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Tongue (M. Helen) BUSHMAN PAINTINGS 4to (357 x 266 mm) Copied by M. Helen Tongue, with a preface by Henry Balfour. 48 page booklet containing 2 chromocollotypes - 1 double page and 4 plates, preface, introduction, notes on the Bushmen and list of plates with 1 loose sheet with 2 maps, 54 loose colour plates of Bushman paintings, all contained in a recently made maroon paper-covered solander box matching the original, some foxing on the loose plates mainly restricted to the backs and the edges. M. Helen Tongue was a school teacher at Rockland Girls’ High during the 1890s and 1900s in the town of Cradock in the Eastern Cape, South Africa. It was here that she met Dorothea Bleek, daughter of famous San linguist and ethnographer, Wilhelm Bleek. The two travelled widely visiting rock art sites in the region. Tongue developed a direct contact tracing technique to record each image (both painted and engraved) in its exact proportions and in its relationship to other images as they appeared on the rock surface. In this way, she took an important step beyond the pioneer recording work of George Stow. Tongue’s Eastern Cape copies are her earliest. Her first copy was made on a farm in Molteno District. In this early work, she worked alone. But, the bulk of her copies were made during three longer fieldtrips beyond the Eastern Cape border, together with Dorothea Bleek. At the beginning of 1906, Tongue and Bleek made a train trip from Cradock to Bloemfontein and Ladybrand (Free State), where they recorded various rock art sites. Most of the sites visited were located by using the descriptions of George Stow. A second expedition in the summer of 1906/07 took them through the Eastern Cape and into Lesotho. Their third and final expedition was by train to Fauresmith (Free State) and wagon to Luckhoff in the Karoo (Western Cape). In 1908 a selection of Tongue copies were exhibited at the South African Public Library in Cape Town and then at the Royal Anthropological institute in London. In 1909 a series of copies were brought together in a handsome portfolio of 54 plates and an accompanying book with two collotype plates and eight black-and-white photographs. Helen Tongue wrote descriptions for each site and each plate, Dorothea Bleek contributed “Notes on the Bushmen” and Henry Balfour wrote a preface. The book was titled Bushman Paintings, it was Tongue’s first and only rock art publication. The African Rock Art Digital Archive: http://www.sarada.co.za/people_and_institutions/researchers/helen_tongue/ Good Oxford At the Clarendon Press 1909

A 9ct gold Art Deco digital gentleman's wristwatch

Wesley van Eeden SECRET COUNTRY signed, dated 24/10/13 and enscribed with the title on the reverse mixed media on board Secret Country was completed over 3 days at the inaugural Cape Town Art Fair in October 2013. The work was conceptualized over 3 weeks and incorporates digital design and live painting - the final product being the result of a unique and contemporary application that has become popular with street artists worldwide. With van Eeden having experienced teaching in a disadvantaged school near Durban, he saw first-hand the problems that many of today`s youth face. Through this work he attempts to convey a message of hope; that no matter what situation which we find ourselves in, we can pull ourselves up and rise above it. Wesley van Eeden is a full-time artist and illustrator who works under the name `Resoborg`. He has a degree in illustration and has won numerous awards in the advertising industry. His work is housed in private collections globally. 1 270 by 90cm

Scarborough digital art trio framed and Scarborough Castle View acrylic by Susan Howson

Gentlemen's jump hour digital mechanical wristwatch on leather strap, in Art Deco-style rectangular case

A collection of 1960s-70s gowns, some psychedelic, to include a 60s purple crepe evening gown embellished with crystals and pearls with Watteau-effect beaded train, a matching purple crepe bolero with purple buttons, a Jean Allen psychedelic print chiffon gown, tinsel lamé gold jersey with op art print gown, 70s Shelana eau-de-nil jersey high neck gown, Gina Fratini patchwork floral Paisley lace trimmed `boho` dress, Sachs 5th Avenue geometric print cotton velvet maxi dress, digital print Mod mini dress, 60s electric blue satin gown, 60s green crepe gown, 70s grey chiffon gown with angel sleeves and 70s stripy jersey maxi dress. (12)

GABRIEL OROZCO Dot Ball, 1992 / 2006 Firmada y fechada 2006 al reverso. Impresión digital 32 / 40 Con certificado de autenticidad de Carolina Nitsch Contemporary Art, New York. (N. Jalapa, Veracruz, 1962 - ) Forma parte de: "Merce Cunningham Dance Company, New York Photo Portfolio 2006", el cual incluía ocho trabajos de artistas contemporáneos: Darren Almond, Robert Gober, Richard Hamilton, Christian Marclay, Bruce Nauman, Ernesto Neto, Terry Winters y Gabriel Orozco. La edición consta de 40 sets que fueron producidos por Carolina Nitsch. Área impresa: 66 x 91.4 cm papel: 76.2 x 101.6 cm

