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Michael Scott (Scottish 1946-2006): 'Afternoon Tea', oil on canvas signed, titled and dated 1994 verso 75cm x 60cmProvenance: private collection; with The Contemporary Fine Art Gallery, High Street, Eton, Berkshire, Cat. No.16 label versoNotes: born in Aberdeenshire Scott studied Political Science at Liverpool before doing a one year's teacher training course in Huddersfield. After moving to Glasgow, Scott took a full-time research post at Glasgow University followed by a lecturing post at the re-named Glasgow Caledonian University. By 1997 demand for his work had become so great that he had to resign his post at the University to paint full time. Awards Include The David Cargill Senior Award, Royal Glasgow Institute. Exhibitions Include 1988~John D Kelly Gallery, Glasgow: 1994~Roger Billcliffe Fine Art, Glasgow ~Contemporary Fine Art, Eton; 1995~Portland Gallery, London; 1997~Fosse Gallery, Stowe on Trent ~Contemporary Fine Art, Eton; 1998~Portland Gallery, London; 2001~Portland Gallery, London, 2004~Portland Gallery, London; 2010~A Memorial Exhibition, Roger Billcliffe, GlasgowCondition Report:Behind glass, excellent condition - Ready to hang

ANDA PATERSON RSW (SCOTTISH CONTEMPORARY b.1935) THE ROAD TO SANTANA Mixed media on panel, signed lower right, dated (19)96, 72 x 102cm (28.25 x 40") 'Gallery of Modern Art Easter 97' and title inscribed verso Condition Report:Available upon request

JOHN KINGSLEY RSW PAI (SCOTTISH b.1956)  MOUNTAIN VIEW  Oil on canvas, signed lower left, 59 x 74cm (23.25 x 29") Born in Glasgow, the prolific Scottish contemporary artist studied drawing and painting at the Glasgow School of Art, graduating in 1977. Kingsley?s inspiration often derives from landscapes, both in Scotland and on the continent, namely Provence in France, and Spain. Awards include the William Bowie Landscape Prize (1991), the Mary Armour Award (1992) and he was an elected member of the Royal Scottish Society of Painters in Watercolour and Glasgow Art Club. Condition Report:Available upon request

GEORGE RALSTON WYLLIE MBE (SCOTTISH 1921-2012) STEAM TRAIN ON BRIDGE  Welded metal, 93cm (36.75") (width) Wyllie emerged onto the contemporary art scene in the 80s following his career as an engineer with the Post Office. He is best known for public artworks such as Straw Locomotive (1987) and Paper Boat (1989). Much inspiration for his playful creative outcomes derives from the view from his house, overlooking the Firth of Clyde in Gourock. Condition Report:Available upon request

DARREN WOODHEAD SWLA (SCOTTISH CONTEMPORARY b.1971)  LAPWING  Watercolour, signed lower right, indistinctly inscribed lower left, dated (October 2009), 35 x 22cm (13.75 x 8.75") A graduate of the Royal College of Art, Darren Woodhead is a field painter based in East Lothian. Primarily working en plein air in Scotland and on expeditions further afield, he explores nature, birdlife, mammals and scenery. His works encompass the energy of the outdoors, and the artist appeared on BBC2?s Springwatch Unsprung in 2017. His work was part of the The Astor Collection from Tillypronie, Aberdeenshire, which was offered at Christies in 2017. Condition Report:Available upon request

JIM LAMBIE (SCOTTISH b.1964) YOU CAN'T PUT YOUR ARMS AROUND A MEMORY, 2005 Mixed media, 40 x 58cm (15.75 x 22.75") Signed and inscribed in silver marker by the artist's hand verso Contemporary visual artist, Jim Lambie, graduated from the Glasgow School of Art, and he lives and works as an artist, DJ and musician in Glasgow. In 2005, he was shortlisted for Turner Prize with his installation, Mental Oyster. Lambie?s work is loaded with metaphorical, ironic and music references which explore pop culture. In 2021, Lambie had a solo show at Modern Institute, Glasgow, titled Buttercup. Condition Report:Available upon request

Marcia Goldstein (American, 20th c). Group of two mixed media collages. The first titled "Book III, Plate I," 1983, mixed media on handmade paper. The second titled "Memoir, Southwest," pastel, acrylic, and collage on handmade paper. Both with labels from the Sheldon Art Gallery at the University of Nebraska, Lincoln adhered to the verso. "Memoir, Southwest" with an additional label from the Southeastern Center for Contemporary Art, Winston Salem, North Carolina.Provenance: Distinguished corporate collection, Minnesota.(Memoir, Southwest) sight; height: 22 in x width: 18 in. Framed; height: 32 1/4 in x width: 28 1/4 in. (Book III, Plate I) sight; height: 18 in x width: 25 in. Framed; height: 23 3/4 in x width: 29 in.

WILLIAM STEWART MACGEORGE R.S.A. (SCOTTISH 1861-1931) BLUE HAZE OF THE HYACINTH Signed, oil on canvas(71cm x 91cm (28in x 36in))Provenance: Carnegie Dunfermline TrustNote: Born in Castle Douglas in 1861, William Stewart MacGeorge began his artistic training at an early age, demonstrating an exceptional talent. He even became a prototype for a caricaturist character of Samuel R. Crockett's The Raiders - the author was MacGeorge's boyhood friend. In 1880 MacGeorge entered Edinburgh School of Art, where among his classmates were George Denholm, Thomas B. Blacklock and Edward A. Hornel, with whom MacGeorge established a firm and artistically-significant friendship. During his years at the Edinburgh School MacGeorge won a number of artistic prizes, including a Queen's Prize in the National competition, and at the early age of twenty he had his first work hung in the Royal Scottish Academy (A Lovers' Walk, 1881). In 1883 MacGeorge relocated to Antwerp together with William Walls and Edward Hornel, where the young artists enrolled at the Academie Royale des Beaux Arts - one of the oldest art academies in Europe, which at that time held an international reputation. There, for two years, MacGeorge was a student of Charles Verlat, from whom he acquired a strong basis of realism and academic training. His colour palette was also affected by contemporary Dutch and Flemish naturalist painting. During his time at the Academie MacGeorge produced some sombre works such as Rotterdam Windmill and Amsterdam Harbour (both in Haddington Council buildings). Upon his return from Belgium in 1885, MacGeorge enrolled at the R.S.A. Life School, where his prolific student career continued to flourish, bringing him the Keith Prize in 1887. It is believed that MacGeorge's predilection to gloomy colours - possibly the Hague School influence - was challenged by Edward Hornel, who encouraged MacGeorge to soften his tone, thus making his paintings brighter, his brushstrokes more richly imparted, and his painting style considerably more decorative. However, MacGeorge always maintained a substantial level of individuality in his artistic approach, particularly in his pursuit of truth to natural forms. His most prominent works transmit naturalistic atmosphere enhanced by vigorous brushwork and bright spots of colour. Although MacGeorge's choice of subjects was extremely diverse, his signature setting is a woodland scene with children playing among the flowers. The present work, The Blue Haze of the Hyacinth, belongs to a large series of works depicting utopian idylls. Here the artist portrays three young ladies resting in a meadow filled with azure bursts of wild hyacinth. An example of MacGeorge's colouristic approach, the work presents a vivid impression of a bright summer day, as well as the artist's signature impasto brushwork. In the mid-1880s MacGeorge began spending summer months in Kirkcudbright artists' colony, where he resided in a studio near the old quarry on Tongland Road. Kirkcudbrightshire Fine Art Association was established in 1886, and local exhibitions were held each year. MacGeorge produced some of his most outstanding landscapes while in Kirkcudbright, including Kirkcudbright, depicting salmon fishers at dusk, now in the Edinburgh City Art Centre.

A contemporary art glass vase with iridescent crizzle finish, 16.5cms.

Searle (Ronald, 1920-2011). The Mourners Mourned from Souls in Torment, circa 1953, pen and black ink and wash over pencil, depicting a smiling man in a coffin, mourners sitting around him, signed in blue ink to lower right with 'sketch for cartoon', 20.3 x 15.8 cm (8 x 6 1/4 ins) mount aperture, framed and glazed (39.4 x 33.7 cm)QTY: (1)NOTE:Provenance: Rosebery's London, Fine Art featuring Modern & Contemporary Sculpture, Pictures, Works of Art & Clocks, Antique Furniture & Rugs, Day two, 29 March 2017, lot 813

Mackmurdo (Arthur Heygate; Horne, Herbert P. & Image, Selwyn, editors). The Century Guild Hobby Horse, volumes 1-7 in three, Kegan Paul & Chiswick Press, 1886-92, half-titles present, woodcut decorative title by Selwyn Image, plates and illustrations, woodcut decorations and initials by Mackmurdo and Horne, original printed wrappers bound-in at rear (rear wrapper for no.28, Oct 1892 torn to lower half & repaired), top edge gilt, remainder untrimmed, near-contemporary brown half pigskin by Maclehose of Glasgow, marbled sides, lower board to second volume detached, extremities slightly rubbed, 4to, together with issue no. 1 in original slightly torn printed wrappers, slim 4toQTY: (4)NOTE:The Century Guild was founded in 1882 by the architect Arthur Heygate Mackmurdo to produce decorative work in every field of interior design including architecture, decorative painting, furniture, metalwork, ceramics and glass etc., with an emphasis on crafts and in particular, and the new style of Art Nouveau. The architect Herbert P. Horne and artist & writer Selwyn Image were co-editors, but many other artists were involved with the group. In 1884 they started The Century Guild Hobby Horse, concentrating on the visual arts but also including literature and social issues. The first issue was published in April 1884, with no others until 1886 when they started again with volume number 1. In 1893 it was renamed The Hobby Horse but only lasted for a further three issues until it ended in 1894.Printed on handmade paper, and illustrated with woodcuts, lithographs and photogravure reproductions, the typography and design was by Emery Walker and printed at the Chiswick Press. Contributors included Burne-Jones, William and May Morris, John Ruskin, Oscar Wilde, Simeon Solomon, Heywood Sumner, Ernest Ricketts, Ford Madox Brown, Laurence Binyon, Lionel Johnson, Christina Rossetti, William Michael Rossetti, and Wilfrid Scawen Blunt. The Century Guild influenced many members of the Arts and Crafts movement including C.F.A.Voysey and Charles Rennie Mackintosh.

