Umjetnosti, Zagreb. Edited by Bojan Bole and Biljana Tomic. (10) Jevsovar, 1980. (11) Hans Haacke. Catalogue for his show from 18.1 - 7.2 1980 in Galerija Suvremene Umjetnosti, Zagreb. Text by Davor Maticevic. Rare, only found at the Smithsonian Libraries and Archives. (total 11)

[s and up] East Village New York (1) The East Village Scene. Philadelphia, University of Pennsylvania Press, 1984. 64 pp. Important eighties exhibition held in the Institute of Contemporary Art, Philadelphia. Includes works by Jean-Michel Basquiat, Gretchen Bender, Mike Bidlo, Fab Five Freddy, Futura 2000, Keith Haring, David Wojnarowicz, Rhonda Zwillinger et al. (2) Neo York, report on a phenomenon. Santa Barbara, University Art Museum, 1984. 56 pp. Includes the supplement Guide to East Village artists. Bend on top right corner, some creasing on cover, interior very good. (3) Eastvillage 85: A guide. A documentary. New York, Pelham Press, 1985. 118 pp. Edited by Roland Hagenberg. Includes Madonna, Kenny Scharf, Keith Haring, Jean-Michel Basquiat, Gracie Mansion, Peter Nagy, Fred Brathwaite, Walter Robinson and many others. (4) New, Used and Improved: Art for the 80's. New York, Abbeville Press, 1987. Edited by Peter Frank. First edition hardback, 160 pp. Cover image by Ronnie Cutrone. (5) Ronnie Cutrone, Watercolors Illumination. Milan/New York, Galleria Salvatore Ala/Tony Shafrazi, 1984. Large format catalogue, 33 x 33 cm, 44 pp. Contains full page reproductions of watercolours by Cutrone. His biography in the back simply states 'Born New York 1948 lives in New York and sleeps with Woody Woodpecker'. Corners bumped, else a fine copy. (total 5)

[Small Press and Concrete Poetry] Jasia Reichardt and Dom Sylvester Houedard, Between Poetry and Painting London, Institute of Contemporary Arts (ICA), 1965. First edition. Spiral bound, wrappers printed in red and black, 20.5 x 20.5 cm, 84 pp. Catalogue issued on the occasion of the 1965 exhibition examining the impact of poetry as it relates to art held at the ICA London, curated by Reichardt.Features most of the leading names of the period such as Chopin, Cobbing, Finlay, Furnival, Gomringer, Heidsieck, Kriwet, Lemaitre et al. Includes the scarce inlaid supplement with poetry chronology by Dom Sylvester Houédard, 16 pp. Cover shows light soiling, generally a very good copy.

[Small Press and Concrete Poetry] Drukwerk De Zaak Quarterly magazine published by artists' space De Zaak in Groningen, founded in 1981. Focused on 'independent investigation and development of contemporary art'.Softcover, 29.5 x 21 cm, printed b/w and colour. Edited by Jouke Kleerebezem and Hans Scholten. Text in Dutch and English. Includes No.18 (Sept/Dec 1983) to No.37 (1988), only misses No.23. Also includes the booklet 'Cum Suis' about photographic archives. Fine copies. (total 18)

[Ephemera] Galeria Suvremene Umjetnosti, Zagreb Four posters published by the Museum of Contemporary Art promoting exhibitions held in 1980. Each 60 x 40 cm, folded twice, with b/w ills. and text in Yugoslavian and English. Includes (1) Julije Knifer, Drawings 1959-1979. Knifer (1924–2004) was one of the founding members of the influential Zagreb group Gorgona. He is known for his abstract paintings and drawings. (2) Edita Schubert, Radovi 1979. Installations with wood/sticks by the experimental painter and conceptual artist. (3) Darivoj Cada, Sculptures and Objects. (4) Bozidar Jelenic, Collages, drawings, paintings.1956-1961. All posters show some toning and age wear along the extremities, rare copies. (total 4)

Parviz Tanavoli (Iranian, b.1937). 'Hands and Grille'. Cast bronze. 9.5 x 6.5cm. Parviz Tanavoli (born 1937) is an Iranian sculptor, painter, educator, and art historian. He is a pioneer within the Saqqakhaneh school, a neo-traditionalist art movement. Tanavoli has been one of the most expensive Iranian artists in sales. Tanavoli series of sculpture work Heech are displayed in prestigious museums and public places, such as the British Museum, Metropolitan Museum of Art, Hamline University, Aga Khan Museum, and as public art in the city of Vancouver. Biography from https://www.tate.org.uk/art/artists/parviz-tanavoli-15957From the Trevor Baxter collection of contemporary art. Trevor Baxter was a character actor perhaps best known for his cult role as Professor George Lightfoot in Dr. Who in 1977. He also appeared in shows and films including Z-Cars (1968), and Sky Captain and the World of Tomorrow (2004). Trevor, who was a passionate collector of contemporary art, sadly passed away in 2017. Condition Report: General wear to the artwork, with some discolouration, surface scratches, and other small marks.

Confectionery.- Abbot (Robert) The Housekeeper's valuable present: or, lady's closet companion. Being a new and complete art of preparing confects, according to modern practice, first edition, woodcut floral tail-pieces, mostly marginal browning to a few ff. (including title), some spotting or light staining, contemporary calf, sympathetically rebacked in modern calf, gilt, corners restored, covers rubbed and marked, [Cagle 528; Maclean p.1; Oxford p.126; Simon BG 1], 8vo, Printed for the author; and sold by C. Cooke, no. 17, Pater-Noster Row; and all other booksellers in town and country, [c.1790].⁂ Rare at auction. We can trace only two copies since 1969. Institutional holdings are also scarce. The title tells us that Abbot had been an apprentice at the leading confectioners Negri & Gunter of Berkeley Square. Provenance: 'Sarah Olive, Book 1794' (ink inscription to front free endpaper).

Rose (Giles) A perfect school of instructions for the officers of the mouth: shewing the whole art of a master of the houshold [sic], a master carver, a master butler, a master confectioner, a master cook, a master pastryman..., first edition in English, woodcut illustrations, lacking title, C1 and C6&7, E5 tear to head, with loss of part of headline, E7 small piece torn from lower corner, with loss of a word, F9 torn with loss of text and repaired, repairs, foxing, some staining, lightly browned, new endpapers, contemporary calf, rebacked, preserving an earlier black leather label, covers scuffed, [Bitting p. 407; Cagle 970; Oxford p.42; Wing R1933], 12mo, Printed for R. Bentley and M. Magnes in Russel-street in Covent-Garden, 1682. sold not subject to return. ⁂ A rare copy at auction of the first English translation of l'Escole Parfaite des Officiers de Bouches, 1662. Bitting notes that the 'translation is much scarcer than the original'. Includes frog and tortoise tarts and directions for folding napkins.

Taylor (E.) The Lady's, housewife's, and cookmaid's assistant: or, the art of cookery explained and adapted to the meanest capacity, first edition, list of subscribers, 4pp. typographic bills of fare and marketing tables at end, lacking first f. of subscriber's list (A2), printed date erased from foot of title, B3 short tear / printing flaw at outer margin, with loss of a few letters, but no loss of sense of text, some spotting or staining, lightly browned, contemporary sheep, gilt spine in compartments and with later (to style) red leather label (chipped), head of spine and 1 upper corner worn, rubbed and scuffed, [Bitting p.457; Maclean p.140; Oxford p.100], 12mo, Berwick upon Tweed, Printed by H. Taylor, for R. Taylor, bookseller, 1769.⁂ Rare. We can trace only one copy at auction (Hroar Dege Collection, Sotheby's, 2005, part of lot 272, and again Sotheby's Books for Cooks, 2010, lot 64).

