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Africa.- Davis (Rev. Nathan) Evenings in my Tent; or, Wanderings in Balad Ejjareed...Various Arab Tribes of the African Sahara, 2 vol., first edition, colour lithographed frontispieces, 12 plates, of which 2 colour, engraved bookplate and small ink-stamp "RC", frontispieces very slightly offset, the odd spot, light foxing to endpapers, bound in calf by Riviere, spines gilt and with morocco labels, some scattered very light spotting to covers, a few light scratches or marks, some rubbing to spines and extremities, 8vo, Arthur Hall, Virtue & Co., 1854.

Polar.- Cherry-Garrard (Apsley) The Worst Journey in the World, 2 vol., first edition, half-title to vol. 2 only, frontispieces, plates, 10 panoramas, 5 maps (4 folding), one plate with small marginal loss not affecting image, folding panoramas and maps with occasional splits to foldlines and some neat tape repairs verso, spotting, ex-library with usual labels and stamps, later crushed morocco backed boards, rubbed, bumping to corners and extremities, 8vo, 1922.

Levant.- Coronelli (Vincenzo) Memoires, Historiques & Geographiques du Royaume de la Moree, Negrepont & des Places Maritimes, first Dutch edition, double-page engraved map, 41 double-page engraved maps and plans, of which 5 with short tears or small marginal loss, cracked hinges but holding firm, later calf, rubbed, bumping to corners and extremities, [Blackmer 407], small 8vo, Amsterdam, Wolfgang, Waesberge, Boom, & van Someren, 1686.

Africa.- Jessen (Burchard Heinrich) W. N. McMillan's Expeditions and Big Game Hunting in Sudan, Abyssinia, & British East Africa, first edition, frontispiece, plates and illustrations, large colour map in pocket at end, split into several pieces at foldlines, occasional very faint spotting, new endpapers, original cloth, rebacked retaining original backstrip, [Czech p.84], 8vo, privately printed, 1906. *** Jessen, a Norwegian, writes about four hunting expeditions to Africa, taken with the McMillans of St. Louis, Missouri.

Middle East.- Lawrence (T. E.) Seven Pillars of Wisdom, first trade edition, frontispiece, plates and illustrations, 4 folding maps, original buckram, slight bumping to corners and spine extremities, 4to, 1935.

Levant.- Knolles (Richard) & Sir Paul Rycaut. The Turkish History, from the Original of that Nation, to the Growth of the Ottoman Empire ... with a Continuation to this present year MDCLXXXVII, 2 vol. bound as 1, first collected edition, titles in red and black, engraved portrait frontispiece and 20 engraved plates only (of 21), 2N2-2V4 misbound before 2B1, ¶1-4¶ 2 misbound at end, occasional paper defects affecting odd letter, most affecting blank margins, one or two marginal tears and small marginal losses, tender and fraying edges towards end, marginal water-staining and faint spotting, occasional faint soiling, contemporary calf, rebacked and recornered, rubbed and worn, [Atabey 1076], folio, for Charles Brome, 1687. *** "Sixth edition of Knolles' Turkish History, but first collected edition of his and Rycaut's works." (Atabey)

Levant.- Rycaut (Paul) The History of the Turks beginning with the Year 1679, first edition, engraved portrait frontispiece and 6 engraved plates, previous owner's ink signature to title, 2R3 with short marginal tear, small marginal worming 4A2 to end, scattered spotting, modern endpapers, later reverse calf, rebacked and recornered, a little rubbed, [Atabey 363], folio, for Robert Clavell, 1700.

Africa.- Grogan (Ewart S.) & Arthur H. Sharp. From the Cape to Cairo, first edition, half-title, portrait frontispiece, illustrations (many full-page), 2 folding maps, one with short tear at gutter, one with large tear not affecting image, 2pp. advertisements at end, bookplate, previous owner's ink signature, scattered faint spotting, original pictorial cloth, rubbed, bumping to corners and extremities, 1900 § Kearton (Cherry) & James Barnes. Through Central Africa from East to West, first edition, half-title, colour frontispiece, plates, one folding map, scattered spotting, bookplate, original decorative cloth, slight bumping to corners and extremities, 1915 § Macdonald (Major J. R. L.) Soldiering and Surveying in British East Africa 1891-1894, first edition, half-title, frontispiece, plates, one folding plan, 8 folding maps, advertisements at end, spotting, cracked hinges, ex-library with usual labels and ink-stamps, original cloth, rubbed, bumping to corners and extremities, 1897, [Hosken p.88; p.113]; and others on Africa, 8vo (10)