Gibran (Kahlil). The Prophet, 1st edition, New York: Alfred A. Knopf, 1923, frontispiece, 11 monochrome plates after the author, contemporary presentation inscription "From George & Emily, Xmas 1923" to front endpaper (a little offsetting from press cutting loosely inserted), top edge black, original cloth, upper cover lettered in gilt with circular vignette stamped in gilt, lower corners slightly bumped, 8voQTY: (1)NOTE:A good copy of the first edition of Kahlil Gibran's most famous prose poem, some 2000 copies printed. The book's popularity subsequently soared, and the work has been translated into 100 languages and has never been out of print. Lebanese-born poet Kahlil Gibran (1883-1931) moved with his family to Boston in 1895; His first works were written in Arabic, and his first book in English The Madman was published by Knopf in 1918. The Prophet deals with many themes of human life as told through the 'prophet' Ali Mustafa. Gibran's poetry was strongly influenced by his own Maronite Christian faith as well as the Baha'i Faith (he had met Abdu'l Bahá in 1911-12) and Sufism, as well as poets William Blake and Walt Whitman, the Pre-Raphaelite Brotherhood, Arabic art and European Classicism.

Waugh (Evelyn). Decline and Fall. An Illustrated Novelette, 1st edition, 1st issue, London: Chapman & Hall, 1928, frontispiece and 5 plates by the author, a little light spotting, contemporary ownership inscription to front endpaper "Carl Winter, 1928, Coll Exon. Oxon.", original cloth, spine slightly rubbed at ends, in dustwrapper, pale toning to spine, a few chips and nicks at folds (generally a very good copy)QTY: (1)NOTE:Provenance: Carl Winter (1906-1966), art historian and museum curator, who worked at the Victoria & Albert Museum before moving to the Fitzwilliam Museum in Cambridge in 1946, at which time he also became a Fellow of Trinity College. Together with Patrick Trevor-Roper and Peter Wildeblood, Carl Winter gave evidence to the Wolfenden Committee, whose report led to the decriminalisation of homosexuality in 1967. Winter's evidence was given anonymously as 'Mr White'. His testimony was portrayed in the BBC television dramatisation Consenting Adults.Connolly, The Modern Movement, 58. First edition, first issue of the author's first novel with the names "Martin Gaythorn-Brodie" and "Kevin Saunderson" unchanged on pages 168-69.The author's first novel, with his own illustrations, in the dust jacket also designed by him. After the book was rejected for indecency by Duckworth (the publisher of his earlier biography of Rossetti), Waugh offered the manuscript to Chapman & Hall, but he did so while his father, who was the managing director of the firm, was away on holiday. The acting-director agreed to publish the novel and Arthur Waugh returned to London to discover that his son was his firm's newest author. When Arthur Waugh's biography was published three years later, however, Decline and Fall and Vile Bodies, the two novels published under his directorship of Chapman & Hall, were not mentioned.

A large cased collection of various cuff links, comprising  various dates from late Victorian to contemporary, including silver versions, a pair of silver and enamel Belvoir Castle cuff links, gold fronted cufflinks, gilt metal owl links, various enamel pairs including Art Deco styles in gilt metals, a 'Ford' pair, Wales and Maple leaf emblems, RAF, Flags, Heraldic, gilt enamel scarab beetle links, along with Essex crystal style cufflinks including hunting interest horses, hounds, Scottie dogs, angling, Souvenir types, mother of pearl, including link and swivel types, etc in a large wooden presentation case (1) 

Louis Erard x Alain Silberstein. A set of 3 Limited Edition titanium automatic wristwatchesModel: Le Triptyque: La Semaine, Le Chrono Monopoussoir, Le Régulateur IIReference: 75357TT02, 85358TT02, 74359TT02Date: Purchased June 2021Movement: All jewelled automaticDial: La Semaine: Black, applied yellow baton hour markers with red at 12, white outer minute divisions, apertures above 6 for day and date, red and blue arrow and red circle pinned with a triangle hand, yellow serpentine centre secondsLe Chrono Monopoussoir: Black, applied yellow baton hour markers with red at 12, white outer minute divisions, subsidiary dial at 12 for 30 minute recording, red and blue arrow and red circle pinned with a triangle hand, yellow serpentine centre chronograph handLe Régulateur II: Black, applied yellow baton hour markers with red at 12, white outer minute divisions, subsidiary dials at 12 and 6 for hours and seconds, blue arrow tipped central hand for minutes Case: All brushed and polished tonneau form, exhibition backs each secured by 8 screws, single chronograph button via crown of Le Chrono Monopoussoir Strap/Bracelet: All black fabricBuckle/Clasp: All velcroSigned: All cases, dials & movementsSize: All 40mm Accompaniments: Louis Erard x Alain Silberstein box, International Warranty cards, Certificate of Authenticity cards, USB with NFT guarantees and digital artworkFootnotes:A native of Paris, Alain Silberstein created his own watchmaking firm at the end of the 1980s in Besançon, France. Trained as an architect and designer, he and a group of Swiss makers worked to revive the mechanical watch. These watches demonstrate extraordinary timekeeping and are also viewed as contemporary works of art. Silberstein designs are famous for their Calder inspiration and use of colours.In 2021 Louis Erard collaborated with Alain Silberstein for the second time to create 'Le Triptyque'. Consisting of 178 examples for each model, La Semaine, Le Régulateur II and the Le Chrono Monopoussoir.For further information on this lot please visit Bonhams.com

Kitchener, Frances Madge, ‘Mint Coinage: The Coins and Coinage, Working Drawings’, a self-titled green cloth and board binding containing a group of sketch designs and original artist’s pen and ink drawings for proposed 1937 and 1953 British coinages, together with some photographic images of various coins and medals, many annotated by the artist, contemporary newspaper cuttings and correspondence between Kitchener (using her real name and ‘M. Francis’, a nom-de-plume), Lionel Thompson, Deputy Master of the Royal Mint, and Graham Hughes, Art Director at Goldsmiths’ Hall, between March and July 1952 [Lot]. Mostly clean, a unique and intriguing group £300-£400 --- Frances Madge Kitchener, RRC (1889-1974), niece of Herbert Kitchener; b Kasauli, India; served as a nurse in the French Red Cross, 1914-20; studied at the Slade School of Fine Art in the 1920s; designer of the British brass threepence. The reverse design of a thrift plant, or sea-pink, originated from a set of sketches submitted by Kitchener in June 1936 for the new silver threepence of Edward VIII (the sketches are not included in the lot). However, the decision had been taken to phase out the small silver coin and replace it with a new nickel-brass piece, the exact shape and size of which was being debated by the Royal Mint Advisory Committee during the summer of 1936. Following the decision to make the coin 12-sided, Miss Kitchener submitted a further model in September 1936. Trial pieces of various thicknesses were struck and used to test the reaction of interested parties, like slot machine manufacturers (Dyer, p.23). Kitchener’s subsequent efforts to have her designs shortlisted for Elizabeth II’s new coins proved unsuccessful and the rejection letters from the Royal Mint, along with her proposed designs, are included with the lot. A request from Graham Hughes, chairman of the Coronation Medals Panel, for a plaster model of a coronation medal for the new monarch, was rejected: “...time is too short, I am a deliberate worker, and seventeen days...is not long enough for me to do the medal in...”

Lawrence (John). The Clergy-Man's Recreation: shewing, the Pleasure and Profit of the Art of Garden, three parts in one, 5th edition, London: printed for Bernard Lintott, 1717, [The Gentleman's Recreation, 2nd edition,1717 & the Ladie's recreation by Charles Evelyn, 1st edition, 1717], 6 engraved plates consisting of frontispiece to each part and three folding plates, a few marks, first part with some marginal stains towards front, contemporary paneled calf, marked and somewhat worn, 8vo, together with[Whately, Thomas]. Observations on Modern Gardening, illustrated by descriptions 4th edition, London: T. Payne & Son., 1777, pale water stain to lower outer edges, contemporary speckled calf, rubbed and some wear to joints and edges, plusCulley (George). Observations on Live Stock, containing hints for choosing and improving the best breeds of the most useful kinds of domestic animals, 1st edition, London: G. G. J. & J. Robinson, 1786, water staining to front and rear of volume, errata at end, contemporary half calf gilt-decorated spine, andTaylor (Samuel). Angling in all its Branches, reduced to a complete science: being the result of more than forty years real practice and strict observation throughout the kingdoms of Great Britain and Ireland, 1st edition, London: T. W. Longman and O. Rees, 1800, contemporary sheep with morocco label to spine, scuffed and some wear, plus other antiquarian interest, mostly natural history, but including Peter Walsch, Four Letters on several subjects, to persons of quality. The fourth being an answer to the Lord Bishop of Lincoln book, Entituled, popery, &c., 1686, W. Henry, Arthur & Alfred E. Hill, Antonio Stratavari, His Life and Work (1644-1677), 2nd edition, 1909, etc. QTY: (24)

Delille (Jacques). The Gardens, a poem. Translated from the French of the Abbé de Lille by Mrs. [Maria H.] Montolieu, 2nd edition, London: Printed by T. Bensley, 1805, half-title, two engraved plates and three vignettes by F. Bartolozzi, front blank with contemporary signature of Elizabeth Aston, front pastedown with armorial bookplate of Robert Burnard of Plymouth, dated 1891, all edges gilt, contemporary blind panelled and decorated black straight-grain morocco, 8vo (22.6 x 14 cm), together with:[Armstrong, John], The Oeconomy of Love. A poetical essay, new edition, London: M. Cooper, 1749, half-title discarded, light toning and spotting at front and dust-soiling to verso of final leaf, bound with Akenside (Mark), The Pleasures of Imagination. A poem. In three books, London: R. Dodsley, 1744, half-title, title page in red and black with engraved vignette, bound with Armstrong (John), The Art of Preserving Health: A poem. In four books, 3rd edition, London: A. Millar, 1748, spotting towards rear of volume, contemporary calf, morocco title label worn with loss, joints split, head & foot of spine worn, 8vo,Genlis (Ste?phanie Fe?licite?, comtesse de), The Tales of the Castle: or, Stories of instruction and delight. Translated ... by Thomas Holcroft, 4 volumes, new edition, London: Scatcherd & Letterman, 1819, stipple engraved frontispieces to each volume, title of first volume with contemporary signature of Elizabeth Brewster to upper blank margin, some damp staining mostly to frontispieces and titles, contemporary half calf, gilt decorated spines with maroon morocco labels, board edges slightly worn, 12mo,Bloomfield (Robert), The Farmer's Boy; A rural poem, 9th edition, London: Vennor, Hood, Sharpe [& others], 1806, half-title, wood engraved frontispiece, 11 plates and few vignettes to text, contemporary marbled calf, gilt decorated spine and borders to boards, joints cracked and light wear, small 8voQTY: (7)

