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A modern German pottery wall mask in the Art Deco style depicting a lady with scarf, decorated with a faux wood glaze effect and gilt decoration

A vintage Keswick School of Industrial Art Firth Staybrite beaten stainless steel tray with decorative rim - sold with an Eastern copper embossed tray and a modern enamelled dish

A modern Montblanc limited edition fountain pen, Patron of Art Homage to Ludwig II, numbered 0833 / 4810, with paperwork, the ornate pen with gilt coronet and swan neck clip, white lid and royal blue barrel

Collenius (Hermannus, 1649/1650-1723 Groningen). Allegory of the Transience of Wordly Affairs, oil on canvas, relined on a modern stretcher, 120 x 98 cm (47 1/4 x 38 1/2 ins), antique-style painted black wood frame, with decorative gilt inner slipQTY: (1)NOTE:Provenance: Baumcotter Gallery, Kensington Church Street, London, 1970's; Kunsthandel Schlichte Bergen, Amsterdam,1985; Private Collection, Shropshire.Literature: Freerk Veldman, Hermannus Collenius 1650-1723 (Zwolle, 1997), p. 98.The present work has been accepted as authentic by Eddy Schavemaker of the RKD (Rijksbureau voor Kunsthistorische Documentatie), in The Hague (email correspondence).Another variant of this composition (signed and measuring 100 x 88 cm) is in the Mesdag Collection, The Hague (catalogue number 59A).Collenius spent most of his career in Groningen, and specialised in portraits, allegorical and mythological subjects. For the City Hall in Groningen the artist was commissioned to paint The Allegory of Good Governance in 1685 (now in the Groninger Museum), and for the Statenzaal in the Raadhuis,The Allegory of Freedom and Religion.In the present work, the young woman in her opulent white silk dress with exposed breast is seen seated holding a casket of jewels while a child holds up a convex mirror to her, and an old man shows her a skull and hourglass; to the left putti play with soap bubbles in front of a group of musical instruments, including a lute, violin, and cello. If the overt symbolism on display regarding the transience of life was not already clear enough, a large folio edition of a Dutch bible also features, open on the first page of Ecclesiastes (the Old Testament book in which the well-known phrases 'eat, drink, and be merry', and 'vanity of vanities; all is vanity', first appear).Of significant interest in this work is the presence of a black maid, or female servant, seen on the right braiding the young woman's hair with pearls, the latter being a traditional attribute of the courtesan. Much has been written in recent decades regarding the significance and interpretation of works of art featuring people of colour in Dutch 17th-century painting. Such figures are most often portrayed as servants, thus enhancing the status of the main figure.

British Medals, Queen Victoria, a modern silver medallic reproduction of the Una and Lion five-pound coin, 1839, the original by William Wyon, bust l., rev. the Queen as Una stands before the British Lion,87mm diameter, approximately 289 grams, together with a base metal Liberty medallion, Medallic Art Co Lincoln college medallion and another

A quantity of modern and vintage costume jewellery to include silver earrings, a pair of silver Art Deco sun and moon earrings, a silver and agate bangle, a Fei Liu silver and white paste stone ring, a Lola Rose bracelet and a Mille-fleur pendant on chain.Location:

An Art Deco ruby and diamond cluster panel ring, unmarked gold settings with old European and rose-cut diamonds and calibre-cut rubies, principal diamond approx 0.15ct, setting height 19.4mm, size K, 3.5g1 ruby is loose but still present, 2 of the smallest diamonds are replacements with modern round brilliant-cuts and 2 others have small signs of glue around edges, diamonds generally bright and white with a few very minor internal inclusions, settings slightly worn mainly on back of shank and under bridge, unmarked

An Art Deco style aquamarine and diamond geometric dress ring, unmarked gold settings with rectangular step-cut aqua and modern round brilliant-cut diamonds, setting height 9.2mm, size Q, 4.4gRing shank has probably been altered, all stones present, settings are coarsely filed, unmarked