Mixed media photograph, Tom Sicurella, Lion of Lucerne Tom Sicurella (American, Contemporary), "Lion of Lucerne", mixed media (photograph, digital art), overall: 40.5"h x 53.5"w Starting Price: $50

Trix: H0 Gauge 3 rail electric Fine Art Marklin Digital Cat. Ref. 42223, Class T18 4-6-2 turbine Locomotive and Tender, Black, NM-M in a presentation box with certificate

Trix: H0 Gauge 3 rail electric Fine Art Marklin Digital Cat. Ref. 42220, Class S2/6 4-4-4 Locomotive and Tender, K Bay Green, no 3201, NM-M in presentation box with certificate

Frank Sinatra - The Capital Years twenty one CD boxset, CD`s re-mastered in State-of-the-Art, 20-bit digital audio, released 26th October 1998.

* CALUM COLVIN DA MA(RCA) RSA OBE VENUS AND PLUTO cibachrome print, signed verso 39cm x 49cm note: Calum Colvin was born in Glasgow and studied art in Dundee and London, before coming to prominence in the mid-1980s. His early interest in sculpture led him to develop his unique style of `constructed photography`, creating small sets from everyday objects to resemble domestic interiors. More recently he has used digital technology to generate images that often ask uneasy questions about what makes one truly Scottish. He has exhibited extensively in Europe and the United States and has worked on a number of commissions by the National Galleries of Scotland. His work is held in numer­ous col­lec­tions includ­ing the Met­ro­pol­i­tan Museum of Mod­ern Art, New York; The Museum of Fine Art, Houston; The Vic­to­ria and Albert Museum, Lon­don and the Scot­tish National Por­trait Gallery, Edinburgh. (Ref:mctfeb_1926)

Various artists. Ten Artists. Ten Digital Prints, The Integration of Computers within Fine Art Practice, Camberwell College of Arts & Chelsea College of Art and Design, The London Institute, 1998, 10 prints, each numbered and signed by the artist in pencil beneath, sheet size 47 x 33cm (18.5 x 13ins), loose as issued in original red cloth foldover box. Limited edition of 20. (1)

Louis le Brocquy HRHA (1916-2012) THE TÁIN. MAGIC CHARIOT, 1991 Aubusson tapestry; Atelier René Duché; (no. 2 from an edition of 9) signed with initials in the weave on reverse by maître-lissier, René Duché and numbered lower right; with certificate of authenticity sewn on reverse, signed, numbered, titled and dated by le Brocquy and Duché 72.5 by 50.7in., 184.15 by 128.778cm. Taylor Galleries, November 2000; Private collection Whyte`s, 29 November 2005, lot 112; Private collection Louis le Brocquy: Aubusson Tapestries, Thomas Agnew & Sons, London, 2001, unpaginated (illustrated) Woven at the Atelier René Douche, France. One of a series of 22 tapestries based on le Brocquy`s 1969 illustrations to The Táin. Issued in a limited edition of nine plus two artist`s proofs. "I hope that these images from Táin Bó Cuailgne, transmuted into the woven forms of tapestry, may be seen as a tribute to the poet Thomas Kinsella, who inspired them and to the devoted publisher and designer, Liam Miller, who gave them their original coherence" (Louis le Brocquy, op. cit.). Louis le Brocquy was living in France with his young family when he received a life-changing invitation, in December 1966. Publisher Liam Miller wanted him to collaborate with Thomas Kinsella on a new translation of Ireland`s oldest saga. Le Brocquy penned an enthusiastic affirmative that Christmas Eve and spent much of the next three years visualising An Táin Bó Cúailgne. In September 1969, Dolmen Press published it as The Táin. The Táin was born of some eighty stories about the Ulaidh, a prehistoric people who lived in the north and north-western regions of what is