Mountaineering.- Conway (Sir William Martin) Climbing and Exploration in the Karakoram-Himalayas, first edition, half-title, frontispiece, one folding map, occasional spotting, modern half-calf, 1894 § Johnson (H. C. Ross) A Long Vacation in the Argentine Alps, first edition, folding hand coloured map at end, ex-Motupipi Library with label to front pastedown, scattered spotting, original cloth, a little rubbed, slight bumping to corners and extremities, 1868 § Wilson (Andrew) The Abode of Snow, folding map, original cloth, slight bumping to corners and extremities, New York, 1875; 8vo (3)

Levant.- Habesci (Elias) The Present State of the Ottoman Empire, first edition, spotting, modern antique-style crushed morocco, [Blackmer 770], 8vo, 1784

Polar.- Shackleton.- Worsley (Frank Arthur) Endurance: an Epic of Polar Adventure, first edition, half-title, portrait frontispiece, plates, occasional very faint spotting, abrasion mark to final pastedown where label removed, cracked hinges, original cloth, a little rubbed, bumping to corners and extremities, facsimile dust-jacket, 1931 § The Geographical Journal. Vol. XLVII - January to June 1916, plates, one or two folding, 6 folding maps, ex-library with ink-stamp to title, original cloth, sunned spine, slight bumping to corners and extremities, 1916; 8vo (2) *** The second mentioned contains two articles on Shackleton's expedition on the 'Endurance', and their potential position. During this period nothing had been heard from the 'Endurance' for some time, with their whereabouts and condition unknown. 

South America.- Molina (Juan Ignacio) The Geographical, Natural, and Civil History of Chili, 2 vol. bound as 1, first English edition, half-titles, folding engraved map, scattered spotting, contemporary calf, a little rubbed, slight bumping to corners and extremities, 1809 § Wells (William V.) Explorations and Adventures in Honduras, frontispiece, illustrations, folding map, original cloth, a little rubbed, slight bumping to corners and extremities, New York, 1857, 8vo (2).

Levant.- Castlereagh (Lord) A Journey to Damascus, 2 vol., first edition, frontispieces and 8 plates, advertisements at end, ex-library with occasional ink-stamps, original cloth, vol. 1 upper cover detached, a little rubbed, slight bumping to corners and extremities, 1847 § Laborde (Léon de) Journey through Arabia Petræa, to Mount Sinai ..., lithograph frontispiece, plates and illustrations, scattered spotting, ex-library with occasional ink-stamps, modern half-calf, 1838; and others similar, 8vo (10)

Levant.- Marsigli (Count Luigi Ferdinando) L'Etat Militaire de l'Empire Ottoman, ses Progrès et sa Décadence, 2 parts bound as 1, first edition, text in Italian and French, titles in red and black, 2 folding engraved maps, of which one hand-coloured and one coloured in outline, 34 engraved plates, of which 6 folding, 10 engraved illustrations, engraved initials, head- and tail-pieces, 3 folding tables, A1 misbound before **1, ex-Ricardo A. Caminos library with neat ink-stamp to A1, faint water-staining to fore-edges, contemporary calf, a little rubbed, slight bumping to corners and extremities, [Atabey 776; Blackmer 1084], folio, The Hague & Amsterdam, 1732. *** Marsigli spent several stints travelling in the Ottoman Empire in the late seventeenth century, This "important work on the military system of the Ottoman Empire concerns itself with its finances, revenues, commerce etc." (Blackmer)

Australia.- Stoney (Capt. Henry Butler) A Residence in Tasmania, first English and first illustrated edition, , tinted lithographed frontispiece and 7 plates, engraved title vignette, double-page lithographed map, engraved vignettes, original cloth, rebacked retaining original backstrip, a little rubbed, bumping to corners and extremities, [Ferguson 16295], 1856 § Therry (R. ) Reminiscences of Thirty Years' Residence in New South Wales and Victoria, first edition, later half morocco, a little rubbed, slight bumping to corners and extremities, 1863; 8vo (2) *** The first mentioned is an important account of the island, including early settlement, penal stations, and a list of Tasmanian birds. Stoney served with the 99th Regiment and arrived in Tasmania in 1853. The work was first published without illustrations in 1854 in Hobart Town.