Curtis (Tony, editor). Following Petra, A Celebration of Seventy Years of the Contemporary Art Society for Wales, Gregynog Press for the Contemporary Art Society for Wales, 2008, colour and monochrome illustrations, original quarter red morocco gilt in matching slipcase, 4to vg, limited edition of 200 copies, this being number XXII of 60 copies in quarter leather, together with Cawley (A. C. [editor]). Sir Gawain and The Green Knight, New York: Limited Editions Club, 1971, monochrome illustrations by Cyril Satorsky. publishers original cloth in slipcase, folio, limited edition 1079/1500, plus Hughes (Richard). The Innocent Voyage, New York: Heritage Press, 1944, colour lithographs by Lynd Ward, publishers original boards in slipcase, boards slightly marked, 8vo, and other modern illustrated & private press literature, including Fernand Severin, Poemes, Paris: Pierre Bricage, 1951, Primer Viaje de Cristóbal Colón segun su diario de a bordo..., Barcelona: Amigos del Libro, 1944, illustrations by Antonio Ollé Y Pinell, and others similar QTY: (Approximately 30)

Édouard Frédéric Wilhelm Richter (German, 1844-1913)The favourite signed 'E. Richter' (lower left)oil on canvas50.5 x 75.5cm (19 7/8 x 29 3/4in).Footnotes:Edouard Richter was born in Paris in 1844, and began his training at the Hague Academy of Fine Art. He then studied in Belgium, before returning to Paris to enrol at the Academie des Beaux-Arts under the tutelage of Ernest Hebert and Leon Bonnat. Between 1860-1870 his subjects tended to be portraits and genre scenes, however he showed an early interest in Orientalism as his 1866 submission to the Paris Salon was entitled Orientale à la Fontaine, Alger. In 1883 he became a permanent member of the Society of French Artists – a contemporary, Louis du Seigneur, noted his 'palette of precious gems'. Upon moving more firmly into Orientalism, Richter's carefully conceived compositions were often sensual depictions of harems, and his work was characterised by precise architectural and ethnographic details. In the present lot the artist shows features of the Maure architecture of the Alhambra. This attention to detail can also be seen in the costumes of the seated women which resemble the Kat fabrics, as worn by noble society in Algeria at the end of the 19th century and have their origins in traditional Algerian Karabou art.Opulent interiors such as this which define Richter's Orientalist period, were much admired by his Parisian contemporaries, in particular the Austrian and German artists who had settled in the French capitol such as Ludwig Deutsch and Rudolf Ernst.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Majorcan school; 17th century, following the model of PIERRE MIGNARD (Troyes, 1612-Paris, 1695)."Virgin and Child".Oil on canvas.Relined.Size: 89 x 66,5 cm; 91 x 69 cm (frame).Scene of devotional character, in which the artist arranges the Virgin with the Child, inside a garland of flowers. The theme of the Virgin depicted with the Child Jesus, and more specifically with the Child Jesus on her lap, seated or standing, has its origins in the Eastern religions of antiquity, in images such as that of Isis with her son Horus, but the most direct reference is to the Virgin as "Sedes Sapientiae", or throne of God, in medieval Christian art. Gradually, with the advance of naturalism, the Virgin will pass from being a simple "throne" of the Child to revealing a relationship of affection, beginning in the Gothic period. From then on, the figures would acquire movement, moving closer to each other, and finally the concept of the throne would disappear, and with it the secondary role of the Virgin. In this way, the image became an example of the love between Mary and her Son, an image of tenderness, close to the viewer, designed to touch the hearts of the faithful.Pierre Mignard first trained with Jean Boucher in Bourges and then, in 1633, in the studio of Simon Vouet in Paris. Two years later he went to Rome, where he arrived in 1636 and where he remained for more than twenty years, until October 1657. There he became acquainted with the leading exponents of classical idealism, such as Domenichino and Nicolas Poussin, whose painting was based on the study of antique sculptures and the works of Raphael through the sieve of Annibale Carracci. However, Mignard was also aware of other new trends in Roman painting at the time, such as Neo-Venetianism. His interest in the great Venetian masters of the previous century was so strong that it prompted him to make a trip to the lake city and to northern Italy in 1654 and 1655. In 1657 he returned to France, passing through Avignon and Fontainebleau - where he portrayed Louis XIV - before arriving in Paris. Portraiture was the genre in which he excelled, and he gained a great reputation with his depictions of prominent court figures in elegant allegorical compositions. Nor did he disdain historical painting, the most honourable genre according to contemporary academic postulates; at the same time he produced works of great commitment, such as the decoration of the dome of the abbey of Val-de-Grâce (Paris) for Anne of Austria in 1663, where he was able to apply the teachings of Giovanni Lanfranco that he had received in Rome. The death of the minister Colbert brought down the undisputed fortune that the first painter Charles Le Brun had enjoyed until then, and the rise to power of Louvois, Mignard's protector, placed him in an ideal position to obtain royal rewards. From then on, his courtly success only increased and Le Brun's death in 1690 made him the king's first painter and director of the Academy. The Museo del Prado holds several works related to Pierre Mignard, all from the royal collections.

Henry O'Neill (1798 - 1880)  "View of St. Brigid?s Cathedral, Kildare, prior to its restoration c. 1835,"  watercolour on paper, Signed (bottom lower left), in contemporary gilt frame, 26cms x 36cms (10 1/2" x 14"). Depicting the Cathedral of St. Brigid in Kildare, this watercolour by Henry O?Neill, painted around 1835, is a valuable record of the building prior to its restoration four decades later. Not far from the cathedral stands the round tower, and beside the tower a broken high cross?all elements of this medieval Christian site that survive today. By the time O?Neill depicted the cathedral, the building was roofless and essentially a ruin. In 1875, under the supervision of architect George Edmund Street, restoration work began. The work included a new roof, north transept, chancel and west wall. The square tower at the crossing of nave and aisles was also rebuilt. O?Neill?s watercolour shows the cathedral as it appeared prior to 1875, with its roofless nave and south transept. The viewpoint is from the south, and shows the south wall of the nave with six lancet windows. During Street?s restoration, these windows were recessed within new Gothic arches, built to link and reinforce the wall buttresses visible in the watercolour. There is no sign of the west gable in his view, although it does appear in a late eighteenth-century watercolour in the Beranger Collection in UCD, where it can be seen to be in an advanced state of collapse. In George Petrie?s view of Kildare Cathedral, published in 1820 in Thomas Cromwell?s Excursions in Ireland, the gable wall has completely collapsed. Like Petrie, O?Neill produced illustrations for William Frederick Wakeman?s 1835 guidebook Picturesque sketches of . . scenery of Ireland, and also for his Fourteen Views of the County of Wicklow, published that same year. As well as being an artist, O?Neill was a teacher; his manual for art students was published by George Rowney in 1846. He was also an antiquarian, and in 1857 published his most important work, illustrating the ancient high crosses of Ireland. A controversialist, his 1863 his Fine Arts of Ancient Ireland, illustrated by G. Hanlon, set out to refute conclusions reached by Petrie in the latter?s Ecclesiastical Architecture of Ireland. While Petrie established, after careful scientific study, that the round towers of Ireland were built during the Christian era, many antiquarians, including Henry O?Brien, Charles Vallencey and O?Neill, preferred to believe they were older buildings, built for fire worship or as Zoroastrian temples. *We would like to acknowledge the assistance of Dr. Peter Murray in catalogue these lots.

A pair of George II gilt gesso pier mirrors, c.1735-1740, attributed to Benjamin Goodison (c.1700-1767), each architectural frame surmounted by a foliate crest within a broken swan neck pediment, over an egg-and-dart moulded edge and relief-carved acanthus detail, the shaped apron centred with a shell, surrounding a mercury glass plate with a shaped bevel, 59cm wide 121cm high (2) Provenance: The Pleydell-Bouverie Family, Longford Castle, Salisbury, Wiltshire, thence by descent. Possibly supplied to Sir Jacob Bouverie (1694-1761), 1st Viscount Folkestone by Benjamin Goodison, who was furnishing parts of the castle c.1737-1743. Benjamin Goodison served as Royal cabinetmaker to George II from 1727 onwards, furnishing apartments at Hampton Court and St. James’s Palace. Longford Castle was built during the Elizabethan period, with silver and gold retrieved from the wreck of one of the Duke of Medina-Sidonia’s galleons, which sank in the wake of the Spanish Armada. In 1717, it came under the ownership of Sir Edward des Bouverie, whose family were descendants of a Huguenot refugee, Laurens des Bouverie (1536-1610), who in the late sixteenth century fled persecution by the Catholics in the then Spanish Netherlands.Following settlement in England, his successors earned vast fortunes during the seventeenth century with the Levant Company, profiting from a time of flourishing trade with Turkey. In 1713, Sir William des Bouverie (1656-1717) was knighted by Queen Anne, from which point they transitioned quickly into nobility, amassing wealth and status through the purchase, lease and inheritance of land, particularly in the South West of England. Upon Sir Edward’s death in 1737, his brother Sir Jacob inherited the castle and brought about the advent of several generations of refurbishment, refurnishing and remodelling. Amelia Smith in 'Longford Castle: The Treasures and the Collectors' credits Sir Jacob Bouverie as ‘the most important patron and collector of art to reside at Longford Castle’, acquiring some of its greatest assets, including ‘two suites of fine eighteenth century gilded and upholstered furniture’, of which these mirrors may have been a part. Some of the decorative motifs seen in these mirrors are similar to those in a pair of pedestals, also attributed to Goodison, which were sold at Christie's, 'The Collection of Paul F. Walter', 27 September 2017. The remaining four are still situated in the castle’s picture gallery, in which also reside gilded furniture attributed to the likes of Giles Grendey and William Vile. Other notable pieces that were acquired during this period include Hans Holbein’s ‘Ambassadors’, sold to the National Gallery in 1890, and works by Velázquez, Claude Lorrain, Poussin, Sir Joshua Reynolds, Sir Godfrey Kneller and Van Dyck. Literature: A Smith, 'Acquisition, Patronage and Display: Contextualising the Art Collections of Longford Castle during the Long Eighteenth Century', Doctoral Thesis, Birkbeck, University of London, 2017;A Smith, 'Longford Castle: The Treasures and the Collectors', Unicorn Press, London, 2017.The plates heavily degraded but a reflection still visible. Backboards appear to be original and don't appear to have been off, with the plates appearing relatively contemporary, however the shaped bevel does not follow the profile of the frame, inferring that the plates were probably re-acquisitioned from a slightly earlier pair. Chips, small knocks and losses to gilding and gesso. Later gilding and gesso to the frames. Gilding worn through in places and quite unstable, with areas flaking. One fitted with later girandole sconce brackets. Some small losses to floral detail to crest and apron. Some areas of re-touching and overpainting. Splits and cracks to frames. One crest a little wobbly. Some scratches to plates. Traces of old worm damage to the backboards, particularly to one. General wear commensurate with age.