now called Ireland. Part epic, part soap opera, the tales were vivid, vicious, inconsistent and often rather rude. Oral versions survived for long enough to be collected by scribes, whose fragmentary manuscripts are now in Trinity College and the Royal Irish Academy. Translators and writers such as Lady Gregory and W.B. Yeats had retold some of the Cúchulainn tales - and Joyce`s Finnegans Wake drew on its meandering style - but Thomas Kinsella`s Táin was the first widely-accessible version, especially when Oxford University Press` 1970 paperback followed the de luxe and limited editions produced by Dolmen Press. The Táin marked a unique cultural moment, for Ireland and the world. The State had just celebrated the 50th anniversary of the 1916 Rising and was driving ahead with Seán Lemass` Second Programme for Economic Expansion. By 1969 when it was published, Northern Ireland was in conflict, and global events such as the Prague Spring, the assassinations of Martin Luther King and Robert Kennedy, as well as wars in Vietnam, Angola and elsewhere, underlined its themes of invasion and carnage. Meanwhile, The Beatles sang "All You Need is Love." Its impact was instant. Although characters like Cúchulainn and Ferdia, Medb and Aillil, were local, the collaborators translated them into a crisply contemporaneous style that resonated through the cultural hierarchy. It engaged lovers of art, language, music and Celtic studies, as well as popular culture. The Táin became an Irish Iliad, with Cúchulainn as a Superhero reincarnating to a new age of rock, cartoons and animation. The images le Brocquy called `shadows thrown by the text` became so iconic that it is almost impossible now to imagine The Táin differently. Yet no one had visualised the full saga previously and no artist from Ireland had engaged so thoroughly with pieces of writing in so collaborative a way. Le Brocquy made hundreds of drawings, many of which appear in the de luxe and limited editions, with a handful printed in the paperback and a precious twenty in tapestry. Communication was difficult in those pre-digital days because he was in France and Miller was in Dublin, so that many key design decisions relied on sending letters through the post. Le Brocquy`s innovative, daring approach cast the saga as a virtual alphabet composed of spontaneous, inky letters. This shows immediately in Army Massing, where marks cascade in rivulets that resemble both chain mail and hand-writing, and in the H-shaped Cúchulainn confronting Ferdia. Different ages and cultures whisper through the images - and through the twenty tapestries made during 1998-2000, when le Brocquy collaborated with maître-lissier René Duché, whose firm had recently been awarded the honour Meilleur Ouvrier de France. Cuchulainn`s Warp Spasm, for example, speaks both of calligraphic marks from Sun Tzu`s The Art of War and Yves Klein`s bodily-marked Anthropometries, as well as cave paintings traced by prehistoric peoples. The translation into tapestry, via le Brocquy`s Táin lithographs, crested on the momentum from oral to written traditions, from drama to poetry and from visual culture to music. Duché`s subtly-textured cottons and wools freed le Brocquy`s black-on-white marks into a textured, sensual material that illuminates the sense of a blot or stain without definite edges, which is what he wanted. Here, the statuesque shapes let le Brocquy grow the book`s relatively modest scale into a life-affirming series of interconnected images that speak to each other like letters in a phrase or sentence. Le Brocquy`s hand reaches out through each one. Medb Ruane April 2012 "