Polar.- Belcher (Capt. Sir Edward) The Last of the Arctic Voyages, 2 vol., first edition, half-titles, lithograph frontispieces and 34 plates, of which 11 colour, 4 maps, of which 3 folding and linen-backed, ex-library with faint blind-stamp to frontispieces, faint marginal stain to vol. 1 frontispiece, scattered very faint spotting, contemporary half morocco, rubbed, bumping to corners and extremities, [Abbey Travel 645], 8vo, 1855.

China.- Bushell (Stephen W. ) Chinese Art, 2 vol., plates, spotting, contemporary half morocco, a little rubbed, bumping to corners and extremities, 1905 § Mennie (Donald) The Pageant of Peking, third edition, plates, previous owner's ink inscription, worming to first and last few ff., original half-calf, rubbed and worn, bumping to corners and extremities, Shanghai, 1922 § Favier (Alphonse) Péking histoire et description, illustrations, ex-War Office library with usual labels and ink-stamps, cracked hinges, contemporary half morocco, rubbed, bumping to corners and extremities, Paris, 1912; and others on China, including odd and defective volumes, v.s. (c.45)

Africa.- Dickinson (Captain F. A.) Lake Victoria to Khartoum with rifle & camera, first edition, introduction by Winston Churchill, half-title, frontispiece, plates, scattered spotting and staining, mostly marginal, ex-library with usual labels and ink-stamps, original cloth, sunned spine, rubbed, bumping to corners and extremities, 1910 §  Bell (W. D. M.) The Wanderings of an Elephant Hunter, first edition, frontispiece, plates and illustrations, spotting and staining, abrasion mark to front pastedown, original buckram backed boards, rubbed, small worming to upper cover, bumping to corners and extremities, 1923; 8vo & 4to (2)

Levant.- Ennerung an Constantinople. Souvenirs de Constantinople. Remembrances of Constantinople, first edition, 28 engraved plates, many after Brindesi, tissue-guards, scattered faint spotting, cracked hinges, original cloth, upper cover becoming detached, a little rubbed, slight bumping to corners and extremities, [Atabey 404], oblong 4to, Trieste, [c.1865].

Voyages.- Anson (George) A Voyage round the World, first edition, ?subscriber's copy with the Marquess of Rockingham, list of subscribers, double-page engraved chart frontispiece (not issued in all copies), 29 engraved folding plates, 13 engraved charts and maps (12 folding), 2H3 with short marginal tear and neat repair, occasional very faint spotting, bookplates, contemporary calf, rebacked, a little rubbed, slight bumping to corners and extremities, [Sabin 1625], 4to, 1748. *** Provenance: Bookplate of the Marquess of Rockingham, with later paper slip reading "M. Rockingham Grosvenor Square" pasted on top. Bookplate of William Dowdeswell (1721-75), Chancellor of the Exchequer under the Marquess of Rockingham in 1765. Bookplate of William Charles de Meuron, Earl Fitzwilliam (1872-1943).  

Polar.- Nares (Capt. Sir George S.) Narrative of A Voyage to the Polar Sea during 1875-6, 2 vol., first edition, half-titles, 6 photographic plates, illustrations, some full-page, 2 folding maps, one detached with tear and old repair verso and splits to foldlines, titles trimmed at head, spotting and staining, bookplate of explorer James Mann Wordie loosely inserted, vol. 2 new endpapers, vol. 1 abrasion mark to final pastedown where label removed, vol. 1 hinges broken, original cloth, rebacked retaining original backstrips, rubbed, bumping to corners and extremities, 8vo, 1878.

Levant.- Sestini (Domenico) Voyage de Constantinople a Bassora, en 1781, first edition in French, half-title, folding woodcut map, spotting, new endpapers retaining contemporary prize label, modern cloth, [Blackmer 1530], 8vo, Paris, l'an VI [1797].

Africa.- Lugard (Frederick D.) The Rise of East African Empire, 2 vol., first edition,  portrait frontispieces, plates, 9 maps of which 5 folding with 2 in pockets, illustrations, advertisements at end vol. 1, previous owner's pencil signature to vol. 1 half-title, cracked hinges but holding firm, original pictorial cloth, a little rubbed, slight bumping to corners and extremities, [Hosken p.129], 8vo, 1893.