Briggs (Richard) The English art of cookery, according to the present practice; being a complete guide to all housekeepers, on a plan entirely new, first Dublin edition, 24pp. of typographic bills of fare, some water-staining (mostly at end), foxing and staining, lightly browned, contemporary calf, red morocco label to spine (gilt text faded), spine creased and with small chip at head, upper joint splitting, but holding, upper corners worn, rubbed and scuffed, [Maclean pp.15-16; cf. Bitting p.60 & Oxford pp.115-116], scarce, large 12mo, Dublin, Printed for P. Byrne, 1791.⁂ Provenance: 'Miss Lydia Rigby, Leasowe Castle, Nov. 21st, 1820'.

NO RESERVE Angling.- Accomplish'd ladies delight (The) in preserving, physick, beautifying, and cookery, 3 parts in 1, third edition, engraved portrait frontispiece and a plate illustration carving, 1 woodcut plate of fishes, 2 woodcut plates of pies and tarts, lacking additional engraved title, A6&7, E10 & 12, F1 and G1&12, portrait torn and laid down, with some loss at foot and to margins (not affecting main portrait), carving plate torn and creased with loss of a couple of letters, stained (on L3&4 obscuring some text), a few short tears, occasional spotting, lightly browned, loose in contemporary limp sheep, worn, housed in a modern cloth drop-back box, [Bitting p.513 (note); Oxford pp.37-38 (note); Wing W3270], 12mo, Printed for Benjamin Harris, at the Stationers Arms and Anchor, in the Piazza at the Royal Exchange, in Cornhil, 1683. sold not subject to return. ⁂ The second part is 'New and excellent experiments and secrets in the art of angling: being directions for the whole art', and the third 'The compleat cook's guide. Or directions for the dressing of all sorts of flesh, fowl, and fish, both in the English and French mode'. 'An unauthorized work based on [Hannah Wooley's] books and adorned by a spurious portrait and unreliable biographical information' (ODNB).

Briggs (Richard) The New art of cookery; according to the present practice; being a complete guide to all housekeepers, on a plan entirely new, 'Second American edition, improved', 24 pp. of typographic bills of fare, first two quires and final f. detached (some ff. connected to detached covers), title with chipping to upper and inner margins, affecting part of 1 letter, 2A6 tear to lower corner within text, but without loss, 2F6 small piece torn away from outer margin, not affecting text, foxing and staining, mostly lightly browned throughout, contemporary calf, spine gilt and with red morocco label, covers detached, spine ends little worn, some staining, marked and rubbed, [Bitting p.60 (note); Evans 33458; Lowenstein 25; Maclean pp.15-16; cf. Oxford pp.115-116], large 12mo, Boston, Printed [?by Samuel Ethridge (suggested by Evans)], for W. Spotswood, 1798.⁂ Rare at auction. The first (1792) and second American editions (1798) were first published in Philadelphia.

Cook (Ann) Professed cookery: containing boiling, roasting, pastry, preserving, potting, pickling, made-wines, gellies, and part of confectionaries, second edition, title with woodcut printer's device, woodcut head- and tail-pieces, lacking half-title, title little chipped at foot (with loss of 1 letter of imprint) and lower third laid down, some damp-staining at foot (mostly at start), spotting and staining, lightly browned, contemporary calf, worn, but holding reasonably firm, [Bitting p.98; Maclean p.35; cf. Cagle 629 (first edition and note); Oxford pp.91-92 and Simon BG 383], 8vo, [Newcastle upon Tyne], Printed for the author, and sold at her house in the Groat-market, 1755.⁂ Scarce. The opening 68pp. are a vitriolic attack on the author's arch rival Hannah Glasse and her The Art of Cookery. Provenance: Alastair Robb-Smith (1908-2000), Oxford pathologist and bibliophile, who once delivered a lecture on Hannah Glasse to fellow bibliophiles at Balliol College (bookplate); The Simon Hall Collection of Cookery Books, sold Dominic Winter, 27th January, 2005, lot 43.

Cook (Ann) Professed cookery: containing boiling, roasting, pastry, preserving, pickling, potting, made-wines, gellies, and part of confectionaries. With an essay upon the lady's art of cookery: together with a plan of house-keeping, third edition, pen trials to front pastedown, a few ff. (including title) with ink scribbles in text, but with text legible, occasional spotting or light staining, lightly browned, lacking front free endpaper, contemporary sheep, spine ends and corners worn, rubbed and scuffed, [Bitting p.98 (note); Cagle 629 (note); Maclean p.35; Oxford p.91; Simon BG 383], 8vo, Printed for and sold by the author, at her lodgings, in Mr. Moor's, cabinet-maker, Fuller's Rents, Holborn, [c.1760].⁂ Rare edition in commerce. Maclean lists a preceding Newcastle third edition of 1760. We find an auction record that describes a half-title, however ESTC does not call for this.

[Glasse (Hannah)], "A Lady". The Art of Cookery Made Plain and Easy, first edition, title with woodcut ornament, list of subscribers, piece torn away from upper inner margin of title (loosely inserted), first 3 ff. of contents with marginal loss to the same area, first quire detached, G1 small piece from outer margin, with loss of part of 1 letter, water-stained, occasional spotting / damp-spotting, lightly browned, contemporary calf, gilt, upper cover detached, lower joint split, but holding, 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 of any collection of English cookery books; here with an excellent Alderney provenance. 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'. Provenance: John Le Mesurier (1781-1843), soldier and last hereditary Governor of Alderney (engraved armorial bookplate and ink signature to title); 'Augusta Diana Lane, the gift of her mother Eliz. Lane, born Le Mesurier, Sept. 27th, 1827' (ink inscription to head of A2).

Glasse (Hannah) The Compleat confectioner: or, the whole art of confectionary made plain and easy, first edition, first issue (with Mrs. Ashburner's in imprint), facsimiles of author's signature to end of dedication and at head of first f. of text, worming to lower margins, some water-staining at foot (mostly at start), occasional spotting or light staining, lightly browned, contemporary calf, gilt spine in compartments, spine ends and corners worn, lower joint starting, but holding firm, some staining and marking, [Bitting p.190 (note); Cagle 707; Maclean pp.61-62; Oxford p.90; Simon BG 774], 8vo, Printed: And Sold at Mrs. Ashburner's China Shop, the Corner of Fleet Ditch...By I. Pottinger, at the Royal Bible, in Pater-Noster Row; and by J. Williams, opposite St. Dunstan's Church, Fleet-Street, [c.1760].⁂ Rare at auction, with the last copy we can trace being the Cetus copy at Bloomsbury Auctions, 22nd September, 2011 (lot 148).