(Bookbinding, Typography), John Hannett: 'Bibliopegia; or, Bookbinding: In Two Parts. Part I. The Book of the Ancients, and History of the Art of Bookbinding. Part II. The Practical Art of Bookbinding', L, Simpkin, Marshall, 1865, 6th edition, engraved frontis + engraved ills in text throughout, iv,410,[2],8pp, contemporary cloth gilt (worn,inner joints split). Scarce; together with 6 others printing/typography related, including Francis Cupiss, Diss, 'Specimens of Plain and Fancy Types, Polytyped Ornaments, Borders, Checks, Etc., of the Albion Printing Establishment, Diss', 1855, a/f, numerous pages with parts excised, original stitched printed top wrap very worn and soiled, lacks lower wrap; Mouldtype Specimen book No. 63, circa 1970's, original yellow cloth, plus another example in blue cloth, circa 1980's; plus 3 others (7)

A collection of 12 assorted titles on medicine, pharmacy, chemistry etc, including William Buchan: 'Buchan's Domestic Medicine Modernized; Or, a Treatise on the Prevention and Cure of Diseases...Observations on the Comparative Advantages of Vaccine Innoculation...A Family Herbal...', L, 1809, engraved portrait frontis, xvi,515pp, contemporary calf (worn); 'The Registers of Pharmaceutical Chemists and Chemists and Druggists. Printed and Published Under the Direction of the Pharmaceutical Society of Great Britain. Pursuant to an Act...Entitled An Act to Regulate the Sale of Poisons, and Alter and Amend the Pharmacy Act, 1852', London, 1881, xxv,284pp, original blindstamped cloth gilt. Scarce; J.A. Paris: 'Pharmacologia; Comprehending the Art of Prescribing Upon Fixed and Scientific Principles; Together with the History of Medicinal Substances', L, 1822, 5th edition, volume 1 (of 2), only, 448pp, contemporary cloth; W.S. Glynn-Jones: 'The Law Relating to Poisons and Pharmacy', L, Butterworth, 1909, original cloth gilt; 'The Pharmacopoeia of the Royal College of Physicians of Edinburgh', 1841, 2nd edition, 12mo, original cloth gilt; 'The Chemical Directory and Pharmaceutists' Compendium', L, Charles Wright & Co, [nd], original cloth gilt (worn); plus 6 others (12)

(Cookery), Mrs Dalgairns: 'The Practice of Cookery, adapted to the Business of Every Day Life', Edinburgh, Robert Cadell, 1836, 6th edition, xxxvi,468pp, old cloth backed boards, printed paper label to spine; James Wallace: 'The Confectioner's Guide', London, 1826, 12mo, original printed paper covered boards (worn), later rebacked cloth; William Kitchiner: 'The Cook's Oracle', London, Houlston, 1860, new edition, 424pp, original cloth gilt; Eliza Acton: 'Modern Cookery', London, Longman et al, 1860, revised and enlarged, engraved frontis + 7 full page engraved plates + ills in text throughout, 643 + 24pp ads at end, original cloth gilt, a better than usual copy; Mrs Mary Eaton: 'The Cook and Housekeeper's Complete and Universal Dictionary; Including a System of Modern Cookery', Bungay, 1823, half title, frontis, engraved title and printed title supplied in facsimile, v-488pp (original), pp489-495 of index also supplied in facsimile, 3 original engraved plates present (foxing/toning to leaves), handsomely rebound quarter calf gilt; Beatrice A. Vieyra: 'Culinary Art Sparklets', Madras, Vest & Co, 1915, xlix,364,2,xx,[4]pp, old cloth backed paper covered boards; Mrs Isabella Beeton: 'The Book of Household Management', L, Ward Lock, 1893, new edition, folding coloured frontis + 12 coloured plates (of which 1 folding), original calf backed boards gilt; 'Arcana Fairfaxiana manuscripta : a manuscript volume of apothecaries' lore and housewifery nearly three centuries old / used, and partly written by the Fairfax family ; reproduced in fac-similie of the handwritings ; an introduction by George Weddell.', Newcastle Upon Tyne, Mawson et al, 1890, ex Repton School library, contemporary calf gilt, rebacked retaining backstrip; plus other (9)

John Bowes (1899-1974) - Private View at the Mid-Day Studios, signed and inscribed with the title and artist's address verso, oil on board, 42 x 53.5cm The painter Ned Owens and his first wife Margo Ingham founded the Mid-Day Studios in 1946 in the basement of a house opposite Manchester City Art Gallery. L S Lowry's first major one person show was held there in 1948. The present lot appears to be a contemporary depiction of that event. The Mid-Day Studios closed in 1951 Good original, unrestored condition. Dusty / dirty and requiring a clean

A contemporary figural table lamp with a coloured glass Art Deco shade

A large contemporary Islamic modern art mixed print media on canvas painting. Colour stained ground with bold lettering in fading colours. Set to a large contemporary frame. Signed by artist to lower corner with monogram. Measures approx; 120cm x 140cm.

A RESIN FIGURE, A GROUP OF VASES AND A COLLECTION OF WADE WHIMSIES, to include a heavy reproduction resin figure after Carrier Belleuse, modelled as a seated classical female figure holding two doves to her chest, height 61cm, art glass and other late twentieth century / contemporary vases, and a group of approximately twenty six Wade Whimsies and similar figures (sd) (Qty)

TWO BOXES OF GLASS REFERENCE BOOKS ETC, titles include 'Glass contemporary art' by Dan Klein, 'The art of Rene Lalique' by Patricia Bayer & Mark Waller, 'The history of glass' by Dan Klein & Ward LLoyd, 'Emile Galle' by Philippe Garner, '20th Century glass' by Lesley Jackson, 'Modern glass' by Ronald Stennett Wilson, 'Ysart glass' published by Volo, Glass design pamphlet signed by Ronald Stennett Wilson etc, together with reference books about ceramics, Russian miniatures, Meccano 1938 etc

* HAMISH MACDONALD DA PAI (SCOTTISH 1935 - 2008), PITTENWEEM HARBOUR oil on board, signed and titled image size 29cm x 35cm, overall size 47cm 52cm Mounted, framed and under glass. Note: Hamish MacDonald was born in Glasgow in 1935. He studied at Glasgow School of Art between 1963 and 1967. From 1968 he successfully combined painting with teaching and also guest lectured throughout Scotland. In 1991 he retired from his post as an Art Department Principal to concentrate fully on the development of his painting. Much of his work was inspired by the Scottish Colourist movement, but MacDonald preserved an individuality which marks him out as both a vibrant and important artist. Throughout his career he succeeded in capturing dramatic scenes with his own passionately innovative palette. Hamish MacDonald is now widely regarded as one of Scotland's most successful contemporary artists. Since 1964, Hamish staged numerous solo exhibitions in Scotland and Cornwall. He also participated in group shows with prominent galleries in London and throughout the UK. His works can be found in many major collections throughout the world.

ARTIST: Willi Bauer (Germany, 1923 - ?)NAME: Cafe by the Flower MarketMEDIUM: oil on canvas CONDITION: Very good. Restretched. No visible inpaint under UV light.SIGHT SIZE: 23 1/2 x 28 inches / 60 x 71 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower rightSKU#: 119836US Shipping $75 + insurance.BIOGRAPHY:Willi Bauer was born on July 7, 1923 in a small village in Germany. He studied at the Staedel Academy of Fine Art in Frankfurt under Professor Roth in Berlin and Professor Dellaville in Frankfurt. His paintings can be found in many private collections in Europe and America. He paints a wide range of subject matter capturing the same vibrancy and emotion of each scene. He takes a common subject and filters it through his artistic eye with his dynamic use of color and his keen sense of perspective and composition. Ranking among the most important and successful of contemporary German artists, Bauer's art has been purchased by galleries and collectors all over the world. This international recognition can be attributed to the artist's vivacity; his bold, impressionistic contemporary style of capturing the moment as he sees it.Willi Bauer, the man, is as profound and interesting as his paintings. Influenced by his environs inspired by all that is around him, Bauer neither limits himself, nor his art to a couple of favorite themes. His paintings are composed of all aspects of life from depictions of serene provincial gatherings in summer to the tranquility and solitude winter can portray. The joyful exuberance of engaging in social activities, the calmness and passivity of introspection and reflection are reproduced on his canvases in sparking colors and firm brush strokes. Indeed, he is a complete man and his work represents such characteristics, normally not recognized in artists until after their deaths.

ARTIST: Donald Dudley (California, New York, born 1930)NAME: GYANAJUATO III (titled on verso)MEDIUM: oil on boardCONDITION: Minor paint losses along edges. No visible inpaint under UV light. Damages to frame.SIGHT SIZE: 36 x 48 inches / 91 x 121 cmFRAME SIZE: 37 x 49 inches / 93 x 124 cmSIGNATURE: lower right and on versoCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120879US Shipping $219 + insurance.BIOGRAPHY:Born in Los Angeles, CA in 1930, Don Dudley's work has been the subject of solo exhibitions at prominent institutions including MoMA PS1 Contemporary Art Center (1982) and New Museum of Contemporary Art (1984) in New York, NY.Throughout his seventy-year career, Don Dudley has challenged artistic conventions and the traditional concept of painting by incorporating industrial materials in his work such as aluminum, lacquer, homasote and plywood, creating subtle and sophisticated wall works that stand out for both their elegance and formal intelligence.Dudley's first solo presentation was at New Gallery in Houston, TX. Subsequent solo shows were held at La Jolla Museum of Art, La Jolla, CA; I Gallery, La Jolla, CA; John Doyle Gallery, Paris, FR; Galerie Alfred Schmela, Dusseldorf, DE; Galerie Farideh Cadot, Paris, FR; Art, Design & Architecture Museum, UC Santa Barbara, CA ; Pam Adler Gallery, New York, NY; I-20 Gallery, New York, NY; Mendes Wood, Sao Paulo, BR; Galerie Thomas Zander, Cologne, DE; and Magenta Plains, New York, NY.Select group exhibitions at major institutions include "Contemporary American Painting" at the Whitney Museum of American Art, New York, NY; "Double Take" at New Museum of Contemporary Art, New York, NY; "Corners" at Vera List Art Center at MIT, Boston, MA; "Activated Walls" at the Queens Museum of Art, New York, NY; TWO x TWO for AIDS and Art, Dallas, TX; Annual Contemporary Art Auction, Dallas, TX and most recently, "Between Two Worlds: Art of California" at San Francisco Museum of Modern Art, CA. Dudley lives and works in New York, NY and Kerhonskon, NY.