Levant.- Frankland (Charles) Travels to and from Constantinople, 2 vol. bound as 1, second edition, half-titles, hand-coloured aquatint frontispieces, 3 folding engraved maps, one with short split to fold and neat tape repair verso, one engraved plan, 14 aquatint plates, of which 3 folding, one with short split to foldline, 11 wood-engraved plates, bound without advertisements, modern calf, [Abbey, Travel, 26; cf. Blackmer 628], 1830 § Urquhart (D.) The Spirit of the East, 2 vol., first edition, half-titles, previous owner's ink inscription to half-titles, ex-library with occasional blind-stamps, scattered faint spotting, modern morocco backed boards, 1838 § Busbecq (A. G.) Travels into Turkey, third edition, scattered faint spotting, occasional small marginal worming, contemporary calf, a little rubbed, Glasgow, 1761; and others similar, v.s. (c.40).

Asia.- Beccari (Odoardo) Wanderings in the Great Forests of Borneo: travels and researches of a naturalist in Sarawak, first edition, half-title, frontispiece, illustrations, 3 folding maps, loss to front free endpaper, cracked hinges, original cloth, rubbed, bumping to corners and extremities, 8vo, 1904.

Sir Robert Atkyns, 'The Ancient and Present State of Glocestershire', the second edition, reprinted by T. Spilsbury for W. Herbert, 1768, illustrated with 73 copper plates by Johannes Kip with views of Gloucestershire, containing a map of the county, a plan and prospect of the city, a view of the Cathedral, 61 seats and 320 coats of arms (across 8 plates), collated, complete, bound in full calf, featuring two pages of hand-filled notes on 'Parishes in the County of Glocester described in this book, some of which are omitted in the foregoing Index' to the rear endpapersBookplate of 'Southouse' to first pastedown.

Attributed to Lord Frederic Leighton, 1st Baron Leighton PRA, RWS, (British, 1830-1896) - 19th century patinated bronze maquette, 'An Athlete Wrestling A Python', the figure on naturalistic rectangular base with one projecting front corner, unsigned, brown patina, 24cm high Private collection, Bristol. For a similar plaster maquette of this 1874 version with matching projecting base, see https://collections.vam.ac.uk/item/O72873/athlete-struggling-with-a-python-statuette-leighton-frederic-lord/ where stated:"This is the reduced preliminary cast for Leighton's full-size bronze called Athlete Struggling with a Python in Tate Britain, London. The original clay model from which this plaster was cast was handed by Leighton to another leading painter and sculptor, G. F. Watts, who arranged for it to be cast. The model has since disappeared." For a matching bronze donated in 1941, see National Museum of Wales, NMW A 188: https://museum.wales/collections/online/object/a2f0ca17-18a0-3e02-b2bc-90eff153a16b/Athlete-struggling-with-a-python/?index=3 The finished (1877) bronze features a rectangular base without projecting corner, thus our example is likely based on the 1874 version.. Whilst Leighton had already achieved fame in the field of painting, his success in sculptural terms began in 1877 with the debut of 'Athlete Wrestling with a Python' at the Royal Academy. At the time of exhibition, it was also alternatively known to reviewers as 'An Athlete Strangling a Python' and 'An Athlete Struggling with a Python'. Acclaimed by both critics and the public, it led Leighton to be proclaimed as 'the father of the English New Sculpture movement'. From contemporary interviews which Leighton made with the Studio magazine in the early 1890's, he originally modelled the piece, using the professional sitter, Angelo Colorosi, as a small-scale clay figure. However, he developed a large-scale bronze, assisted by his protégé, Thomas Brock (1847-1922); the full-size model was first executed in plaster, and then cast in bronze by Cox & Son, before it too was exhibited at the Royal Academy. The sculpture's popularity was confirmed when it was purchased on behalf of the Tate by the Chantrey Bequest, and it won the gold medal at the prestigious Exposition Universelle in Paris the following year. Reductions of the bronze were posthumously published in edition casts of two similar sizes between 1903-1910. The first edition was published by Arthur Collie (of Frome, Somerset). The second edition was published by Ernest Brown and Phillips at the Leicester Galleries. In 1909, The Magazine of Art announced that the Leicester Galleries were to publish Leighton's 'An Athlete Struggling with a Python' in an unspecified limited edition.