Blakemore (John). John Blakemore's Black and White Photography Workshop, 1st edition, David & Charles, 2008, black & white illustrations from photographs, signed by author to half-title, original printed wrappers, 4to, together with:Griffin (Brian), Work, 1st edition, London: Black Pudding Publishing, 1988, signed by author to half-title, original printed wrappers, 4to, plusGilbert & George. The Naked Shit Pictures, South London Gallery, 5th Sept - 15th Oct 1995, 1st edition, 1995, signed presentation inscription from the artists to title, 'With lots of love from Gilbert & George', original printed wrappers, a little rubbed, oblong slim folio, plusHamilton (Peter), Willy Ronis, Photographs 1926-1995, 1st edition, Museum of Modern Art Oxford, 1995, signed presentation inscription in French for Richard Sadler from the photographer to half-title with carbon copy impression to title recto, additionally signed by Ronis at foot of Preface with a photo greetings card by Ronis with message to Richard Sadler loosely inserted, original printed wrappers, small 4to, plus other photography paperbacks including some signed, some Japanese interest and including Vue nos. 1-3QTY: (approx. 180)NOTE:Provenance: From the collection of Dr Richard Sadler FRPS (1927-2020).

Calligraphy & illuminating reference. A comprehensive collection of reference relating to the history and technique of calligraphy and illumination etc., including Tributes to Edward Johnston Calligrapher, Privately printed by the Society of Scribes and Illuminators, Maidstone College of Art, 1948, monochrome plates, front free endpaper with the signature of Dorothy Hutton (1889-1984, painter, calligrapher and printmaker), original cloth, 8vo; Handwriting: Everyman's Craft by Graily Hewitt, 1st edition, London: Kegan Paul, 1938, front free endpaper signed by the author, original cloth, 8vo; 2,000 years of Calligraphy: A three-part exhibition organized by the Baltimore Museum of Art, Peabody Institute Library [&] Walters Art Gallery, June 6-July 18, 1965, London: Frederick Muller Ltd., 1972, monochrome illustrations, original cloth, 4to (limited edition 54/250); Calligraphy Today by Heather Child, London: Studio Books, 1963, half-title signed by the author, original cloth in slightly worn dust jacket, 4to; Writing & Illuminating, & Lettering by Edward Johnston, 1st edition, London: John Hogg, 1906, frontispiece, plates and illustrations, original cloth-backed boards, in modern book box, 8vo; Swan's Plain and Ornamental Alphabet Coopy Book for the use of Schools, Glasgow: Joseph Swan, circa 1850, original printed wrappers, browned and some wear, slim 4to; Alexander (J.J.G., Temple, E., & Kauffmann, C.M.), Survey of Manuscripts Illuminated in the British Isles, volumes 1-3 (of 6, Insular Manuscripts 6th to the 9th century, Anglo-Saxon Manuscripts 900-1066, Romanesque Manuscripts 1066-1190), London: Harvey Miller, 1978, 76, 75 respectively, colour and monochrome plates, original cloth in dust jackets, folio, and others similar, including some booklets and periodicals (including issues of The Scribe magazine etc.)QTY: (approx. 200)

Dallas (Donald). James Purdey & Sons, gun and rifle makers, two hundred years of excellence, 1st edition, London: Quiller, 2013, colour illustrations throughout, original black cloth, dust jacket, panels lightly marked, 4to, together with:Stevens (Samuel). Picturesque Sketches of Rustic Scenery including cottages & farm houses, London: R. Ackermann, 1815, 54 lithographs, some offsetting and spotting, modern red half sheep gilt, lightly marked, folio, withSalter (J.W). A Catalogue of the Collection of Cambran and Silurian Fossils, Cambridge: University Press, 1873, inset portrait frontispiece, illustrations to text, illustrations to text, lightly toned, original brown cloth gilt, rubbed and marked, 4to, together with 2 cartons of other large format and art referenceQTY: (2 Cartons)

Poetry & Miscellaneous Ephemera. A large collection of modern poetry books, periodicals, & pamphlets, art reference & miscellaneous ephemera, including Three Months to Winter, Original 'Blind' Drawings 1980, by Morris Cox, Gogmagog Photocopy Library, 1987, A Dictionary of the English Language:..., by Samuel Johnson, 6th edition, 1785, Ambit, a near complete run of 65 volumes, 1959 [No.1] - 1970 [No.42], 1970 [No.44] - 1976 [No.66], in original wrappers, Priapus, a broken run of 17 volumes plus many duplicate copies, Solstice, issues 1-8, 1966-67, plus duplicate copies, The Stamps of Wonderland, Black Mask detective comic, 8 issues, circa 1939, prints, stamps, overall condition is generally good/very goodQTY: (7 cartons)