ARTIST: Theophile Emmanuel Duverger (France, 1821 - 1886)NAME: Classroom AnticsMEDIUM: oil on boardCONDITION: Very good. Minor stable craquelure. No visible inpaint under UV light.SIGHT SIZE: 14 x 10 1/2 inches / 35 x 27 cmFRAME SIZE: 24 x 20 inches / 60 x 50 cmSIGNATURE: lower leftPROVENANCE: Auctioneer James D Julia, Date 2017-02-09, Lot 1248CATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120893US Shipping $60 + insurance.BIOGRAPHY:Sympathetic genre scenes, especially those including children, proliferated during the mid-nineteenth century in France, often finding their inspiration in 17th-century Dutch paintings. Artists combined the experience of the Realist painters and their depiction of scenes from everyday life - without the occasional grittiness of their depictions - with the increasing interest in children to generate a series of charming images evoking the pleasant simplicity of rustic life. Theophile-Emmanuel Duverger, like Benjamin Eugene Fichel, contributed to this genre tradition, creating sentimental and nostalgic images that continue to retain their appeal for today's audience.Theophile-Emmanuel Duverger was born in Bordeaux, France, on September 17, 1821. Duverger was an exceptional character since he was an autodidact, skipping the formal training taken by many of his contemporary artists who also found success at the Parisian Salon. Instead, Duverger relied on his artistic inclinations based on his experience with nature, especially during his time at Ecouen, as well as his understanding of other painters whose works he may have seen while visiting museums. This type of personal training had its benefits since one could follow whatever path they desired instead of being brought into the occasionally tumultuous world of the Parisian ateliers, where rivalries often ran rampant and occasionally polarized the art community.While Bordeaux did have its own art scene, Duverger relocated to the art colony of Ecouen, started by Pierre Edouard Frere, in the Seine-et-Oise region near Paris, where Duverger eventually found success at the Salon and later commissions. The Ecouen colony boasted many other artists, including Auguste-Frederic-Albert Schenk, Jules-Jacques Veryrasset, Emile Lambinet, Emile-Louis Vernier, and Andre-Henri Dargelas, among several others. Duverger was Dargelas' father-in-law, and their work shows many similar tendencies. Duverger may have been inspired by Frere's compositions which also focused on depicting the home, family, and especially children. Ecouen, just eight miles outside of Paris, was the perfect location for artists to retreat from the bustling city and maintain close ties with the Salon.Duverger began exhibiting at the Salon at a critical time - 1846, even before the Salon was held in the Louvre and just two years before the 1848 Revolution, when Parisians took to the streets in revolt against the corrupt government of the July Monarchy. Duverger's images were far removed from the grim reality of the social and political scene in Paris at this time and instead focused on the cheerful nature of family life in rural France. But this imagery evolved only over time, and in his early years, he began his public showings with portraiture. His debut painting at the Salon of 1846 was Portrait of Mademoiselle Z...D....After the 1848 Revolution, France ushered in the Second Republic and later the Second Empire. Duverger's charming and unchallenging imagery found a ripe audience during this period of the Second Empire in Paris. A Time when an increasing middle class began to seek out artists and imagery that had removed itself from the heavily academic interests of many of the other Salon artists still practicing historical or mythological painting. It was not until the early 1850s that Duverger moved away from exhibiting portraiture at the Salon to paintings that were more representative of the style now commonly associated with him. In 1861, fifteen years after first exhibiting at the Salon, Duverger earned his first award; a third-class medal for his numerous showings, including La Gamelle du Grand Papa (The Mess Tin of Grandfather), Attente (The Wait), Echard (The Splinter), La Convalescence, (The Convalescence), Les Dames de Charite (Women of Charity). In 1863 he received an honorable mention, and in 1865 he received a second medal for Le Paralytique (The Paralytic) and Le Laboureur et Ses Enfants (The Worker and His Children). The Salon critic, Louis Auvray, was taken with the latter painting and wrote in his Salon review, Exposition des Beaux-Arts: Salon de 1865, that:The painting of the worker and his children, by Mr. Duverger, is a composition that touches you profoundly. The worker, feeling that life is leaving him, brings together his children around his bed, and, holding out his hand to his oldest son, begs him to return to his duty. The child, with his head down, overwhelmed by the reproach, struggles internally against his negative bents, which he tries to dominate to promise a return to the better. But his wife, who is breast-feeding her last child, appears to doubt that there will be any change possible to her husband's bad behavior.Duverger also submitted his work to the 1889 Exposition Universelle in Paris, where he received a bronze medal. In 1893 his painting L'Intemperance (Intemperance) was shown at the 1893 Columbian Exposition in Chicago. Duverger continued submitting his work to the Salon until 1898. Towards the end of his career, he, like many other artists, began exhibiting drawings and paintings, but for his last work, Duverger exhibited the painting Allant aux Champs (Going to the Fields). He died on August 25, 1898.Duverger showed a range of capabilities in his choice of imagery, ranging from the most well-known cheerful scenes of domestic life, but also knew how to speak to a more aristocratic audience with works that concentrated on the luxury of idleness and the splendor of interior settings. Examples of his work can now be found in the Musee des Beaux Arts, Bordeaux; Le Musee Artistique et Archeologique, La Roche-sur-Yon, and the London Guildhall Art Gallery.

ARTIST: Christian Sell I (Germany, 1831 - 1883)NAME: A Calvary SkirmishYEAR: 1883MEDIUM: oil on boardCONDITION: Missing one flake of paint by the upper edge. No visible inpaint under UV light. Wear to frame.SIGHT SIZE: 7 x 9 inches / 17 x 22 cmFRAME SIZE: 9 x 11 inches / 22 x 27 cmSIGNATURE: lower leftCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120778US Shipping $42 + insurance.BIOGRAPHY:Born in Hamburg Altona, the painter Christian Sell studied at the Dusseldorf Academy under Hildebrandt and W. Von Schadow from 1851 to 1856. He undertook numerous study trips through Germany and Belgium. In his early works, he created historical war scenes from the 17th century. However, due to his participation in the wars of 1864, 1866 and 1870, he went over to the description of contemporary events, many subjects were of military genre of the time.He generally painted in oil on wood panel. Though he completed larger works, most were miniatures, less than 9" X 12". Works by Christian Sell are displayed in important collections, for example at the Military History Museum in Vienna, and the Berlin National Gallery.

ARTIST: Samuel Lancaster Gerry (Massachusetts, 1813 - 1891)NAME: Landscape with CowsMEDIUM: oil on canvasCONDITION: Missing one flake of paint by the lower edge. Minor craquelure. No visible inpaint under UV light. Minor damages to frame.SIGHT SIZE: 12 x 20 inches / 30 x 50 cmFRAME SIZE: 20 x 28 inches / 50 x 71 cmSIGNATURE: lower rightCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 121035US Shipping $75 + insurance.BIOGRAPHY:Samuel Lancaster Gerry was an artist in 19th-century Boston, Massachusetts. He painted portraits and also landscapes of the White Mountains and other locales in New England. He was affiliated with the New England Art Union, and the Boston Artists' Association. In 1857 he co-founded the Boston Art Club.Born in Boston, Gerry was self-taught as an artist. He showed works in many public settings, such as the 1841 exhibit of the Massachusetts Charitable Mechanic Association; and an 1879 exhibit of contemporary art at the Museum of Fine Arts, Boston. He attended the 1860 convention of the National Art Association in Washington, DC. Students of Gerry included H. Frances Osborne, Samuel Green Wheeler Benjamin, Fannie Elliot Gifford, Charles Wesley Sanderson, and J. Frank Currier. With the exception of three years abroad, his professional life was passed chiefly in Boston.Like many 19th century artists, Samuel Lancaster Gerry began his career as a sign and decorative painter before looking abroad for inspiration. He traveled to England, France, Switzerland and Italy during the mid-1830s, befriending fellow artist George Loring Brown, and falling under the influence of Barbizon painter Constant Troyon. While remaining largely self-taught, Gerry eventually established himself as a successful genre and landscape artist in his hometown of Boston. There, he taught classes at the Tremont Street Studio Building, became a leading promoter of the arts, and exhibited in nearly every Boston Art Club exhibition from its inception until the year he died. He also exhibited at the National Academy, the Pennsylvania Academy of the Fine Arts and the Boston Athenaeum, and made frequent trips throughout New England and the Lake George region of New York procuring material for his poetic landscapes.

Ricardo Wolfson - Chora III, screen print, 51x35.5cm, signed and numbered in pencil to the margin 108/250, and two others by the artist, together with a pair of framed Christies Contemporary Art Gallery poster prints for Ricardo Wolfson (5)

Joseph Beuys (1921-1986) Letter from London, lithography, Lithographie/Papier, rückseitig signiert Joseph Beuys, betitelt Letter from London - Darstellung einer Tafelzeichnung von 1974 anlässlich der Ausstellung Art into Society – Society into Art im Institute of Contemporary Art in London, Blattmass H 10,5 cm x B 13,5 cm, Rahmen 29 x 21 cmlithography/paper, signed on the reverse Joseph Beuys, titled Letter from London - iIllustration of a blackboard drawing from 1974 on the occasion of the exhibition Art into Society – Society into Art at the Institute of Contemporary Art in London, sheet dimensions H 10.5 cm x W 13.5 cm, frame 29 x 21 cm

A specially commissioned Dresser Base or Sideboard, principally of oak construction with a Burr walnut top. The five front and two rear legs being of elegant turned form united by a pot board base, there being four free running frieze drawers of Jacobean style with tear-drop handles, 83 3/4'' long x 17 3/4'' deep x 33'' high, keys present. A contemporary demonstration of the modern cabinet maker's art.