NO RESERVE Glasse (Hannah) The Compleat confectioner: or, The whole art of confectionary made plain and easy. Shewing, the various methods of preserving and candying, both dry and liquid, all kinds of fruit, flowers, and herbs, facsimile signatures to end of dedication and head of B1, as usual, woodcut head-pieces and decorative initials, 12pp. publisher's catalogue bound in at end in 12mo format (not called for by ESTC), occasional spotting, lightly browned, text block split in 2, contemporary sheep, spine in compartments, covers detached, spine worn, split, rubbed and scuffed, [Bitting p.190; Maclean pp.61-61; Oxford pp.90-91], Printed for J. Cooke, at Shakespear's Head, in Pater-Noster Row, 1772; and another, Glasse, 8vo (2)

Preservation.- Appert (Nicolas) The Art of Preserving all kinds of Animal and Vegetable Substances for Several Years, second edition in English, engraved folding frontispiece, advertisement f. at end, lacking half-title, frontispiece offsetting on to title, some foxing, lightly browned, contemporary speckled calf, sympathetically rebacked, spine gilt and preserving original red leather label, [Bitting p.14; Vicaire 35 (erroneously calling it the first edition in English); cf. Cagle 545, Simon BG 135 & Oxford p.141], Printed for Black, Parry, and Kingsbury, 1812 § Robinson (James) The Whole Art Of Curing, Pickling, and Smoking Meat and Fish...With Useful Miscellaneous Receipts And Full Directions For The Construction Of An Economical Drying-Chimney and Apparatus, first edition, 32pp. publisher's catalogue at end, occasional spotting or finger-marking, lightly browned, hinges little weak, original blind-stamped cloth, spine titled in gilt, spine ends and corners little frayed, rubbed, cocked, [Bitting p.401; Cagle 967; Oxford p.177-178; Simon BG 1298], Longman, Brown, Green and Longmans, 1847; and another, similar, 8vo (3)

Jenks (James) The Complete Cook: teaching the Art of Cookery in all its branches; And to Spread a Table, In a Useful, Substantial and Splendid Manner, At all Seasons in the Year...With an appendix teaching the art of making wine, Mead; Cyder, Shrub, Strong, Cordial and Medical Waters; Brewing Malt Liquot; The Management and Breeding of Poultry and Bees, first edition, tables, a few contemporary juvenile pen trials, H8 and N12 margin at lower corner excised, just touching text, but without loss, the odd short tear, foxing and staining, lightly browned, contemporary calf, spine in compartments, chipped at ends and repaired, 1 lower corner repaired, some creasing, rubbed and scuffed, [Bitting p.245; Cagle 780; Maclean p.75; Oxford pp.97-98], large 12mo, Printed for E. and C. Dilly, in the Poultry, 1768.⁂ Scarce. Suggests snail water as a cure for consumption.

Markham (Gervase) Hungers prevention: or, The whole art of fovvling by water and land...Also, exceeding necessary and profitable for all such as travell by sea, and come into uninhabited places: especially, all those that have anything to doe with new plantations, second edition, woodcut frontispiece and illustrations in text, a few full-page, final f. blank, lacking title, water-stained, some spotting and staining, lightly browned, contemporary calf, worn, but holding firm, [Chute 423; Poynter 25.2; Schwerdt II, p.12: 'not often met with'; Wing M657], small 8vo, Printed for Francis Grove, and are to be sold by Martha Harrison at the signe of the Lambe at the east end of St. Paules Church, 1655.⁂ Dedicated to the 'Noble favourers of the blessed Plantation of Virginia'. Includes falconry.

Paul Nash (1889-1946), limited edition wood engraving on paper, Design 1, 1929, 10.1cm x 3.8cm, with blindstamp of the Paul Nash Trust. Published byGarton and Cooke, May 1985. This is number 12/45. Printed on Japanese Hosho paper by Ian Mortimer from the original woodblocks in the possession of the Victoria and Albert Museum. Mounted. Provenance: Betty Evans Collection, former President of the Contemporary Art Society for Wales

Alfred Wallis (British, 1855-1942)Fishing Boat with Black Sky signed 'A. WALLIS' (upper right)oil and pencil on card18.4 x 46.7 cm. (7 1/4 x 18 3/8 in.)Footnotes:ProvenanceSven Berlin, from whom acquired by Elizabeth Leach (Bernard Leach's daughter-in-law), thence by family descent to the present ownerPrivate Collection, U.K.The present, and preceding two lots, were formerly in the collection of Sven Berlin before passing directly into the family of Bernard Leach. Both men were front and centre within the St Ives circle of creatives and their influence on contemporary and later artists, ceramicists and collectors cannot be overstated. Berlin was a dancer, painter and author, who published the first biography on Wallis, 'Primitive', in 1949. Leach, together with Shoji Hamada, founded the Leach Pottery in 1920 which remains, to this day, one of the most respected potteries in the world and is widely considered as the birthplace of British Studio pottery.At the end of the 1920s, a sudden interest in the work of Alfred Wallis coincided with a revival of arts and craft traditions and Wallis' paintings and Leach's pots shared an authenticity and immediacy that the young Herbert Read famously hailed as a vital 'truth to materials'. The importance of place and a focus on local traditions were common to both men, an aesthetic that was reassuringly familiar yet freshly expressed. The Leach pottery provided employment for significant names of the period, including Patrick Heron, and became a centre for social and professional exchange among the St Ives set but it was Sven Berlin, in particular, who formed a strong bond with the family.An opportunity arose for Berlin to work evenings at the Pottery to earn some extra money and before meeting the master, he met his son David who was living in Carbis Bay with his wife Elizabeth. They became close and would walk home together - 'in a very short time, the Leach Pottery became like a second home for Berlin' (David Wilkinson, The Alfred Wallis Factor. Conflict in Post-War St Ives Art, The Lutterworth Press, Cambridge, 2017, p.17) and he 'frequently spent the evenings in conference with Bernard and David Leach, sitting round the fireplace alongside their apprentices' (Op.Cit., p.46). Indeed, Berlin temporarily entrusted his beloved collection of Wallis paintings to Bernard's safekeeping when he went off to war and on Wallis' death in 1942, it was Bernard who made the tomb decoration for his grave - a series of glazed tiles depicting a tiny, lone figure entering a lighthouse. Elizabeth Leach, David's wife, acquired the present work (together with Lots 1 and 2) directly from Berlin for £1 each and they have remained in the Leach family until now.Wallis's time at sea was spent in sailing vessels, but during his lifetime he witnessed the last days of commercial sailing ships as they were replaced by steamships. Many of the paintings acquired from Wallis were given titles by the purchasers rather than by Wallis himself and the subject was often mistakenly identified. This may be the case in Fishing Boat with Black Sky as the vessel depicted is very similar to the steamships that appear in other paintings by him. Wallis perfectly captures the power and movement of the single steamship using directional brushwork and rich impasto to depict the icy blue sea she cuts through at pace. Steam from the rear funnel trails behind in her wake and white surf is churned up at the bow with the speed of her passage. A small lifeboat and seven crew members can be seen on deck, all bravely facing into the wind and set against a moody horizon.For further information on this lot please visit Bonhams.com