Masters (John). Bhowani Junction, 1st edition, London: Michael Joseph, 1954, slight toning to endpapers, original red cloth, dust jacket, slightly rubbed, spotted and a few short tears to rear panel, 8vo, together with:Doughty (Charles). Arabia Deserta, new illustrated edition, London: Philips, 1989, numerous illustrations (some colour), original yellow cloth, dust jacket, 8vo, plusJacobs (Michael). The Painted Voyage, art, travel and exploration 1564-1875, London: British Museum, 1995, numerous colour illustrations (including full-page), original grey cloth, dust jacket, 8vo, andRoberts (David). Egypt & Nubia, 3 volumes, Vercelli: White Star Publishers, (1999), 248 colour illustrations, original brown publisher's cloth (text volume in paper wrappers), dust jackets to volume 1 & 2, original pictorial slipcase, with other modern literature and travel reference, mostly original cloth in dust jackets, 8vo/folioQTY: (6 shelves)

Goldman (Paul). Beyond Decoration, The Illustrations of John Everett Millais, 1st edition, London: The British Library, 2005, numerous monochrome illustrations, original cloth in dust jacket, tall 8vo, together with:Slythe (R. Margaret), The Art of Illustration 1750-1900, 1st edition, London: The Library Association, 1970, colour & monochrome illustrations, original cloth in dust jacket covers lightly toned, 4to, plusEngen (Rodney), The 'Artist and the Critic' Series, Volume 1, Laurence Housman, 1st edition, Stroud: Catalpa Press, 1983, numerous monochrome illustrations, original cloth in dust jacket, covers lightly rubbed to the head, tall 8vo, andPardoe (F. E.), John Baskerville of Birmingham, Letter-Founder & Printer [The Ars Typographica Library], 1st edition, London: Frederick Muller, 1975, colour & monochrome illustrations, some light toning, original cloth in dust jacket, covers lightly faded, 8vo, plus other modern illustration & bibliography reference & related, including The Compleat Angler..., by Izaak Walton & Charles Cotton, New York: E. P. Dutton & Company, 1927, illustrations by E. Fitch Daglish, large 8vo, mostly original cloth in dust jackets, G/VG, 8voQTY: (3 shelves )

Stukeley (William). Itinerarium Curiosum. Or, an Account of the Antiquitys and Remarkable Curiositys in Nature or Art, Observ'd in Travels thro' Great Britain. Illustrated with Copper Prints. Centuria I., London: Printed for the Author, 1724, engraved frontispiece, 99 engraved plates (out of 100, a few folding), lightly spotted and dust-soiled, final few gatherings with small marginal ink-stain to lower outer corner (not affecting text or plates), small library stamp to title verso, endpapers renewed, together with:Itinerarium Curiosum: Or, An Account of the Antiquities, and Remarkable Curiosities in Nature or Art, Observed in Travels through Great Britain, Centuria II, 2nd edition, London: Messr. Baker and Leigh, 1776, engraved portrait frontispiece, 106 engraved plates (a few folding), lightly spotted and dust-soiled, small library stamp to title verso, endpapers renewed, bound uniformly in modern sprinkled calf gilt, black morocco labels to spines, spine compartments elaborately decorated in gilt, folioQTY: (2)

L'Ecluse (Charles de). Clusius, Carolus. Exoticorum libri decem: quibus animalium, plantarum, aromatum, aliorumq?ue peregrinorum fructuum historiae describuntur: item Petri Belloni observationes, 3 parts in 1, Leiden: Raphelengius, 1605, [20], 378, [10], 52, [26], [12], 242, [2] pp., engraved illustrated title, woodcut illustrations to text throughout, engraved initials, 18th-century manuscript references in Latin to margins, scattered corrections in the same hand, occasional light marginal dust-soiling, a few leaves with light water-marks to lower margins, title reinforced with adjacent blank, bound with: Curae posteriores, seu pluminarum non ante congnitarum, aut descriptarum stirpium, peregrinorumque aliquot animalium novae descriptiones... Accesit seorsim Everadi Vorstii de Caroli Clusii vita et obitu oratio, 2 parts in 1, Leiden: Raphelengii, 1611, [6], 72, 24., title browned, a few leaves with water-stain to lower margin, later calf over original boards, 19th-century reback lettered in gilt, lower corners worn and showing, extremities rubbed, a few small wormholes to base of front joint, folio (350 x 220mm) QTY: (1)NOTE:Arber, Herbals, pp. 84-88; Hunt 180, 191 (4to edition of Curae); Johnston 149; Nissen BBI 372, 368 (4to edition of Curae); Pritzel 1759; Wellcome 1.1511, 1514 (4to edition of Curae); Blunt & Stearn The Art of Botanical Illustration p.82."L'Ecluse's work... can be described as the starting point of our modern knowledge for many genera. (Blunt & Stearn). The first work is the second volume of L'Ecluse's collected works, the first being published in 1601. The second work in this volume is the first folio edition of Curae Posteriores, L'Ecluse's last work which was published posthumously. It contains additions and corrections to his former works.