C. S. Lewis - 'The Lion, The Witch and The Wardrobe' - First edition, first impression (no later impression stated), with illustrations by Pauline Baynes including colour frontispiece, published by Geoffrey Bles (London), 1950, in the original publisher's cloth binding and unclipped dust wrapper (dust wrapper a/f) (1 book)

Eight 1:76 Scale Die cast Model First Edition Vehicles. All boxed and in unused condition. See photos for details.

TWENTY TWO BOXED EXCLUSIVE FIRST EDITION BUSES, COACHES AND COMMERCIAL VEHICLES

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A BOXED LIMITED EDITION HALCYON DAYS ENAMEL 'TO MARK THE 700TH ANNIVERSARY OF THE LEGENDARY SWISS HERO WILLIAM TELL' MUSIC BOX, the image depicting him shooting the apple from his son's head, 'The Overture' from ''Gioacchino Rossinis's opera 'William Tell, first performed in Paris 1829, No. 75 of 150, Dia. 8 cm

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SIX ALBUMS OF FIRST DAY COVERS, to include limited edition Royal Houses of Europe, Queen Elizabeth II Silver Jubilee, Flowers of our Fifty states etc.,

g Elizabeth II (1952-2022), gold proof Two Hundred Pounds, 2019, Una and the Lion, 2 Ounces of 999.9 fine gold, from the Great Engravers series, commemorating the Una and the Lion design by William Wyon, crowned head right, JC initials below for designer Jody Clark, Latin legend surrounding, ELIZABETH II. D. G. REG. F. D. 200 POUNDS., rev. Queen Victoria as Una leading the British lion left, holding orb and sceptre, thick plain ground line, date in Roman numerals below, MMXIX, W. WYON R.A. below, legend around upper half, DIRIGE DEUS GRESSUS MEOS., milled edge, 62.62g (S.GE2). Lustrous proof state, graded by NGC as PF70 Ultra Cameo, accompanied by original Royal Mint box and Certificate of Authenticity. First issue from the Royal Mint Great Engravers Series. Issued at a very low mintage and rare. NGC certification 8376890-001 Mintage: limited edition of 225 coins issued  Faithfully recreated by the Royal Mint with a proof finish, the 2019 Una and the Lion design issued as part of the Great Engravers series has proved to be one of the most popular modern mint issuances ever struck.  The reverse legends translates as 'May God direct my steps'.

g Royal Mint Set, gold 2-coin Set, 2016, limited edition for the Queen's 90th Birthday, comprising a George V 1926 gold Sovereign and an Elizabeth II 2016 gold Sovereign. First good very fine, second uncirculated, in original Royal Mint Box and outer packaging with certificate of Authenticity.Limited Edition Presentation of 120 Sets

* JUNE CAREY RSW RGI (SCOTTISH b. 1942), PRESENCE limited edition etching on paper, signed, titled and numbered 3/10mounted, framed and under glassimage size 37cm x 30cm, overall size 59cm x 57cm Note: June Carey began her art education in the 1960s at The Glasgow School of Art. She has been exhibiting her work widely throughout Britain and abroad ever since. Her awards include The Scottish Arts Council 1998, McGrigor Donald Trust 1989, European City of Culture Woman 2000 (First Prize) 1990, Dundee District Council Purchase Prize 1991, British Council Assistance Grant 1992, The Hope Scott Trust Award 1993, Scottish Arts Club Award 1993, McDonald Orr Ltd 1993, Anne Redpath Award 1996, BP Aberdeen Assistance Grant 2002, Connell & Connell Sponsorship and in 2004, a Research Grant from the Scottish Arts Council, to visit India. June Carey's work can be found in the collections of Lady Thyne; Peter Gabriel, BBC Television, The Royal Bank of Scotland, The Scottish Arts Council, Oxford University, Teachers Whisky, Highland Region, Edwins Gallery Jakarta, Barclay Lennie Fine Art Ltd, MacTaggart & Mickel Ltd. Eastern General Hospital, McDonald Orr Ltd, Dundee District Council, Arts in Fife and Private Collectors at home and abroad.

* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014), GULI WALL limited edition lithograph on paper, signed, dated '71 and numbered 51/200mounted, framed and under glassimage size 46cm x 61cm, overall size 62cm x 75cm Note: Davie was a Scottish painter, he as a painter at Edinburgh College of Art from 1938 to 1940, initially favouring poetic imagery and coming into contact with modernism at exhibitions held in London of works by Picasso (1945; V&A) and Paul Klee (1945; Tate). He explored a diverse range of activities, however, before returning to painting from 1949 to 1953 he earned his living by making jewellery and in 1947 he worked as a jazz musician, an activity he continued in later life. He wrote poetry during the early 1940s. From 1953 to 1956 Davie taught in London at the Central School of Arts and Crafts, where he became interested in African and Pacific art. As early as 1958 Davie emphasised the importance in his work of intuition, as expressed in the form of enigmatic signs. During the 1960s, both in paintings and in coloured lithographs, he represented such images with increasing clarity at the expense of gestural handling. In 1971 he made his first visit to the island of St Lucia, where he began to spend half of each year and which brought Caribbean influences to bear on his suggestive imagery, as in Bird Gong No. 10, Opus 730 (1973; London, Brit. Council). Taking on the role of a disinherited shaman, Davie created a synthesis of mythologies from a variety of cultures for a modern civilisation devoid of its own village myths.

* JOHN BYRNE RSA (SCOTTISH 1940 - 2023), FEG limited edition bronze, signed32cm high Note 1: This work was cast in Edinburgh in an edition of 9, plus 4 Artist Proofs.Note 2: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow. The Fine Art Society, Edinburgh staged "John Byrne: In The Studio" in December 2024.

* ELIZABETH BLACKADDER DBE RA RSA RSW RGI DLitt (SCOTTISH 1931 - 2021), MECONOPSIS AND BUTTERFLIES limited edition hand coloured etching on paper, signed and numbered 13/50mounted, framed and under glassimage size 30cm x 23cm, overall size 57cm x 46cm Note: Dame Elizabeth Blackadder is widely recognised as one of Scotland's most significant twentieth-century artists. Born in Falkirk, she studied at Edinburgh College of Art under the tutelage of Sir Robin Philipson and William Gillies and lectured at the college from 1962 until her retirement in 1986. After graduating in 1954, Blackadder was awarded both a Carnegie Travelling Scholarship and an Andrew Grant Postgraduate Scholarship. She used these funds to spend three months travelling through Yugoslavia, Greece and Italy, where she researched classical and Byzantine art. This founded a passion for travel which has continued through her prolific career. Elected as a member of the Royal Scottish Academy in 1972 and the Royal Academy in 1976, she was the first woman to become a member of both institutions. Sixty-six of her works are known to be held in UK public collections.

* PATRICK CAULFIELD CBE RA (BRITISH 1936 - 2005), WE WANTED TO BLEED THE SILENCE screenprint on paper, from the 1973 edition of 200, published by Petersberg Press and Waddington mounted, framed and under glass image size 40cm x 35cm, overall size 58cm x 52cm Label verso: Open Eye Gallery, Edinburgh. Note: British painter and printmaker, born in London, where he studied at Chelsea School of Art, 1956–9, and the *Royal College of Art, 1959–63. In 1963 he began teaching at Chelsea School of Art and in 1965 he had his first one-man exhibition at the Robert Fraser Gallery, London. His work has been linked with *Pop art, although when introducing his work in 1964 he invoked, not the currently fashionable mass media theorists, but the Catholic poet and mystic Gerard Manley Hopkins. However, his work shared with artists such as Peter *Blake and David *Hockney a sense that the imagery was ‘in quotation marks’, so undermining the division between abstract and figurative art. The flat colour and black outlines of his painting (in his early work the impersonal surface was achieved by the use of gloss paint on board) were sometimes compared to Roy *Lichtenstein, although the American painter's work was unknown to him when Caulfield first established his style.The principal sources of his work lay in *Cubism. He looked to *Léger and especially *Gris, to whom he paid tribute in an early imaginary portrait and more subtly in Santa Margherita Ligure (1964). In this work he draws on the way in which Gris combined interior and exterior within the same plane. Discussing his painting in the 1964 *New Generation catalogue, David Thompson argued that Caulfield was interested in ‘devalued’ motifs, the way in which a painting by Delacroix or a device from Cubism or early abstraction could become ‘vulgarized’. When these early pictures are seen in the light of Caulfield's painting over the subsequent 40 years this seems to be putting things in reverse. What Caulfield was actually doing was using a highly accessible and apparently simple pictorial language, not out of irony, but to achieve effects of the utmost refinement. Although on the surface his style changed comparatively little, the uses to which he put it were extraordinarily varied. Some commentators have detected in his later work a strong sense of melancholy and mortality communicated through the pristine surfaces. He took up *screenprinting in 1964 and the following year won a prize for graphics at the Paris *Biennale. Subsequently print was an important part of his output. He also made designs for the Royal Ballet. An exhibition was devoted to his work at the Tate Gallery, London, in 1981 and another at the Hayward Gallery in 1999, but he never achieved the international reputation many of his admirers believed that he deserved.