Sir William Nicholson (British, 1872-1949)Still Life: Emile's Things signed and dated 'Nicholson/1912' (on the lower left of the mirror)oil on canvas92.2 x 71.4 cm. (36 1/4 x 28 1/8 in.)Footnotes:ProvenanceProbably acquired in the 1920s, or earlier, by the present owner's great auntPrivate Collection, U.K.The title of this unrecorded work by William Nicholson is the one used by the family in whose possession it has been since the 1920s, or earlier. 'Emile' was a dressmakers at 9 Hanover Square in Mayfair London, circa 1927-32, whose clientele was mainly debutantes and their mothers; the business was run by the vendor's great aunt. When and where she acquired the painting is not recorded – perhaps direct from the artist as so far it has not been possible to find any exhibition or other references to this work, whose original title has yet to be discovered.The handling of paint is typical of Nicholson at this period who so evidently enjoys the challenge of depicting surface textures and reflective surfaces. There is a dramatic use of light and shade, together with an equally exciting palette of orange, red and turquoise. The work is particularly interesting as part of Nicholson's search to find a rational for his increasingly large still-life's, and several motifs link it to other works of the period, such as the inclusion of a reflected figure in a still-life as in the untraced Still Life, in the Studio of 1911 (Reed cat.237).The composition with a collection of garments and accessories in front of an oval mirror reflecting a female figure recalls the earlier Souvenir de Marie (Dublin City Art Gallery, The Hugh Lane) of 1906. This was presented by the artist to Sir Hugh Lane with a dedication in 1912, the year in which the present work was executed. It is possible that Lane may have encouraged Nicholson to revisit the subject, here treated on a larger scale and in portrait rather than landscape format, but featuring the same black framed oval mirror. There are fewer items here, whose varied textures are skilfully depicted: a black felt hat with feather and a plaited leather band rests on the pale cream fur lining of a coat with an arm hole opening just discernible. Adjoining is the embroidered white lining of the turquoise silk garment to the right – perhaps an opera coat. A pair of ladies red leather walking shoes, made for a slender foot with an elegant French heel, are standing on the turquoise silk. A disconcerting position, while even more startling is the juxtaposition of the orange organza scarf behind. This is the development of a device that Nicholson had used the previous year in The Black Vase (Bradford Art Gallery) where yellow silk provides a single note of colour. The dried seed heads known as honesty, here in a slender glass vase with another spray resting against the mirror, also appeared in the three other works dating from 1911: The Black Vase and The Chinese Vase both in Bradford Art Gallery, and Honesty in a Staffordshire Jug.Nicholson's prominently displayed signature on a piece of paper tucked into the frame of the mirror can likewise be related to Souvenir de Marie - in the latter there is a label in a more conventional location, foreground right. The reflection of the label in the mirror suggests that this is a black mirror rather than the usual silver-backed one. Black mirrors appear in several still-life's of the period, for example China Figures and Black Mirror (Private Collection) of 1909.Although it was primarily colour and texture that dictated their selection, it is possible that whereas the garments in the Dublin painting are all historic or theatrical costumes, those depicted here are contemporary ones. The woman reflected in the black mirror is wearing contemporary evening dress, but in contrast to the opulence of foreground fabrics her gown is sketched out in white. The artist's interest is obviously more in the garments rather than in the woman, which must be evidence that this is not a portrait. There is also the somewhat imperious look on her face, half lost in shadow. (She has after all usurped the viewer's position in the mirror.) In this same year Nicholson painted the untraced Equestrian Portrait: The Lady in Green (Reed cat.254): a reviewer, Sir Claude Phillips, commented that the sitter regarded the onlooker 'with something that nearly approaches a sneer'. This is most unlike Nicholson and might suggest that he was having difficulties with female sitters at this time. The artist's gift of the Souvenir de Marie to Lane was in part thanks for securing him a major commission in 1912, the portrait of Lady Phillips (Johannesburg Art Gallery). Any other link to this commission would be purely speculative, and the woman in the mirror bears no physical resemblance to Lady Phillips. No doubt several portrait commissions before World War I were abandoned – the details of which are now lost – as female sitters proved difficult and unreliable, unlike the beautiful objects in the still life.The canvas bears the Chenil Gallery stamp found on several of Nicholson's canvases dating from the period 1909-1921. The gallery, which was near the artist's studio in the King's Road, Chelsea, sold artist's materials.We are grateful to Patricia Reed for compiling this catalogue entry.For further information on this lot please visit Bonhams.com

ART HISTORY - GIMPEL FAMILYTwo photograph albums recording the lives, homes and art collection of the Gimpel family of art dealers, containing approximately 150 gelatin silver prints in total (approximately 88 being 80 x 80mm., the others various sizes up to 170 x 230mm.), those in the later album mostly captioned on mounts in white ink, contemporary cloth, rubbed, the later album contents loose, 4to, c.1898 and 1930s (2)Footnotes:René Gimpel (1881-1945) was an influential Parisian art dealer with galleries in Paris and New York City. His father, Ernest (1858-1907), operated E. Gimpel & Wildenstein in New York from 1902-1919.The earlier of these two albums records Gimpel family holidays in 1897 and 1898 in Trouville-sur-Mer, Calvados, where Ernest's gallery had an annex. Various members of the Gimpel family appear at the beach and on the promenade, as do some early motorcars, a bicycle race, a fire engine, and horse races.The later album has the visiting card of Odette Bourdillon pasted in, annotated 'En souvenir de la Rue Spontini 19, Paris' - the hôtel particulier which was home to René and his family. In photographs of the house's interior can be seen: Greuze's portrait of La Marquise Madeleine Barberie de Courteilles (Herzog Anton Ulrich-Museum, Brunswick); an eighteenth-century Coromandel folding screen, looted from Paris by the ERR and restituted on 11 May 1948; landscapes by André Derain from the D.-H. Kahnweiler collection; in the Louis XVI drawing room Monet's Artist's Garden at Vétheuil (NGA, Washington), along with in other rooms his La Barque Rose (private collection), Les Peupliers (Fitzwilliam), and some waterlilies; Angel Zarraga's portrait of Ernest Gimpel; a group of saints by Puvis de Chavannes; a female portrait by Jean Marc Nattier; a pair of Boucher Cupids; a ruin by Hubert Robert; and an arch-topped Corot, amongst others. Family photos show René's wife Florence (née Duveen) show-jumping in the Grand Palais and in Le Touquet in the mid-to-late 1920s, Florence and her sister Eveline (Eva) in the garden of Rue Spontini, Florence's bedroom, another home in rue de Grenelle, yet another in rue de l'Université (dated June 1934), and hunting excursions.Some of Gimpel's business records are held by the Archives of American Art, Smithsonian Institution, whilst family papers are in the archives of Gimpel Fils, the London gallery founded in 1946 by René's sons.For further information on this lot please visit Bonhams.com

DU PRAISSAC (-)The Art of Warre, or Militarie Discourses... Englished by J.[ohn] C.[ruso], 2 parts in 1 vol., first English edition, one engraved plate, one woodcut diagram (inserted after L1), woodcut illustrations (some full-page) in the text, light damp-staining to lower margin of opening 2 leaves and fore-margin of final few leaves, small loss to lower inner corner of A3-5 just touching image on one page, contemporary calf gilt, rebacked and refurbished [Cockle 146; ESTC S122251], 8vo, Cambridge, Roger Daniel, Printer to the Famous Universitie, 1639Footnotes:'Cruso's military works were significant... in that they were the first to make the new continental, primarily Dutch, military literature available to an English-speaking audience' (ODNB). This is one of three issues printed by Daniel in Cambridge in 1639, each with varying imprints. This copy collates: [6], 202, [4], 8pp., A-N⁸, O⁶, lacking 2 leaves [par]1-2 ('Upon the accurate translation... [&c.]').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