Modern white marble Art Nouveau bust of a young woman with hair band on a naturalistic base. Unmarked. 57cm high. (B.P. 21% + VAT) No obvious damage  . 

A modern Moorcroft ovoid vase decorated with 'Mackintosh Rose Pattern', Art Nouveau stylised flowers, etc., impressed, monogrammed 95, designed by Rachel Bishop,  height 19cm (second)

Constantin-Ernest-Adolphe-Hyacinthe Guys, Dutch / French 1802-1892- Promenade au bois; pencil, pen and brown ink, watercolour, and brown and grey wash heightened with gum arabic on buff paper, 16.5 x 29.5 cm. Provenance: Felix Wildenstein, New York.; Anon. sale, 25 May 1984, lot 278.; Anon. sale, Sotheby's, London, 11 October 1995, lot 140.; The estate of the late designer Anthony Powell. Exhibited: Cleveland, The Cleveland Museum of Art, '10th Exhibition of Watercolors and Pastels', 10 January-12 February 1933.; Toledo, Toledo Museum of Art, November-December 1946.; Toronto, The Art Gallery of Toronto, 'The Spirit of Modern France 1745-1946', January-February 1947, no.24. Note: The present work is a striking examples of the observational style which is characteristic of Guys’s artistic approach, gesturing towards his role as both a watercolourist and newspaper illustrator. His choice of medium allows him to imbue his work with a sense of spontaneity, thereby reinforcing his subject as a momentary glimpse into 19th-century French high society. Please refer to department for condition report

An Unusual Blue Glazed Stoneware Modern Art Sculpture of a Human Foot, 21cm high

JVC RC M70LB Radio cassette player, vintage circa 1980's with custom street art graffiti finish, together with a modern brushed steel wine table with clock inset top

Postcards, Shipping, Titanic, 300+ modern cards inc. Rembrandt Series, marine art posters etc. (vg)

ART GLASS MODEL CAT, MODERN CHINESE GLASS OPIUM BOTTLE, FLORAL DECORATED COASTERS AND A GLASS PEAR

An opposing pair of oval mirror-backed wall appliques in high Art Nouveau style depicting maidens in gold-coloured flowing dresses (modern reproductions) (37cm high x 29cm wide) 

shaped oblong, with Art Nouveau style decoration46cm wide, 50oz 10dwt, 1,571grProvenance:Fellows and Sons Limited, Birmingham, 10 December 2012, lot 6.The history of the William George Connell can be traced back to 1817 when the firm was recorded at 22 Myddleton Street, Clerkenwell. In the early years, the company would seem to have been mostly involved in the sale of watches, by 1846 for example, being recorded as chronometer and watchmaker to the Royal Navy. It was apparently his son, William George, whose mark appears on the present tray, and his grandson George Lawrence Connell who were to champion the sale of Art Nouveau style, or, as recorded in 1902 on the death of William George Connell '... one of the pioneers of modern artistic silverware.' (a quoted J. Culme, The Directory of Gold and Silversmiths, Jewellers and Allied Traders 1838-1914, p.94). Besides silver marked with the distinctive Connell mark of WGC mark in a trefoil the company sold the work by others, including items designed or made for example by Kate Harris, William Hutton and Sons and later A. E. Jones.Fully marked near rim. The marks are generally clear. There is some minor surface scratching and wear, consistent with age and use. The wear is noticeable as a minor softening to the high points.