* VICTOR VASARELY (HUNGARIAN/FRENCH 1908 - 1997), CODE, LE SOLEIL NOIR limited edition screenprint on paper, signed and numbered 125/150, from the Book of Poems with Jean Clarence Lambert, dated 1967 label versomounted, framed and under glass image size 38cm x 28cm, overall size 48cm x 36cm Label verso: Open Eye Gallery, Edinburgh.Note: Hungarian-born painter, sculptor, and designer who settled in Paris in 1930 and became a French citizen in 1959, the main originator and one of the leading practitioners of *Op art. He studied in Budapest at the Poldini-Volkman Academy of Painting and the Mühely School (known as the *Bauhaus of Budapest) before he settled in Paris in 1930. For the next decade he worked mainly as a commercial artist, particularly on the designing of posters, showing a keen interest in visual tricks and space illusions. From 1943 he turned to painting and he had his first one-man exhibition in 1944, at Denise *René's gallery. About three years later he adopted the method of geometrical abstraction for which he is best known. Typically he created a hallucinatory impression of movement through visual ambiguity, using alternating positive–negative shapes in such a way as to suggest underlying secondary shapes. His fascination with the idea of movement led him to experiment with *Kinetic art and he also collaborated with architects in such works as his relief in aluminium for Caracas University (1954), and the French Pavilion at ‘Expo '67’ in Montreal, hoping to create a kind of urban folk art. From 1961 Vasarely lived mainly in the South of France, where he founded two museums devoted to his work—the Fondation Vasarely at Aix-en-Provence, which he designed himself, and the Château and Musée Vasarely at Gordes (both are now closed). There are two Vasarely museums in Hungary, in Budapest and his birthplace Pecs. According to his obituary in The Times, ‘To him the artist was simply an artisan who creates his artefacts at will and in volume, so that they can be accessible to the ordinary person’.