L'ABBAT (-)The Art of Fencing, Or, the Use of the Small Sword, translated from the French by Andrew Mahon, 12 engraved plates, light spotting, contemporary calf gilt, rebacked to match [Thimm, p.1][ESTCT123392], 8vo, Richard Wellington, 1735Footnotes:Eighteenth century treatise by a French fencing master of the Academy of Toulouse. A reissue of the 1734 Dublin edition, with a cancel title which was printed by William Bowyer, whose 'records show 250 copies printed' (ESTC).Provenance: Sir Edward Wilmot 1st Baronet (1693-1786, royal physician), armorial bookplate.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

WALLHAUSEN (JOHANN JACOB VON)Art militaire a cheval. Instruction des principes et fondements de la cavallerie, & de ses quatre especes, ascavoir lances, corrasses, arquebus & drageons... avec quelques nouvelles inventions de batailles ordonnees de cavallerie, 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 [Cockle, p. 735; cf.Lipperheide 2069], folio (300 x 190mm.), Frankfurt, Paul Jacques for Johann Theodor de Bry, 1616This 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

Full title: Jocelyne Coster (1955): 'Astrolabium', mixed media installation, 1999Description:H 585 cmÊ Jocelyne Coster took serigraphy courses at the Academy of Fine Arts in Boitsfort (workshop of Jean-Pierre Point) and graduated in serigraphy from ENSAV la Cambre (workshop of Marc Mendelson) in 1977. She has been a professor at the School of Arts in Ixelles since 1989, after having taught at the Academy of Fine Arts in Namur and then the Academy of Fine Arts in Charleroi. Distinguished by numerous prizes and projects in the public space, she has exhibited regularly since 1976 and her works appear in the contemporary art collections of Belgacom, the Ministry of the French Community, the Museum of Ixelles and the Museum of Fine Arts of Charleroi.About this sale: Paul De Grande is one of the major dealers of antique furniture, fine sculptures and decorative arts in Europe. In 1974, he moved to the Castle of Snellegem near Bruges. From there, he catered to the rich and famous, important decorators and museums around the world. Entering a new chapter, Paul has decided it is time to part with his private collection and part of his trade stock. This sale presents a unique opportunity to clinch a piece of this wonderful personality's history. Paul's main focus has always been on Renaissance sculpture, French and Italian furniture and pieces of museal quality. He has had sales with Christies and Sotheby's in the past. He's also an important personality on various Belgian tv shows.

ADRIAN SANKEY; a large and impressive Art Glass bowl with wavy rim and linear overlaid decoration, bears signature to the underside, height 14cm, diameter 35cm, with a contemporary Art Glass charger with opaque linear decoration, by Heikki Orvola for Nuutajarvi, diameter 38.5cm. Additional InformationLight scratches to the underside, there are two burst air bubbles to the rim of the Sankey bowl, otherwise good. 

ORREFORS; a contemporary clear art glass bowl, diameter 24cm, together with three cut glass bowls and a pedestal glass bowl.

JOAN MIRÓ I FERRÁ (Barcelona, 1893 - Palma de Mallorca, 1983)."Oiseau devant le soleil, 1961.Lithograph glued on cardboard, H.C. copy.Signed and justified by hand.Ed. Maeght, Paris.Size: 84 x 37 cm; 103 x 56,5 cm (frame).In Miró's iconography, birds seal the union between the sky and the earth, just as the sun and the moon form two complementary realities (light and darkness, day and night, masculine and feminine).Joan Miró trained in Barcelona, between the Escola de la Lonja and the Galí Academy. As early as 1918 he held his first exhibition at the Galerías Dalmau in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective to him which was to be his definitive international consecration. During the 1950s he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Museo Reina Sofía in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

SLASKY (Artena, Rome, 1972)."San Michele", 2020.Digital art on canvas.Signed.Limited edition 1/1.Unframed.Certificate of authenticity enclosed.The artwork will be sent in a tube.This work will be available approximately 15 days after the payment has been made.Measurements: 150 x 100 cm.Fascinated by the baroque painting of Caravaggio, the digital artist Slasky creates classic works of art using digital art techniques. With his classic neo-urban style, he unites tradition and modernism, bringing the protagonists of the original artworks into modern-day social and artistic environments. By inserting the characters from the original works into contemporary spaces, he has created new images that send completely different messages to the original concept and idea with which they were created by their authentic creators, strikingly capturing the viewer's attention and, at the same time, requiring a level of collaboration from the viewer in order to be understood.The works have an immediate sense of familiarity, but presented with an injection, sometimes explosion, of colour and life that absorbs them with richness and modernity. Details take centre stage in his works, using contrasting colour techniques, textured backgrounds and screen printing to create the same subject matter in a variety of ways, separating it from its traditional backgrounds.

MENCHU LAMAS (Vigo, Galicia, 1954)."Submarinista", 1985.Oil on canvas.Presents the seal of the Buades Gallery (Madrid) and the Jorge Kreisler Gallery (Madrid). Slight damage to the frame.Signed, dated and titled on the back.Measurements: 195 x 97 cm; 217 x 117 cm (frame).During the 80's Menchu Lamas created a whole series of characters in her series called metamorphosis, where she revised a concept through a lirite and naïf aesthetics. In this particular case, the author synthesises the figure of the diver, which seems to hybridise with that of a marine animal. In addition, the piece shows some of the pictorial characteristics that defined the artist's work during this period, such as a great interest in matter and texture, the use of dripping and expressive and vibrant tones together with whites and blacks.She studied Graphic Design at the Institución Artística de Enseñanza (IADE) in Madrid. He began his career in the Colectivo da Imaxe, with Carlos Berride, Antón Patiño and Jorge Agra, debuting with a group exhibition in the Plaza de la Princesa in Vigo in 1974. She came into contact with the poetry group Rompente, with whom she collaborated on two books of poems. She founded the Atlántica collective in 1980, with Antón Patiño, Ánxel Huete, Guillerme Monroy and Román Pereiro. In 1982 she held her first individual exhibition at the Buades Gallery in Madrid. In the 80's he participated in some of the most important group exhibitions of contemporary Spanish art such as 26 Pintores/ 13 Críticos, II Salón de los 16, "Bienal Nacional de artes Plásticas", "Cinco nombres de mujer". She has had many solo exhibitions in Spain, Germany, Italy and Morocco and has participated in various group exhibitions in different countries.His work has evolved from a primitive iconography of autochthonous roots and strong chromatism to a synthesis that endows the pictorial surface with a constructive order to which shapes or silhouettes are adjusted in the manner of signs, related to exotic and primitive cultures.