A collection of vintage cookery books including: The Peoples Book of Modern Cookery, Farley's Cookery - 7th Edition, London & Country Cook - 3rd edition 1857, Hill's Family Herbal (rebound issue), The Practical Housewife 1560, The Art of Cookery - 6th Edition, 1758 loose boards and 8th Edition, The Imperial Royal Cook - 1809, missing front board,The Housekeeper English and French Cookery, Savouries a la Mode by Mrs Desalis - 1893 plus Puddings & Pastry, The Art of Invigorating and Prolonging Life, Ladies Indispensable Assistant 1851, Mrs Beeton's Cookery Book, Cottage Economy 1828, The Indian Cookery Book 1891, repair to outer and pages disturbed, The Compleat Housewife Companion (stet), Salmon's Family Dictionary or Husband Companion 1710, The Experienced English Housekeeper 1799

An Italian late 17th century pietra paesina and marble inset walnut, bone, ebony and ebonised cabineton a later English walnut standInset with eight assorted pietra paesina plaques and eight assorted marble plaques, the architectural facade composed of a central arched tablet flanked by Tuscan pilasters surmounted with a triangular pediment, the frieze with four arched chequer-inlaid aedicules, comprising a central door enclosing a theatrical stage interior with a chequered floor and a door to the rear, flanked by six short panelled drawers above one long multiple panelled drawer, on lappet clasped tapering legs, the mounts of a much later date, the cabinet: 96cm wide x 40cm deep x 48cm high; including the stand: 105cm wide x 43cm deep x 126cm high, (41in wide x 16 1/2in deep x 49 1/2in high)Footnotes:A comparable Italian cabinet to the present lot, sold Christie's, London, 17 November 2020, The Collector, lot 573. Another related Italian 17th century pietra paesina inset model sold Sotheby's, Milan, 13 June 2016, A Milanese Cabinet Collection, lot 22.Pietra paesina, which is a rare form of Albarese limestone, has its origins in the Apennine mountains near Florence. It is remarkable for being described as a 'pictorial stone' due to the impressions of landscapes or seascapes seemingly captured within the core of the rock itself. As a result of this impressive quality, paesina has also historically been referred to by a number of names, and these include: 'ruin marble', 'landscape stone', 'ruiniform limestone' and even 'Florentine marble'.The 'landscapes' are only revealed, in cross-section, after this specific type of limestone has been split open. Once chosen, only the finest quality stones are then sliced to make tablets for polishing. The main colouring therein is largely only affected to the peripheries of these cross-section segments, since the most drastic alterations rarely reach the innermost realms of the rock. This means that the expansive appearance of the predominantly bluish-grey colours perfectly conjures up images of skies or large expanses of water.Although this 'ruiniform limestone' has been discovered in various locations outside Italy, it is generally acknowledged that the examples sourced from the Florentine region are the most attractive. These true Apennine samples somehow miraculously convey the typical colours and shapes of Tuscany, with all its beautiful canyons, stormy seas and rivers, picturesque villages, mysterious islands and mountains.During the Mesozoic epoch, sedimentary rock was created by sediments rising to the surface from the sea beds following the collision of the African and European Plates. This in turn led to the formation of a mountain range between Spain and Turkey. The enormous pressure generated by movement of the earth's crust resulted in the splintering of this limestone. Thereafter such fractures were permeated with manganese hydroxide and iron, followed by water. Later on these broken areas were then sealed off due to the depositing of calcite crystals. Although a much debated topic, it is widely held that this event happened approximately 50 million years ago, at some point in the Eocene-Palaeocene era.In the 'modern age' the marvel that is paesina stone was first revealed in the 16th century and from that time onwards it has been greatly sought after, as well as highly prized, by collectors. Across Renaissance Europe this 'landscape stone' was especially revered among members of the various Royal courts. It was inlaid into furniture or inset into some architectural elements of opulent interiors, whilst on occasion some chose to collect and display the stone in the form of individual plaques.Among the wealthy, powerful and often noble families who first favoured this 'ruin marble', arguably the most important early devotees were the Medici, and in particular Ferdinando I de' Medici. Indeed in 1588 Ferdinando established, in Florence, the hugely significant Opificio delle Pietre Dure whose central aims were to uncover more semiprecious stones and make stunning works of art and luxury objects through their ingenious manipulation of them. Paesina was always extremely well regarded among these stones for its combination of rarity and natural pictorial properties.It is in fact probable that this peculiar limestone, with its easily identifiable fundamental characteristics, is even indirectly referenced in Agostino del Riccio's 1597 Istoria dell Pietre which in one passage notes: '... in the Arno river many rocks and stones that today can be sawn and polished revealing many fantasies and jests made by Mother Nature... 