John Armstrong - E Brain & Co Ltd (Foley) - A tea cup and saucer, circa 1934, painted with swimming fish over a brown brushed ground, printed marks and facsimile signature, painted pattern no.Y615, height 7.5cm, together with a sauce boat, brown glazed band and painted four pointed starts to the lip, facsimile signature to base, length 18cm. NB - This was designed for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Graham Sutherland - Foley China - A 'White Rose' pattern trio, circa 1930, produced for the Modern Art for the Table Project, culminating in the Harrods Exhibition, comprising cup, saucer and side plate, printed marks to base and facsimile signature, painted pattern no.V626, diameter of saucer 16cm. (3) NB - This was designed for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Thomas Acland Fennemore - Foley China - A part tea service, circa 1930, decorated with interlocking bubbles and wavy line border, in tones of pink, blue and grey, comprising four cups, saucers, side plates, bread and butter plate, milk jug and sugar bowl, printed black marks and facsimile signature, marked First Edition,  painted pattern no. V608, maximum width 24cm.NB - This was designed for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Dame Laura Knight - Foley China - A 'Cupid' trio, monochrome roundel depicting cupid and maidens, withing striped jade green and wavy line border, printed black marks and facsimile signature, marked First Edition, painted pattern no.V611, together with a matching side plate, diameter 18cm. (4) NB - This was designed for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Clarice Cliff & Graham Sutherland - An Art in Industry Globe shape tea cup, saucer and side plate circa 1934, decorated with an abstract design of black sketch lines over a pale blue ground with grey banded borders, artists signature and Bizarre mark, largest plate width 20cm. (3) NB - This was designed artist Graham Sutherland for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Dod Procter - Foley China - A hand painted trio circa 1934, decorated with foliate cartouche within single stemmed flowers, with harebells and brick red crosses over white ground, printed black marks and facsimile signature to reverse, marked First Edition, height of cup 7cm, together with a matching dessert plate. (4) NB - This was designed by Dod Procter for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Graham Sutherland - Foley China - A dessert plate, circa 1934, of circular form, decorated with green dots with black line detail over white ground and pink and black scribbled border, printed black marks and facsimile signature, marked First Edition, diameter 23cm. NB - This was designed for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Ernest Procter - Foley China - Three painted dessert plates, made for the 1934 Harrods and 1935 Art in Industry Exhibitions, decorated with wavy and spiral bands enclosing central floral roundel, in tonal green, blue, pink and yellow with silvered outline and spirals, diameter 23cm, together with a matching sugar bowl, printed black marks and facsimile signature. (4) NB - This was designed for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Freda Beardmore - Foley China - A painted Bachelor's teaset, circa 1930, decorated with intertwined ribbons enclosing abstract flower heads and orange spirals, over white ground, comprising teapot, teacup and saucer, sugar bowl and milk jug, printed black marks and facsimile signature, painted pattern no.V604.  (5) NB - This was designed for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Allan Walton - Foley China - A 'Mornington' pattern side plate, circa 1934, of circular form, decorated with orange flower petals with yellow and black triangles over white ground and rolling lime border, black printed marks and facsimile signature, marked First Edition, diameter 18cm. NB - This was designed for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Clarice Cliff & Michael Willmer - An Art in Industry Conical tea cup and saucer with matched side plate and cake plate circa 1934, decorated with a stylised devil figure, artists signature and Bizarre mark, largest plate width 20cm. (3) NB - This was designed artist Michael Willmer for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Vanessa Bell - Foley China - A hand painted part tea service, flower head panel with stylised scrolling leaves over smudged grey ground, within purple lustre field and chain link hatched yellow border, comprising six tea cups, six saucers and side plates, Sandwich plate, cream jug and sugar bowl, printed black marks to base and facsimile signature, marked 'First Edition', diameter of sandwich plate 23cm. (21) NB - This was designed by Bloomsbury artist Vanessa Bell for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Angelica Bell - Foley 1934 Art In Industry Exhibition - A pair of circular plates, of circular form, painted with brown centred blue floral outline over monochrome speckled field and sage green wavy border, printed black marks and facsimile signature, marked First Edition, diameter 20.5cm. (2)NB - Angelica Bell, the daughter of Duncan Grant and Vanessa Bell, was commissioned to design a coffee set for the 1934 Art in Industry exhibition at the age of just 16. The exhibition featured work by Paul Nash, Laura Knight and her parents, produced by Clarice Cliff at Wilkinson's Pottery, Foley and also glass by Steven's & Williams.

Paul Nash - Foley China - A handpainted 'Forest' side plate, circa 1934, decorated with stylized tree canopies in tonal yellow, green and brown, over cream ground, printed black marks and facsimile signature to reverse, diameter 16cm.   N.B - This was designed by Paul Nash for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Dame Laura Knight - Foley Pottery - Two 'Dove and Flood' trios, circa 1934, purple lustre with stylized raindrops reserving flooded landscapes and perched dove, comprising cups, saucers and side plates, printed black marks to reverse and facsimile signature and painted pattern no.V630. diameter of side plate 16cm. (6) NB - This was designed for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Clarice Cliff & Laura Knight - Fair Ladies - An Art In Industry circular plate circa 1934, decorated with a crowd of stylised ladies within an orange flash and black swirl line border, Laura Knight signature and Bizarre mark, width 22.5cm. NB - This was designed artist Laura Knight for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

A Limited Edition Moorcroft vase in the Clanters Wood design by Emma Bossons , made in an edition of 500, approximate height 27.5cms,  First Quality and in good condition with No chips, cracks or restoration , crazing present, factory marks to base.

A Moorcroft numbered edition Octagonal Plate in the Queenies Caravan design by Emma Bossons, approximate diameter 24cm, First quality, in good condition with No chips, cracks or restoration , factory marks to underside , adhesive plate hanger to rear.