ISMAEL GONZÁLEZ DE LA SERNA (Guadix, Granada, 1898 - Paris, 1968).Untitled, 1937.Mixed media on panel.With stamps from private collections: E. James and Daniel-Henry Kahnweiler.Presents label of the Clovis Gallery, Paris.Measurements: 39 x 46,5 cm; 57 x 64 cm (frame).In the year this piece was made, 1937, Ismael González took part in the Spanish Pavilion at the International Exhibition in Paris, thus proving his worth as a painter and establishing his career in the eyes of the critics and the public. However, although this was a good professional period, the ravages of the war had left a strong impression on the artist that is reflected in his painting. This work is an example of this, as we can see how he gradually eliminated his Cubist influence and introduced a much more expressive and tragic chromatic range. In this still life, the main motif, the fruit bowl, still retains this cubist heritage both in form and in the artist's treatment of shadow. However, the space with the background open to the outside, the score and the presence of the letters show us a compositional conception with a classical heritage. Ismael González de la Serna began his art studies in Granada and completed them in Madrid, at the San Fernando School of Fine Arts. In his early years he developed an eclectic pictorial style, drawing on Impressionist, Symbolist and Modernist sources. One of the first examples of his youthful language can be found in the illustrations he made for his childhood friend Federico García Lorca, in what was to be his first book, "Impresiones y paisajes" (1918). That same year, Ismael de la Serna held his first exhibition in Granada, and shortly afterwards he presented his works at the Ateneo in Madrid. In 1921 he moved to Paris in order to broaden his artistic horizons, joining the circles of the School of Paris. Among his Parisian friends was Pablo Picasso, who influenced his work but was, above all, the Granada painter's protector. During this period De la Serna's style was permeable to the influences of the avant-garde, particularly Cubism and Expressionism, which he worked in a highly personal manner. Likewise, the initial influence of Impressionism was always evident in his work. The year 1927 marked the beginning of a period of strong influence on his work, which began with the painter's solo exhibition at the influential Paris gallery of Paul Guillaume. This exhibition was followed by many others, both in Paris and in Berlin, Brussels, Copenhagen, Granada and Mexico. In 1928 he was commissioned by the director of "Cahiers d'Art", Christian Zervos, to illustrate a special edition of twenty sonnets by Góngora. The key to his recognition lies in his sensual interpretation of the forms of Cubism, based on the relevance of a drawing with a sinuous and highly decorative line, combined with strong chromatic contrasts. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly depicted still lifes, in which he emphasised the sensory aspect of his painting with metaphorical sensory references such as music, fruit or open windows. He also worked on landscapes and portraits. After inaugurating the activities of the Asociación de Artistas Ibéricos in Madrid with a solo exhibition in 1932, the painter embarked on new avenues of artistic experimentation which, after the Second World War, led to a more schematic and simplified style of painting, close to contemporary abstract solutions. Ismael de la Serna is represented in the Patio Herreriano Museum in Valladolid, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Granada and Seville, the ARTIUM in Vitoria, the Popular Museum of Contemporary Art in Vilafamés and the Museum of Modern Art in Paris, among many others.

JAUME PLENSA (Barcelona, 1955)."Suite Voleurs", 1993.Set of seven aquatints, photoengravings, lead letters and collages, copies 9/35.Signed and justified by hand.Size: 62 x 47 cm; 73 x 57 cm (frame).The series "Voleurs" pays homage to the days of the week. The syllables "Mon", "Tue", "Wed", "Thu", "Fri", "Sat" and "Sun", corresponding to the beginning of the English terms designated for the days of the week, can be read backwards in this particular homage to the cycle of time.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 has recently been awarded an honorary doctorate degree 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 mold iron with the casting technique, and developed a sculptural concept based on zoomorphic elements. His work evolved gradually, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work, both materially and formally, and began to use different materials such as scrap metal, polyester and resins. During these years he elaborated series of walls, doors and architectural constructions, seeking to give space an absolute protagonism. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting with "La Fura dels Baus" four classical operas by Falla, Debussy, Berlioz and Mozart, and alone a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had 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 inaugurated in London, at the BBC headquarters, his work "Breathing", a monument dedicated to journalists killed in the exercise of their profession. 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 or the National Prize for Plastic Arts in 1997, from 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 or the Museo Reina Sofía in Madrid.

ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005)."La folle au chapeau. Paris, 1948.Oil on canvas.Signed in the lower right corner.Titled on the back.Attached is a photograph of the artist's Parisian studio, in which this painting appears together with Pedro Flores (Paris, January 1948).Measurements: 61 x 50 cm; 75 x 64 cm (frame).Clavé's work developed along two lines, one of which was more conceptual and experimental, while the other remained within the limits of figuration, although it was a completely avant-garde figuration. This portrait belongs to the second line, endowed with an inner strength that subjugates us: through the voluntary roughness of the brushstroke and the boldness of the colours, Clavé conveys the fragile and vulnerable psychology of "the madwoman". Large eyes that seem to have wept, the curled hand on her lip, the grotesque headdress... all contribute to silently moving the viewer.Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop an oeuvre marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He already enjoyed great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In the 1960s he paid homage to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. The theme of the knight with his hand on his chest takes on special relevance, a reference that will be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage and inventing new ones such as papier froissé. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to Clavé that made him one of the most prestigious artists of his generation. His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennale in 1954 and at the Tokyo International Biennale in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.

ANTONIO AZZATO (Venezuela, 1973)."Menina; Liberty Neon (mini)". Blend multicolour series".Mixed media on plaster.Enclosed certificate issued by the author.Includes box made by the artist.Signed.Measurements: 40 x 28 x 18 cm.Round sculpture in which the silhouette of Las Meninas by Velázquez is presented in a conceptual way. A figure that has influenced Antonio Azzato's artistic conception, which he has been studying for more than a decade. With this design, which consists of an abstraction of the iconic image created by Velázquez, Azzato has managed to bring a personal vision and a new artistic life, turning Las Meninas into transcendental works, which are now established as a symbol of Madrid's heritage. In this case Azzato proposes a double homage, as he not only rescues the silhouette of Velázquez's Menina, but also prints different iconic elements linked to the city of New York on her skirt. Pieza follows the line of works that were exhibited for the Meninas Madrid Gallery project, which began in April 2018 as part of the Madrid Capital de Moda project, organised by the Madrid City Council in collaboration with the Asociación Empresarial del Comercio Textil y Complementos (ACOTEX), which is part of Madrid Capital de Moda.Antonio Azzato began his academic training in the field of industrial engineering. He continued his studies with a master's degree in commercial management and marketing at the Instituto de Empresa in Madrid. Years later he moved to New York where he was introduced to the study of interior design, studying at the Parson School. His interest in art has been constant since his childhood, which is why his works reflect a great knowledge of the history of art. Always from a new and contemporary perspective, influenced by urban art. His works are a reflection of this language where the spectator approaches icons or historical references, but through new textures and materials, generating new discourses and interpretations about the history of art and the relationship of the public with the work. His pieces can be found in different countries, also making different designs for restaurants, interventions, or his own artistic project art by Azzato.

ANTONIO AZZATO (Venezuela, 1973)."Menina; Splash Neon (mini)". Blend multicolour series".Mixed media on plaster.Enclosed certificate issued by the author.Includes box made by the artist.Signed.Measurements: 40 x 28 x 18 cm.Round sculpture in which the silhouette of Las Meninas by Velázquez is presented in a conceptual way. A figure that has influenced Antonio Azzato's artistic conception, which he has been studying for more than a decade. With this design, which consists of an abstraction of the iconic image created by Velázquez, Azzato has managed to bring a personal vision and a new artistic life, turning Las Meninas into transcendental works, which are now established as a symbol of Madrid's heritage. In this case Azzato proposes a double homage, as he not only rescues the silhouette of Velázquez's Menina, but also prints different iconic elements linked to the city of New York on her skirt. Pieza follows the line of works that were exhibited for the Meninas Madrid Gallery project, which began in April 2018 as part of the Madrid Capital de Moda project, organised by the Madrid City Council in collaboration with the Asociación Empresarial del Comercio Textil y Complementos (ACOTEX), which is part of Madrid Capital de Moda.Antonio Azzato began his academic training in the field of industrial engineering. He continued his studies with a master's degree in commercial management and marketing at the Instituto de Empresa in Madrid. Years later he moved to New York where he was introduced to the study of interior design, studying at the Parson School. His interest in art has been constant since his childhood, which is why his works reflect a great knowledge of the history of art. Always from a new and contemporary perspective, influenced by urban art. His works are a reflection of this language where the spectator approaches icons or historical references, but through new textures and materials, generating new discourses and interpretations about the history of art and the relationship of the public with the work. His pieces can be found in different countries, also making different designs for restaurants, interventions, or his own artistic project art by Azzato.