ASGER JORN (1914-1973)Douleur silencieuse 1960 signéhuile sur toilesignedoil on canvas61.5 x 90 cm. 24 3/16 x 35 7/16 in.Réalisé en 1960.Footnotes:Cette œuvre est enregistrée dans les archives du Museum Jorn, Silkeborg. Provenance Galerie Ariel, ParisCollection particulière, EuropeVente : Christie's, Amsterdam, Post War and Contemporary Art, 15 mai 2012, lot 2 Die Galerie, FrankfortAcquis auprès de celle-ci par le propriétaire actuelExpositionRome, La Medusa, Studio d'Arte Contemporanea, Asger Jorn, opere scelte dal 1950 al 1960, 1961BibliographieM. Ragon, Asger Jorn, Cimaise, art et architecture actuels, N° 51, Paris 1961, p. 54, illustré en noir et blancG. Atkins, Asger Jorn, the crucial years 1954-1964, Paris 1977, n° 1260, n.p., illustré en noir et blancAsger Jorn est un des plus importants artistes danois du XXe siècle. En 1936, il arrive à Paris et intègre l'atelier de Fernand Léger puis collabore au décor du Pavillon des Temps Nouveaux à l'exposition universelle sous la direction du Corbusier. Il retourne au Danemark pendant la guerre et apprend les leçons des grands maîtres de l'abstraction tels que Vassily Kandinsky, Paul Klee ou encore Joan Miro avant de revenir en France en 1947. En 1948, il devient le membre fondateur du mouvement Cobra dont il sera le théoricien. Cette année marque également sa première exposition personnelle à Paris à la galerie Breteau. Entre les années 1950 et 1960, il joue un rôle fondamental dans plusieurs mouvements d'Avant-Garde : Le Mouvement International pour un Bauhaus imaginiste (1953-1957) et l'Internationale situationniste (1957-1960). Cet engagement à la fois intellectuel et artistique démontre sa personnalité combattive et insatiable. En effet, il se battra toute sa vie pour la liberté totale de l'art. Cette œuvre est emblématique de la spontanéité et la liberté si chères au cœur de Jorn. Une liberté qui transparait par une peinture vive, intense et colorée exprimant la violence, le désespoir de ce monde. Un an après sa réalisation, cette œuvre est reproduite dans le numéro 51 de Cimaise, revue de référence consacrée à l'actualité de l'art contemporain écrite par Michel Ragon, critique d'art et ami de Jorn. En 1961, cette œuvre est aussi exposée à Rome à Lo Studio D'Arte La Medusa lors d'une exposition consacrée aux œuvres de Jorn entre 1950 et 1961. Cette œuvre à l'image de son auteur a sillonné et séduit le marché de l'art.Asger Jorn is regarded as one of Denmark's most influential artists of the twentieth century. In 1936, he arrived in Paris and joined Fernand Léger's studio, then worked on the décor of the New Times Pavilion at the Universal Exhibition under the direction of Le Corbusier. He returned to Denmark during the war and learned from the great masters of Abstract Art such as Vassily Kandinsky, Paul Klee and Joan Miro before returning to France in 1947. In 1948, he became a founding member of the Cobra movement, of which he was the theoretician. This year also marks his first solo exhibition in Paris at the Breteau Gallery. Between the 1950s and 1960s, he played a fundamental role in several Avant-Garde movements: the International Movement for an Imaginative Bauhaus (1953-1957) and the Situationist International (1957-1960). This commitment, both intellectual and artistic, demonstrates his strong-minded and proactive personality. Indeed, he will fight for absolute artistic freedom throughout his life. This artwork is emblematic of the spontaneity and freedom so dear to Jorn's heart. A freedom that manifests through in a lively, intense and colourful painting that expresses the violence and despair of this world. A year after its creation, this piece was reproduced in issue 51 of Cimaise, a reference review of contemporary art written by Michel Ragon, art critic and friend of Jorn. In 1961, this work was also displayed in Rome at Lo Studio D'Arte La Medusa in an exhibition devoted to Jorn's work between 1950 and 1961. This work, just like its author, has travelled and seduced the art market.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

JOANA VASCONCELOS (Née en 1971)Love in a Box 2015 carreaux peints, laine, perles en acrylique, polyester, contreplaqué, ferpainted tiles, wool, acrylic beads, polyester, plywood, iron226 x 123 x 46 cm. 89 x 48 7/16 x 18 1/8 in. Réalisé en 2015.Footnotes:ProvenanceAcquis auprès de l'artiste par le propriétaire actuelExpositionsToulon, Hôtel Départemental des Arts, Joana Vasconcelos. Exagérer pour inventer, 2018, p. 51, illustré en couleurs Wakefield, Yorkshire Sculpture Park, Beyond, 2020 - 2022, p. 11, illustré en couleursBibliographieDanilo Eccher, LOVE. L'arte contemporanea incontra l'amore., Milan 2016, p. 291, illustré en couleursNée à Paris, en 1971, c'est à Lisbonne que Joana Vasconcelos suit des études d'arts visuels à l'Ar.Co entre 1989 et 1996. Elle remporte de nombreux prix comme le prix jeunes artistes EDP en 2000, le Tabaqueira Fonds pour l'Art Public en 2003 ou encore le prix de la Fondation Berardo en 2006. En 2012, elle est la première artiste femme invitée à exposer dans le château de Versailles, puis, en 2013, représente le Portugal à la Biennale de Venise. Plus récemment en 2018, le musée Guggenheim de Bilbao a accueilli l'exposition Joana Vasconcelos. Je suis ton miroir, présentant une sélection exceptionnelle de 30 œuvres comprenant des œuvres monumentales et inédites.Artiste engagée, Joana Vasconcelos développe une œuvre politique, engageant une réflexion autour de la domesticité, de l'égalité des sexes et de la société de consommation. Détournant les objets du quotidien et en les associant parfois à l'artisanat, le savoir-faire portugais, elle offre des sculptures, des installations et des monuments qui prennent souvent place dans l'espace public. Love in a Box, réalisée à partir de carreaux de céramiques faits à la main par l'usine Viúva Lamego s'inscrit dans la tradition des azulejos qui ornent les murs de Lisbonne et que l'on retrouve notamment dans les cuisines. Les carreaux forment une fenêtre, leur surface est froide et dure. Ils sont néanmoins transpercés par des fils de laine souples à la texture douce et chaude. Ce contraste saisissant entre les matières et la disposition traversante des éléments annonce une implosion : la fin de l'enfermement des femmes dans leurs taches domestiques et l'égalité des sexes.Cette œuvre a été récemment exposée en Angleterre au Yorkshire Sculpture Park de Wakefield lors de l'exposition Beyond entre 2020 et 2022 mais également en France, à l'Hôtel Départemental des Arts de Toulon en 2018 lors de l'exposition personnelle : Joana Vasconcelos. Exagérer pour inventer. On retrouve les œuvres de Joana Vasconcelos dans les collections permanentes de nombreuses institutions muséales mondiales : National Museum of Women in the Arts à Washington, D.C aux Etats-Unis ; Museo de Arte Contemporáneo de Castilla y León en Espagne ; Amorepacific Museum of Art – à Séoul en Corée du Sud ; et le Musée d'Art Moderne et Contemporain de Strasbourg en France.Son activité sera de plus en plus prédominante dans le paysage culturel européen comme en témoigne le calendrier de ses prochaines expositions. Dans le cadre la saison culturelle France-Portugal, Joana Vasconcelos sera à l'honneur dans notamment deux manifestations d'envergure : Arbre de vie à Paris à la Sainte-Chapelle de Vincennes, Jardin d'Eden à la Maison Folie de Wazemmes de Lille ainsi qu' une installation de la série des Valkyries pour la gare de Lille-Flandres. Au Royaume-Uni, le Waddesdon Manor accueillera également une commande spéciale Wedding Cake pour la Rothschild Foundation.L'engouement international des institutions privées et publiques pour les œuvres de Joana Vasconcelos témoigne de l'importance de cette artiste qui ne cesse de se renouveler dans des créations engagées et saisissantes.Born in Paris in 1971, Joana Vasconcelos did her studies in Lisbon in visual arts at Ar.Co between 1989 and 1996. She won numerous prizes, including the EDP Young Artists Prize in 2000, the Tabaqueira Fonds for Public Art in 2003, and the Berardo Foundation Prize in 2006. In 2012, she became the first woman to be invited to exhibit at the Palace of Versailles, before going on to represent Portugal at the 2013 Venice Biennale. In 2018, the Guggenheim Museum Bilbao hosted the exhibition Joana Vasconcelos. I'm your mirror, presenting an exceptional selection of 30 works including monumental and unseen works. A socially engaged artist, Joana Vasconcelos has developed a politically orientated work, dealing with themes such as domesticity, gender equality and the consumer society. Transforming and reappropriating everyday objects, sometimes linking them to Portuguese artisan techniques, her practice includes sculptures, installations and monuments present in public spaces.Love in a Box made from ceramic tiles handmade by the Viúva Lamego factory hails to the tradition of the azulejos that adorn the walls of Lisbon, notably in the kitchens. The tiles form a window, their surface is cold and hard. Yet here, they are pierced by supple woolen threads of a soft and warm texture. This striking contrast between the materials and the cross-over layout of the elements announces an implosion: the end of the imprisonment of women in their domestic tasks in a move towards gender equality. This work was recently exhibited in England at the Yorkshire Sculpture Park in Wakefield during the Beyond exhibition between 2020 and 2022, before being featured in France at the Hôtel Départemental des Arts in Toulon in 2018 for her solo show Joana Vasconcelos. Exagérer pour inventer.The works of Joana Vasconcelos are present in the permanent collections of many museums across the globe, including the National Museum of Women in the Arts in Washington D.C. in the United States, Museo de Arte Contemporáneo de Castilla y León in Spain, the Amorepacific Museum of Art in Seoul, South Korea and the Museum of Modern and Contemporary Art of Strasbourg in France.Her work is taking a predominant place in the European cultural landscape, as evidenced by her upcoming exhibitions. As part of the France-Portugal cultural season, Joana Vasconcelos's work will be featured in two major cultural events: Arbre de vie in Paris at the Sainte-Chapelle de Vincennes, Jardin d'Eden at the Maison Folie de Wazemmes in Lille as well as an installation from the Valkyries series for the Lille-Flandres railway station. In the UK, Waddesdon Manor will present Wedding Cake, a work specially commissioned for the Rothschild Foundation.The high level of enthusiasm from international private and public institutions for the works of Joana Vasconcelos testifies to the importance of this artist, who continues to renew her artistic language through socially engaged and striking creations.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

ALEXANDRE ISTRATI (1915-1991)Jaune 1990 signé ; signé, titré et daté 1990 au revershuile, gouache et ruban adhésif sur toilesigned ; signed, titled and dated 1990 on the reverse oil, gouache and adhesive tape on canvas97.5 x 130 cm.38 3/8 x 51 3/16 in.Footnotes:ProvenanceCollection particulière, ParisVente : Artcurial, Paris, Contemporary Art-1950 to Present, 11 mars 2020, lot 503Acquis dans cette vente par le propriétaire actuelThis lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the car remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où la voiture reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

JUAN BAUTISTA PORCAR RIPOLLÉS, (Castellón de la Plana, Castellón, 1889 - 1974)."Flowers" 1940.Oil on canvas.Signed in the upper left corner and dated on the back.Measurements: 46 x 61 cm; 57 x 72 cm (frame).Trained with Vicente Castell, in 1906 he travels to Valencia thanks to a scholarship, and enters the School of Fine Arts of San Carlos. Four years later he settled in Barcelona, where he studied at the Escuela de La Lonja. After completing his studies, in 1915 he returned to Castellón, where he founded the Agrupación Ribalta, which focused on landscape painting. A regular at the Círculo Artístico de Sant Lluc in Barcelona, he made his individual debut at the La Pinacoteca gallery in 1918, where he continued to exhibit frequently from then on. He took part in the Barcelona International Exhibition of 1929, as well as in international competitions in Venice, Oslo, Buenos Aires and Paris. In 1954 he won the first medal at the National Exhibition of Fine Arts, an award which brought him definitive recognition. Porcar is represented in the Museums of Fine Arts in Valencia, Alicante and Castellón, the Museum of Contemporary Art in Vilafamés, the Lladró Museum and the National Theatre Museum in Almagro, among others.

RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Day at the beach, Barcelona".Ink, watercolour and gouache on paper.Signed in the lower right corner.Size: 28 x 18 cm; 48 x 39 cm (frame).In this work Opisso offers us a lively popular scene, brimming with narrative. The family gathered next to the beach hut is getting ready to leave: a mother tries to put the little shoe on her little girl's shoe, another woman is fixing the ribbon tied around the little dog's neck? Each character appears individualised in attitudes, physiognomies and gestures. It is an image rich in detail and characterised by the vivacity of an author who was above all a great draughtsman and cartoonist.In his youth he took part in Barcelona's modernist environment, and in 1894 he began to work as an apprentice with Antoni Gaudí on the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his hometown at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).

VALENTIN DE ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879-1963)."Segoviana con bola dorada", ca.1915-1920.Oil on canvas.Signed in the lower right corner.Bibliography: Revista Plus Ultra, nº 55, year V. Buenos Aires, 1920.Size: 60,5 x 47 cm; 86 x 73 cm (frame).The retrospective and nostalgic look, full of tenderness, towards the regional roots that Valentín de Zubiaurre expresses in his paintings is on this occasion enhanced by the baroque resource of the crystal ball. It should be remembered that the reflecting sphere was used in the 17th century to enhance the complexity of perspective and the play of gazes, but also to allude to the passage of time. Pieter Claesz used it in both senses in his still lifes. The ball held by the old woman portrayed by Zubiaurre contains on its convex surface the self-portrait of the painter in his studio, the same resource used by Claesz in "Still Life with a Glass Sphere" (a canvas now in the Germanisches Nationalmuseum in Nuremberg), an image that the glass transforms into a spectral one, into pure memory, into indelible remembrance. This lends great expressive power to the painting as a whole. This work falls within the framework of the rise of regionalism in Spain in the second half of the 19th century and the first third of the 20th century, an art with a Romantic, costumbrista heritage and a realistic, meticulous style, which focused on depicting subjects, themes and characters reflecting a new sense of folklore. In this context, the painters sought to reflect the types and customs of their own land, which made it different and unique, thus vindicating the traditions and ways of dressing and behaving that were threatened by the notable growth of urban areas and the imposition of fashions brought in from outside.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and dumb, like his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a disciple of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero. In 1898 the two Zubiaurre brothers set out on a study trip that took them to France, Italy and the Netherlands. On their return to Spain they obtained a grant from the Diputación de Vizcaya in 1902, which enabled them to settle in Paris. They attended classes at the Académie Julian and became acquainted with modern trends, but were not permeable to their influence, mainly due to the weight of their academic training and their admiration for both the Flemish and Italian primitives and contemporary Spanish painters such as Darío de Regoyos and Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Fine Arts Exhibitions and was awarded several prizes; in 1908 he won the second medal and in 1917 the first. He was also distinguished with prizes from foreign institutions and won prizes at important international competitions held in the first decade of the 20th century, including those of Munich, Buenos Aires, Brussels, San Francisco and San Diego. From the 1920s onwards, the Zubiaurre brothers experienced their most successful period, both in Spain and internationally. After the war Valentín de Zubiaurre resumed his career in Spain, and his recognition became official with his appointment as a full member of the San Fernando Royal Academy of Fine Arts in 1945, culminating in the medal of honour awarded to him at the National Exhibition of Fine Arts in 1957, six years before his death. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Centre, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.

RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Market, Barcelona".Ink, watercolour and gouache on paper.Signed in the lower right corner.Size: 28 x 18 cm; 48 x 39 cm (frame).In this agitated urban scene, some children try to feed a sheep under the amused gaze of their parents. They are in a Barcelona market, and part of the flock entertains other groups of passers-by at the back, next to a gallery of arcades. As was usual in this artist's compositions, the scene is brimming with narrative. Each character is individualised in attitudes, physiognomies and gestures.Opisso was a painter, draughtsman and cartoonist. In his youth he participated in Barcelona's modernist environment, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí on the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his hometown at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).

Reginald James LLOYD (1926-2020)Self PortraitScreenprintSigned, inscribed and dated 1970Artists Proof59 x 48cmThe Personal Collection of Jonathan Grimble Part IIJonathan Grimble (1942 - 2021) was well known in Cornwall as an art dealer and collector. Jonathan started collecting Cornish art in the mid-1980s with his wife Ann.Ann passed away in 2000, and Jonathan moved to Marazion where he successfully ran the Market House Gallery and brought many modern and contemporary artists to further prominence. He later ran the Porthminster Gallery and Westcotts Gallery in St Ives.Jonathan was heavily involved in the modern British and Cornish art scene and was an agent for the executors of Sandra Blow’s estate, which he ran from Sandra’s studio in St Ives.During his time as an art dealer, Jonathan put together his own incredibly impressive collection of Cornish and contemporary art, featuring artists such as Sandra Blow, Terry Frost, Alexander Mackenzie, Paul Feiler, Wilhelmina Barns-Graham, Fred Yates, Jack Pender, Trevor Bell, Paul Mount, John Milne, Denis Mitchell, Peter Lanyon and many more.David Lay Auctions were honoured to be asked by the executors of Jonathan’s estate to catalogue, market and sell Jonathan’s remarkable collection of Cornish and modern British art. After the huge success of the first sale, held in situ, in Jonathan's stylish seafront home overlooking Mounts Bay, we now have the pleasure of selling Part II, which will be sold in our auction rooms as part of our February Cornish & Fine Art sale.

Philip Wilson STEER (1860-1942)Decoration for Bourton House, ShrivenhamOil on canvasSigned and to verso label of The Fine Art Society and another label stating that it was lent by Hugh Molson, Esq., M.P91.5 x 68.5cmChristie's, London, Victorian & British Impressionist Art, 12 July 2012, lot 367; Private Collection, Birmingham, UK. Bourton House, near Shrivenham was the family home of the Butler family, including Spencer Perceval Butler (1828-1915), who was educated at Rugby under Dr. Arnold, and who took a first-class degree in Classics at Trinity College, Cambridge and Sir Cyril Butler, High Sheriff of Berkshire, made KBE in 1920, founder and past chairman of the Contemporary Art Society. His obituary asserted that his art collection included examples by Wilson Steer, Henry Tonks, Sargent, and Augustus John. This work is in very good unrestored condition. There is no sign of damage or re-touchingMinor issues: a yellowing varnish in areas detracts from the work and the canvas is not tight on the stretcher.

Incorruptible St Bernadettesmoke deposit from used votive candles on papersigned, titled and dated 2008 to the reverse30 x 38cmProvenance:With the Contemporary Art Society, where purchased by the present owner in March 2009Property of a London collector

Brotherspencil29 x 40.5cmProvenance:With Contemporary Art Society, London, where purchased by the present owner in 2009Property of a London collector

OS GEMÊOS1974 Sao Paolo, BrasilienTitel: The Chicken of the Golden Egg. Datierung: 2008. Technik: Acryl und Sprühfarbe auf Holz. Maße: 244 x 244cm. Provenienz:- Deitch Projects, Los AngelesDie 1974 in S�o Paolo geborenen eineiigen Zwillingsbrüder Otávio und Gustavo Pandolfo firmieren unter dem Künstlernamen "Os Gêmeos", was im portugiesischen "Die Zwillinge" bedeutet. Sie haben ihre Wurzeln in der HipHop-, Breakdance- und Graffiti-Szene Brasiliens und sind die bekanntesten Graffiti-Künstler ihres Heimatlandes. Da anfangs das Geld für Material fehlte, füllten sie große Flächen auf Zugwaggons und öffentlichen Wänden mit Streichfarbe und zogen nur die Outlines mit der Spraydose. Die Farbkombination Gelb und Dunkelrot dominiert ihre typischen HipHop Graffitis, bestehend aus Buchstaben und BBoy-Charakteren, und wird zum Erkennungszeichen. Großflächig gesetztes Gelb wird dabei von dunkelroten Umrisslinien umfasst. Ihre Arbeiten haben häufig erzählenden Charakter. Sie wirken oftmals wie innere Traumwelten, die sich sowohl aus brasilianischer Volkskunst und brasilianischen Mythen sowie Themen der HipHop-Szene speisen. Die Bilder erscheinen surreal und poetisch, zeigen aber auch die Realität auf den Straßen S�o Paolos. Das großdimensionierte "Chicken of the Golden Egg" aus dem Jahr 2007 gibt ein typisches Beispiel dieser verwobenen Traumwelten, die sie bekannt gemacht haben.Mittlerweile sind "Os Gêmeos" in der internationalen Galerieszene angekommen und können auf institutionelle Ausstellungen verweisen, wie die im Jahr 2012 im renommierten Institute of Contemporary Art Boston, in Boston. Os Gemêos Brasilien Zeitgenössische Kunst Unikate 2000er Figurengruppe Gemälde Acryl RaumErläuterungen zum Katalog