Two boxes containing approximately sixty-four hardback and paperback books subjects to include 'Tattoo Sauce Book', 'Isaac Asimov Trilogy', Adams (Douglas) book set comprising five books subjects to include 'The Hitchhikers Guide to the Galaxy', 'Life the Universe and Everything', etc, also 'The Art of War' and 'Aarrgghh!! It's War', being copies of the original battle picture library and war picture library etc books, 'Scifi' graphic history, 'Digital Fantasy Painting', etc

Louis le Brocquy HRHA (1916-2012) THE TÁIN COLLECTION Aubusson tapestry; Atelier René Duché (each no. 4 from an edition of 9) signed with initials in the weave on reverse by maître-lissier, René Duché and numbered lower right; with certificate of authenticity sewn on reverse, signed, numbered, titled and dated by le Brocquy and Duché 72.50 by 110in. (184.15 by 279.40cm) Provenance: Agnew`s, London; Where purchased by the current owner Exhibited: `Louis le Brocquy Aubusson Tapestries`, Agnew`s, London, 3-29 May 2001, The Táin Tapestries Louis le Brocquy was living in France with his young family when he received a life-changing invitation, in December 1966. Publisher Liam Miller wanted him to collaborate with Thomas Kinsella on a new translation of Ireland`s oldest saga. Le Brocquy penned an enthusiastic affirmative that Christmas Eve and spent much of the next three years visualising An Táin Bó Cúailgne. In September 1969, Dolmen Press published it as The Táin. The Táin was born of some eighty stories about the Ulaidh, a prehistoric people who lived in the north and north-western regions of what is now called Ireland. Part epic, part soap opera, the tales were vivid, vicious, inconsistent and often rather rude. Oral versions survived for long enough to be collected by scribes, whose fragmentary manuscripts are now in Trinity College and the Royal Irish Academy. Translators and writers such as Lady Gregory and W.B. Yeats had retold some of the Cúchulainn tales - and Joyce`s Finnegans Wake drew on its meandering style - but Thomas Kinsella`s Táin was the first widely-accessible version, especially when Oxford University Press` 1970 paperback followed the de luxe and limited editions produced by Dolmen Press. The Táin marked a unique cultural moment, for Ireland and the world. The State had just celebrated the 50th anniversary of the 1916 Rising and was driving ahead with Seán Lemass` Second Programme for Economic Expansion. By 1969 when it was published, Northern Ireland was in conflict, and global events such as the Prague Spring, the assassinations of Martin Luther King and Robert Kennedy, as well as wars in Vietnam, Angola and elsewhere, underlined its themes of invasion and carnage. Meanwhile, The Beatles sang "All You Need is Love." Its impact was instant. Although characters like Cúchulainn and Ferdia, Medb and Aillil, were local, the collaborators translated them into a crisply contemporaneous style that resonated through the cultural hierarchy. It engaged lovers of art, language, music and Celtic studies, as well as popular culture. The Táin became an Irish Iliad, with Cúchulainn as a Superhero reincarnating to a new age of rock, cartoons and animation. The images le Brocquy called `shadows thrown by the text` became so iconic that it is almost impossible now to imagine The Táin differently. Yet no one had visualised the full saga previously and no artist from Ireland had engaged so thoroughly with pieces of writing in so collaborative a way. Le Brocquy made hundreds of drawings, many of which appear in the de luxe and limited editions, with a handful printed in the paperback and a precious twenty in these tapestries. Communication was difficult in those pre-digital days because he was in France and Miller was in Dublin, so that many key design decisions relied on sending letters through the post. Le Brocquy`s innovative, daring approach cast the saga as a virtual alphabet composed of spontaneous, inky letters. This shows immediately in Army Massing, where marks cascade in rivulets that resemble both chain mail and hand-writing, and in the H-shaped Cúchulainn confronting Ferdia. Different ages and cultures whisper through the images - and through these twenty tapestries made during 1998-2000, when le Brocquy collaborated with maître-lissier René Duché, whose firm had recently been awarded the honour Meilleur Ouvrier de France. Cuchulainn`s Warp Spasm, for example, speaks both of calligraphic marks from Sun Tzu`s The Art of War and Yves Klein`s bodily-marked Anthropometries, as well as cave paintings traced by prehistoric peoples. The translation into tapestry, via le Brocquy`s Táin lithographs, crested on the momentum from oral to written traditions, from drama to poetry and from visual culture to music. Duché`s subtly-textured cottons and wools freed le Brocquy`s black-on-white marks into a textured, sensual material that illuminates the sense of a blot or stain without definite edges, which is what he wanted. Here, the statuesque shapes let le Brocquy grow the book`s relatively modest scale into a life-affirming series of interconnected images that speak to each other like letters in a phrase or sentence. They belong together. The tapestries were last seen at the Irish Museum of Modern Art in 2003, when they were acquired under the Heritage Tax Scheme. It is profoundly moving to see them together in these weeks after the artist`s passing on 25 April 2012. Le Brocquy`s hand reaches out through them. Medb Ruane April 2012 (£202,510-£243,010 approx)

A golf ball digital readout watch, after the famous Art Deco 1930s design by the Elgin Watch Co. of American, in chrome case, working order.

An Art Deco ladies wristwatch, rare and unusual 1936 design, Bucherer, jump hour solid 9 ct gold mechanical digital movement, working order.

Mudwig (British, b. 1980) Keller’s Dorp Hand finished digital image on box frame Unsigned 150cm x 100cm Original art work donated by the artist.This is a charity auction and Dreweatts take no responsibility for the condition of this lot. It is Dreweatts’ understanding that all lots have been executed, and entered for sale, by the artists specifically for this charitable cause. Dreweatts is taking no buyer’s premium or any other commission on sale, and is proud to be associated with this event.

Pair of bronze effect Art Nouveau style Figures of standing ladies and a Digital Calendar

Swiss Art Deco style pin palette digital pocket watch with a chrome sunburst style case, 43mm *See Meis Reinhard - Pocket Watches, page 255*

Paul Pfeiffer b. 1966 FOUR HORSEMEN OF THE APOCALYPSE (5) digital duraflex print 152.3 by 122.7cm.; 60 by 48.25in. Executed in 2000 this work is number 2 from an edition of 6 plus 1 artist's proof. Provenance Thomas Dane Ltd. London Literature Exhibition Catalogue Museum of Contemporary Art Chicago Paul Pfeiffer 2003 p. 25 illustration of another example in colour

Kem Weber (1889 - 1963) An Art Deco 'Zephyr' clock designed circa 1934 for Lawson Time the black and chrome body asymmetrically curved and inset with analogue ivorine digital numbers showing hours minutes and seconds bears label reads 'Lawson Electric Clock/ Pat. # 1990645/ Model P. 40/ Lawson Time Inc. Pasadena Calif./ Style No. 304' 20cm wide Literature; Meikle Jeffrey L. 'Design in the USA' published Oxford 2005 page 113 plate 63