SLASKY (Artena, Rome, 1972)."Lady and Gentleman".Digital art on canvas. Pair. Unframed.Limited edition 1/8.Signed.Certificate of authenticity enclosed.The artwork will be sent in a tube.This work will be available approximately 15 days after the payment has been made.Sizes: 40 x 30 cm and 40 x 30 cm.Fascinated by the baroque paintings of Caravaggio, the digital artist Slasky creates classical works of art using digital art techniques. With his classical neo-urban style, he unites tradition and modernism, bringing the protagonists of the original artworks into modern-day social and artistic environments. By inserting the characters from the original works into contemporary spaces, he has created new images that send completely different messages to the original concept and idea with which they were created by their authentic creators, shockingly capturing the viewer's attention and, at the same time, requiring a level of collaboration from the viewer in order to be understood.The works have an immediate sense of familiarity, but presented with an injection, sometimes explosion, of colour and life that absorbs them with richness and modernity. Details take centre stage in his works, using contrasting colour techniques, textured backgrounds and screen printing to create the same subject matter in a variety of ways, separating it from its traditional backgrounds.

Contemporary British Artists: Jacob Epstein, inscribed "To Muirhead Bone from Jacob Epstein", bds, dwrp, 4to, 1925 and other volumes on art, all inscribed to Muirhead Bone and signed by: Edward Garnett, Tony Cyriax, W. P. Robins and Sir William Rothenstein, (5).

French Daum art glass vase, signed Daum France to the lower part of the vase, 25cm high, two art glass jugs, signed Murrell, both with contemporary handles, signed and dated 84 and 86, to the handle of the larger jug and to the underside of the smaller jug, also a pair of art glass wine glasses by Lindean Mill, each with a mottled pink glass bowl, knopped stem and circular foot, 15cm high.  (5)

Two contemporary Art Glass vases including an example with snapped pontil mark with encased linear decoration, height 12.5cm (2).Additional InformationEach with the usual scratches to the base, the smaller example with internal bubbles to the glass.

signed, dated 2017, titled and numbered 7/10 in pencil in the marginetchingsheet size: 48 by 47,5cm, unframed Within this artwork Blom explores the seminal forces which shaped him as an artist, primarily focusing on his acute dyslexia. The written language was something Blom considered to be out of his reach (because of his dyslexia) and he was extremely self-conscious of his inability to write (Stefan Blom, 2022). It was quite painful for me. There was absolutely nothing I could do about it. Despite the fact that I was trying to learn more, it just wouldn't get better. So, for every single event, whether good or bad, I started making little symbols (Stefan Blom, 2022). Thus, from his frustration, Blom created his own pictographic alphabet. Blom used this new language, which only he could understand, to "express himself and recorded significant life events" (Stefan Blom, 2022). Blom's alphabet allowed him to put to rest the traumas that haunted him throughout his childhood and it is encapsulated in this artwork. Blom's work has been displayed both nationally and internationally. In 2017, Blom won the Tollman Bouchard Finlayson Art Award for into the light fantastic, which forms part of a bigger body of work, A life Story. One of the etched plates from A life Story is owned by the Zeits MOCCA.Artsy.net. 2022. Stefan Blom | A Life Story (2019) | Available for Sale | Artsy. [online] Available at://www.artsy.net/artwork/stefan-blom-a-life-story-3?msclkid=3b13af42d12e11ec89b31cd51b7cbe5d> [Accessed 11 May 2022].Berman Contemporary. 2022. Stefan Blom | Series | A Life Story | Berman Contemporary. [online] Available at://bermancontemporary.com/series-stefan-blom-secret-language/?msclkid=37901e7ed13311ec9667ee1ccaf2b5ee> [Accessed 7 May 2022].Stefanblom.co.za. 2022. Biography Stefan Blom. [online] Available at://stefanblom.co.za/biography/msclkid=378e9dbad13311ec9fde75e03e419b18> [Accessed 11 May 2022].

bronze and granite with steel bolts on a granite and steel base128cm high EXHIBITEDThe Gallery at Grande Provence, Franschhoek, Deduct, 2006 With thanks to The Angus Taylor studio for their assistance with this lot. From the exhibition catalogue: Taylor has developed a solid reputation for his accomplished and humorously ironical bronze sculptures. But now his new show 'Deduct' marks a departure from this medium that he has grown to know so well. His purpose for this show is twofold; he wished to dislodge himself from his previous comfort zone in terms of sculptural techniques and materials, and in so doing, hopes to strip away the polished surfaces of the finished piece to reveal the physical and mental processes involved in its making. Taylor works from the premise that deduction gathers a valid conclusion from a more general premise to a more specific. The process of induction involves drawing general conclusions based on a limited and specific inference. Thus, in a technocratic culture that favours simulation and speed over real-time relationships, people and things are reduced to quick-time taxonomies. Deduction implies the opposite. To deduce involves reasoning from the general to the, underscoring the need to engage with culture in terms of its flexible morphology. In this body of work, Taylor attempts to peel away the surface of his art to explore its innards, forcing the viewer to engage with the process of art making. He says in this regard: "Information overload causes the domination of inductive reasoning. I am presenting the sculpture or an idea in aspects, perspectives or in different mediums. By showing a sculpture in repetition but a variant with different defined parts or perspectives I am forcing the viewer to assemble the whole from different aspects. One gains access to the part in considering the whole. The collective defines the individual. For, in the words of Meyer Vaisman, "there is nothing more meaningful than taking meaning apart"". In this way, the induction / deduction binary is conflated in Taylor's work which, as a collection, is both scopic and expansive. Together, his use of a traditional medium like bronze with the plastic form of LED lights pokes fun at old and new canons. This exhibition, in other words, plays with the cultural and art-historical tropes of meaning making in contemporary Africa. Provided by the Angus Taylor Studio