MARTIN, KRIS1972 Kortrijk/BelgienTitel: Mandi XV. Datierung: 2007. Technik: Stahl und Bronze. Maße: 18 x 136 x 702cm. Exemplar: 2/2. Dem Werk liegt ein vom Künstler signiertes Zertifikat bei.Ausstellungen: - Kunsthalle Krems, 2010- Sint-Baafskathedraal, Gent 2012- Aargauer Kunsthaus, Aarau 2012- S.M.A.K. - Museum of Contemporary Art, Gent 2020Literatur:- Schoppmann, Wolfgang/Wipplinger, Hans-Peter (Hrsg.): Lebenslust & Totentanz - Olbricht Collection, Köln/Krems 2010, S. 98, AbbDas imposante liegende Metallschwert des 1972 in Kortrijk in Belgien geborenen Konzeptkünstlers Kris Martin zieht den Betrachter unmittelbar in seinen Bann. Es gehört zu einer Werkgruppe von Arbeiten gleichen Titels, von sehr unterschiedlichem Charakter. Verbindendes Element aller Werke ist ihr Titel "Mundi", ein italienisches Mundartwort aus der Region Friaul-Julisch Venetien, den auch das mächtige Metallschwert trägt. Dort in der Region, in der Stadt Udine, lässt Kris Martin in Zusammenarbeit mit einer italienischen Firma immer wieder Arbeiten fertigen. Bei seinen Arbeitsaufenthalten in Udine hörte er in den Cafés und Restaurants stets den Gruß der Menschen "Mundi" zur gegenseitigen Verabschiedung, einen Gruß, der sich von den italienischen Worten "Mano", Hand, sowie "Dio", Gott. ableitet. Mit der Verabschiedung "Mundi" geben sich die Menschen so gewissermaßen in "Gottes Hand".Religiöse Thematiken und Inhalte, die im Spannungsfeld zwischen Leben und Tod angesiedelt sind, finden häufig Eingang in die Skulpturen, Installationen oder Fotografien des Künstlers, der existentielle Fragen stellen möchte ohne vorgefertigte Antworten liefern zu wollen. "Es liegt mir fern, mit meiner Kunst zu missionieren. Ich zögere zwar nicht, in ihr große Fragen zu stellen wie die nach der Religion, aber für die Antworten fühle ich mich nicht zuständig." (In: Michel Stoeber: Der Idiot ist mein Held. Ein Gespräch mit Michael Stoeber, in: Kunstforum International, Vol. 224, Okt.-Dez. 2013, S. 195-205).Kris Martin lebt und arbeitet im belgischen Gent und gehört zu den wichtigsten zeitgenössischen Konzeptkünstlern Belgiens. Institutionelle Einzelausstellungen fanden u.a. in der Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2013); der Kestnergesellschaft Hannover, dem Kunstmuseum Bonn, dem Aargauer Kunsthaus, Aarau (2012); dem Lehmbruck-Museum Duisburg (2012) und dem Kunsthistorisches Museum, Wien (2012) statt. Kris Martin Belgien Konzeptkunst Zeitgenössische Kunst Objekte 2000er Krieg Skulptur Bronze BelgienErläuterungen zum Katalog

QI, ZHILONG1962 Hohhot/MongoleiTitel: Marilyn Monroe with Chinese Girl. Datierung: 2006. Technik: Öl auf Leinwand. Maße: 162 x 130cm. Bezeichnung: Signiert und datiert verso: Qi Zhilong 2006. Rahmen/Sockel: Rahmen. Provenienz: - Galerie Frank Schlag, EssenAustellungen:- Xin Dong Cheng Space for Contemporary Art, Peking 2007- Museum Folkwang, Essen 2007. Zhilong Qi China Zeitgenössische Kunst Unikate 2000er Porträt Gemälde Öl ChinaErläuterungen zum Katalog

ZINK YI, DAVID1973 Lima, PeruTitel: Ohne Titel (Architeuthis). Untertitel: 4-teilige Bodeninstallation. Datierung: 2010. Technik: Keramik, beschichtet mit Kupfer und Blei.Maße: 33 x 480 x 210cm. Bezeichnung: Monogrammiert am unteren Element oben: DZY. Dem Werk liegt ein vom Künstler unterschriebene Zertifikat der Galerie Johann König, Berlin bei.Austellungen: - Georg-Kolbe-Museum, Berlin 2012David Zink Yis große Bodenskulptur aus Keramik repräsentiert auf fast naturalistische Weise einen Architeuthis. Diese Riesenkalmare aus der Gattung der Kopffüßer leben in einer Meerestiefe von über 300m bis hin zu 1000m und verfügen über einen fast einen Meter langen Kopf, einen Rumpfabschnitt sowie acht recht kurze sowie zwei längere Arme. Seit Beginn der Tiefseefischerei mit Schleppnetzen sind häufiger Fänge dieser großen Meerestiere bekannt, auch finden sich gelegentlich Überreste in den Mägen von Pottwalen, denen sie als Futtertiere dienen. David Zink Yi macht sie zum Thema einer Serie von großen Bodenskulpturen, die jeweils einen Kalmar, Tintenfisch oder Krake leblos, wie an Land gespült zeigt, seinem ursprünglichen Element entrissen. Genau dieser Moment zwischen den Welten und Zuständen interessiert den Künstler. Herausgenommen aus seiner natürlichen Umgebung ist der in seinem Element der Tiefsee so flüchtige Architeuthis nicht lebensfähig, wird zu einem leblosen Relikt der Natur, so formulierte er es anlässlich einer Gruppenausstellung 2012 in der Tate Modern, in der eine seiner großem Keramikskulpturen des Kalmars gezeigt wurde.".sure, these molluscs in general offer a fascinating motif for sculpture, but for me it's not so much about a realistic reproduction of Nature, but more a reference to this strange moment when these creatures reveal themselves to us, as a kind of garbage of Nature. It is this moment that is for me a much more intriguing motif."Der 1973 in Lima geborene peruanische Künstler kam im Alter von sechzehn Jahren nach Deutschland. Er studierte an der Akademie der Bildenden Künste in München sowie an der Universität der Künste in Berlin. David Zink Yi arbeitet in den Medien Bildhauerei, Film, Fotografie und Performance und unterrichtet seit 2021 an der Hochschule für Bildende Künste in Braunschweig freie Kunst mit Schwerpunkt Bildhauerei. Seine Arbeiten sind in wichtigen institutionellen Sammlungen vertreten, so u. a. im Museum Ludwig in Köln, dem Museum of Contemporary Art in Los Angeles und dem Museo de Arte in Lima. David Zink Yi Deutschland Zeitgenössische Kunst Objekte 2010er Tiere Skulptur Keramik MeerErläuterungen zum Katalog

EDGAR PLANS (Madrid, 1977)."A facial anatomie", 2007.Mixed media on canvas.Signed, titled and dated in the lower left corner and on the reverse.What can be seen on the reverse are traces of paint and matter.Certificate of authenticity attached.Measurements: 120 x 120 cm.In this painting, the artist presents us with a portrait in the purest abstract style. The way in which he composes his "facial anatomy" reminds us of Basquiat, to whom he makes a wink by placing his iconic crown in the upper right corner. The way he composes the portrait also reminds us of the aforementioned artist, as he divides the face into several quadrants and each one of them gives us different information, even writing which part of the face it represents. The artist's exercise goes beyond the main image, conceiving the work as a whole, in which the sides or edges, and the back of the canvas, also form part of the painting.In the words of the artist himself, "Even as a child I have engraved in my memory the cocking of the keys of my father's typewriter (Juan José Plans, 1943-2014). In his studio he had a low table with four seats, and around it, while he was writing, I remember drawing with my brothers". His academic training began at the age of 15 when he started studying at the studio of the artist José María Ramos. Two years later, Plans, he opened his own studio, which had in turn been the studio of the artist Nicanor Piñole. Throughout his career he has participated in numerous group and solo exhibitions, including Art Notes 019, Ainori Gallery, Lisbon, Wall Art Notes, Galería Miquel Alzueta, Barcelona, ArtWynwood. Casa Cuadrada Gallery, Art Paris Art Fair. Miquel Alzueta Gallery, Art New York. Cuadrada Gallery, Busan, Korea. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Kiaf Art Fair. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Art Taipei, Ting Ting art Space, London Art Fair. Miquel Alzueta Gallery, Juxtapoz magazine selection, Tales of art Gallery, Imola, Italy, Kiaf Art Fair. Pigment Gallery in collaboration with Miquel Alzueta Gallery, Art Miami. Miquel Alzueta Gallery. Currently his work can be found in numerous collections of great artistic relevance of particular character, and in relevant institutions such as; the Museum of Contemporary Art of Havana, Cuba, the Museum of Fine Arts of Asturias, the Pinacoteca Eduardo Úrculo, the Illuro Foundation, Masters of Contemporary Art, the Laboral, Contemporary Art Centre, the La Caixa Foundation, the Cristina Peterson Foundation, the Masaveu Foundation, and the Junta del Gobierno del Principado de Asturias, among many others.

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Passage De L'Egyptienne 4.Etching aquatint on paper.Signed in pencil in lower right corner.Measurements: 56 x 43 cm; 82 x 69 cm (frame).In this work we can observe soft greyish lines on which a big eye is located on the left side of the composition, at the same time we can find the classic chromatic palette of the author with the use of red, blue, yellow and magenta.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 Dalmau Galleries 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, his style matures; he tries 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. His work can currently 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 Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

CHEMA MADOZ (Madrid, 1958)"Untitled. 1992.Black and white photography.It has a label from the Madrid gallery Moriarty, on the back.Size: 33 x 33 cm; 62 x 52 cm (frame).Visual paradox is the fertile ground in which Chema Madoz moves. His way of interpreting art through photography and his poetic vision make Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths. Playing with the everyday, generating associations, metamorphoses, in a playful background, he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or the logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Award and the PHotoEspaña Award in 2000, and the Culture Award of the Community of Madrid in the category of Photography in 2012, among others.

JAUME PLENSA (Barcelona, 1955)."Li", 1988.Book-sculpture.Handmade paper and copper covers.Book with 12 etchings, edition of 35 copies, plus 5 P.A. plus 5 H.C., of which this is the 32/35. of which this is the 32/35th.Publisher: Tristan Barbará. Workshop: Baleta-Vibes, Barcelona 1988.Signed and justified by hand. As well as engravings numbers III and VII.Measurements: 59,5 x 52 x 3 cm .Book-sculpture with 12 etchings by Jaume Plensa and an unpublished poem by Jesús Ferrero. It contains twenty-eight loose sheets, kept in a rigid unvarnished copper box, based on an original design by Jaume Plensa, on handmade paper. Edition of 35 copies, plus 5 P.A., plus 5 H.C., of which this is the 32nd. of which this is the 32/35th.Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in terms of both material and form, and began to use different materials such as metal waste, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Le ramoneur furax", 1978.Lithograph on Arches vellum, copy 16/30.Signed and justified by hand.Work published in "Miró lithograph VI, 1976-1981", Maeght Éditeur, p. 102, ref. 1175.Size: 63 x 90 cm; 93 x 120 cm (frame).Joan Miró trained in Barcelona, between the Escola de la Lonja and the Galí Academy. Already in the early date of 1918 he makes his first exhibition, in 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. His work can currently 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 Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.