signed and numbered 23/70 in pencil; dated 2019 and bearing the artist's thumbprint on the reversescreenprint on Archival Art papersheet size: 76 by 57cm; 87 by 68 by 5cm including framing Mr Brainwash, pseudonym for French-born contemporary artist Thierry Guetta, is a controversial name in the art world, either revered or reviled. Guetta's relationship and collaboration with Banksy was the tipping point for the artist's career, and he found fame as an artist almost over night, reinventing himself as Mr Brainwash. He creates art that subverts popular societal narratives by appropriating culturally significant images, juxtaposing them with elements of street art and graffiti, and completely undermining the intended tone of these symbols. Mr Brainwash has faced much criticism in recent years. The artist's works have been ridiculed and critiqued as having no original thought, no meaning, no authenticity, and no beauty. However, others argue that Mr Brainwash is an artist making art for his time reflects his world in the process. The world and society that surrounds the artist is Euro-Centric, capitalistic, and almost anything can be commodified. Mr Brainwash cynically recognises that he is part of this world and an active participant. He has built a career exploiting the vapid artificiality of the art world and societal fads, while simultaneously criticizing it. There has been much discussion surrounding the artist's work and how it stands at odds with what Walter Benjamin defines as the 'aura' of art; that being an artworks's uniqueness and authenticity in connection with the reproduction of images. The question is then raised as to whether a mist of spray paint and hand-worked stencils counteract this concept, and constitute the authenticity required by Benjamin for an image to be considered 'art'. But, is this what Mr Brainwash is trying to achieve? Does art always have to have true meaning and authenticity? Mr Brainwash is often compared to Banksy, but considered by many to be a less socially-conscious, money-hungry inferior to the partially-anonymous British street artist. Banksy and Mr Brainwash offer two conflicting views on the intent of their work, and street art in particular, and how it should (or shouldn't) be commodified. Banksy takes on a far more political, almost guerrilla-like stance, encouraging the general public to reconsider social structures. The artist generally abhors the idea of street art being commodified stating in regard to art auctions, "All of a sudden they were selling street art, and everything was going a bit crazy, and everything was about the money, but it never was about the money" (Boddy: 44). Guetta adopts a very different approach, but does not shy away from the idea that he deceives people into spending money on churned out, reproduced images in an attempt to criticise, consciously defying the idea of authentic and unique art. In this way, the artist is completely self-aware. Herman Rapaport?s book, "Is There Truth in Art?", parallel to Benjamin's arguments on what defines art, discusses these ideas, and he states "works of art are supposed to routinely question aesthetic and metaphysical protocols, among them, beauty, harmony, grace, balance, coherence, and truth" (Rapaport: 10). It could then be argued that works should always challenge the ideals of art and what constitutes meaning, beauty and truth, and Guetta does exactly this by defying the art world status quo, whether or not one agrees with the means by which this is achieved. Perhaps Mr Brainwash then poses the question as to whether there is truth in his art, and the art world as a whole. This sweeping question could be argued from a multitude of standpoints, but it may be feasible that Mr Brainwash's works are a very clear attempt to debunk the art establishment, and that his works are subjectively authentic, as how can one exist in a place with constructed ideals of beauty, meaning and substance while simultaneously existing in the commodified society that created it? "Because of the artist's plight - that of living in a commercial world - the side effect of greatness is, sometimes, profit. Success, therefore, does not immediately determine beauty in art, or a lack thereof" (Boddy:42).- A.C Benjamin, W. Arendt, H. and Zohn, H. (1968) Illuminations. New York: Harcourt, Brace & World, p:229 Boddy, C. (2013) Exit Through the Wasteland: The Search for Artistic Beauty in a Commodified World. Beauty in Literature, History, and Culture, pp 39-52. [O]: https://web.archive.org/web/20180410151851id_/https://www.westga.edu/academics/coah/english/assets/docs/SrSemAnthology_201301_Mitchell.pdf#page=39 Accessed 22 May 2022Rapaport, H. (1997) Is There Truth in Art? Ithaca: Cornell University Press, p:10

signed and numbered 31/50 in pencil; dated 2012 and bearing the artist's thumbprint on the reversescreenprint with hand-finished spray paint and stencil on Archival Art papersheet size: 56,5 by 57cm; 67 by 67 by 4cm including framing Mr Brainwash, pseudonym for French-born contemporary artist Thierry Guetta, is a controversial name in the art world, either revered or reviled. Guetta’s relationship and collaboration with Banksy was the tipping point for the artist’s career, and he found fame as an artist almost over night, reinventing himself as Mr Brainwash. He creates art that subverts popular societal narratives by appropriating culturally significant images, juxtaposing them with elements of street art and graffiti, and completely undermining the intended tone of these symbols.Mr Brainwash has faced much criticism in recent years. The artist’s works have been ridiculed and critiqued as having no original thought, no meaning, no authenticity, and no beauty. However, others argue that Mr Brainwash is an artist making art for his time reflects his world in the process. The world and society that surrounds the artist is Euro-Centric, capitalistic, and almost anything can be commodified. Mr Brainwash cynically recognises that he is part of this world and an active participant. He has built a career exploiting the vapid artificiality of the art world and societal fads, while simultaneously criticizing it. There has been much discussion surrounding the artist’s work and how it stands at odds with what Walter Benjamin defines as the ‘aura’ of art; that being an artworks’s uniqueness and authenticity in connection with the reproduction of images. The question is then raised as to whether a mist of spray paint and hand-worked stencils counteract this concept, and constitute the authenticity required by Benjamin for an image to be considered ‘art’. But, is this what Mr Brainwash is trying to achieve? Does art always have to have true meaning and authenticity?Mr Brainwash is often compared to Banksy, but considered by many to be a less socially-conscious, money-hungry inferior to the partially-anonymous British street artist. Banksy and Mr Brainwash offer two conflicting views on the intent of their work, and street art in particular, and how it should (or shouldn’t) be commodified. Banksy takes on a far more political, almost guerrilla-like stance, encouraging the general public to reconsider social structures. The artist generally abhors the idea of street art being commodified stating in regard to art auctions, “All of a sudden they were selling street art, and everything was going a bit crazy, and everything was about the money, but it never was about the money” (Boddy: 44). Guetta adopts a very different approach, but does not shy away from the idea that he deceives people into spending money on churned out, reproduced images in an attempt to criticise, consciously defying the idea of authentic and unique art. In this way, the artist is completely self-aware. Herman Rapaport’s book, “Is There Truth in Art?”, parallel to Benjamin’s arguments on what defines art, discusses these ideas, and he states “works of art are supposed to routinely question aesthetic and metaphysical protocols, among them, beauty, harmony, grace, balance, coherence, and truth” (Rapaport: 10). It could then be argued that works should always challenge the ideals of art and what constitutes meaning, beauty and truth, and Guetta does exactly this by defying the art world status quo, whether or not one agrees with the means by which this is achieved.Perhaps Mr Brainwash then poses the question as to whether there is truth in his art, and the art world as a whole. This sweeping question could be argued from a multitude of standpoints, but it may be feasible that Mr Brainwash’s works are a very clear attempt to debunk the art establishment, and that his works are subjectively authentic, as how can one exist in a place with constructed ideals of beauty, meaning and substance while simultaneously existing in the commodified society that created it? “Because of the artist’s plight—that of living in a commercial world—the side effect of greatness is, sometimes, profit. Success, therefore, does not immediately determine beauty in art, or a lack thereof” (Boddy:42). - A.C Benjamin, W. Arendt, H. and Zohn, H. (1968) Illuminations. New York: Harcourt, Brace & World, p:229Boddy, C. (2013) Exit Through the Wasteland: The Search for Artistic Beauty in a Commodified World. Beauty in Literature, History, and Culture, pp 39-52. [O]: https://web.archive.org/web/20180410151851id_/https://www.westga.edu/academics/coah/english/assets/docs/SrSemAnthology_201301_Mitchell.pdf#page=39Accessed 22 May 2022Rapaport, H. (1997) Is There Truth in Art? Ithaca: Cornell University Press, p:10

FILING CABINETS, ART DECO STYLE by SELVA a pair, 50cm x 55cm x 64cm H, contemporary design, leatherette tops. (2)

Seven weathered contemporary terracotta planters to include a set of graduated size, together with a strawberry planter in the Art Deco manner (8)