'Largely because of the influential nature of the elite Medici family, both the fame and appeal of this 'Florentine marble' spread rapidly throughout Europe, where its uniqueness was treasured by the most fashionable and affluent patrons.However another person who played an active part in disseminating an informed adoration of pietra paesina was Philipp Hainhofer (1578-1647). Although he was officially a diplomat with access to most European noble and Royal courts of his day, notably the German-born Hainhofer was a highly cultured and distinctly cultivated individual who was also an itinerant collector, researcher and lover of art and the arts. Whilst visiting Florence, Hainhofer evidently admired the distinctive stone sufficiently enough to subsequently found a business centred upon it with his brother, who already resided there. They acquired the 'ruiniform marble' both in its rough block guise or already inlaid into furniture, and then they shipped it back to their home city of Augsburg. It is not difficult to appreciate how this enterprise flourished as it did when one understands that among Hainhofer's closest acquaintances were major historical figures such as Henri IV of France, King Gustavus Adolphus of Sweden and Duke Wilhelm IV of Bavaria.Some of the finest examples of antique pietra paesina can be viewed in Florentine museums such as the 'Opificio delle Pietre Dure' and Galleria Palatina, Florence. Some fine work of this kind exists on the walls of the old Pharmacy, in Santa Maria Novella. Also, an exceptional marble table inlaid with paesina, the central section of which is the very rare 'Terra Bruciata of Rimaggio', is housed in the Medicean Quartieri Monumentali of the Palazzo Vecchio. This table was commissioned on behalf of Eleonora of Toledo, the wife of Cosimo I de' Medici, and it was made specifically for the rooms reserved for her. See K. Patowary, 'Pietra Paesina: Stones that Resemble Ruined Landscape', 5 September 2016; M. Riccardo - Cubitt, The Art of the Cabinet, p. 191, fig. 367 & p. 192, fig. 51; 'Paesina Stone of Florence', 2017This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A RARE early 19TH CENTURY JAPANESE SHITAN WOOD SHAKU DOKEI timepiece IN ORIGINAL CASE WITH complete set of calendar platesKanshutei (寛集亭), 1827The shaped aperture for hanging on the wall above a front glazed hood and a long trunk terminating in a key drawer with key. The seven interchangeable brass inlaid time/calendar plates with pierced brass pointer connected to the hidden lead weight. The movement with floral engraved front plate flanked by two decorative turned brass pillars, the verge escapement with balance wheel and elaborately turned crown wheel post. Sold with the original transport/presentation box and a green silk storage pouch for the calendar plates when not in use. 45.5cms (17.5ins) high. The box 47cms (18.5ins) long. Footnotes:Beginning in 1873 Japan converted their national time system from variable hours tracking the seasons to equally divided hours. Before this date, most clocks made in Japan had dials and striking that reflected a day being variably divided into six toki during the day, and six during the night. The exact length of the toki would vary depending on season; however, there would always be six divisions in both day and night. The numbers used to refer to each toki were a sequence from 4-9 with 9 representing midnight, 6 representing dawn down to 4, before repeating the sequence with 9 representing midday and 6 representing dusk; the numerals would all be represented by animals as well, though twelve animals were used so that in conversation 'the toki of the Horse' clearly referred to 9 during the day (or Noon), whereas 'the toki of the Rat' was 9 during the night (midnight). The Shaku-dokei were adapted to account for the temporal hours by either having movable toki plaques or having replacement toki plates which would be replaced every 13 days or so to account for the variability. This was usually done by a 'clock doctor' who would know which plate to use, however, later clocks would have numbered plates, to let the owner know when each plate should be removed. This is the case for the clock being offered; each toki plate is labelled at the top with one or two different months, and whether the plate belongs to 節 (setsu, the commencement of the 'month') or 中 (chūki or chū-setsu, the midpoint of the month). It is rare to have a complete set of plates with these clocks as they tended to be lost or discarded once equal hour time was mandated, the clocks being regarded as outdated and of little value. This clock likely dates to before 1873, as the toki plates are of unequal hours, but is a later example, as it has a balance wheel escapement, rather then foliot, as well as 'month' specific toki plates. Beyond this, dating is notoriously difficult as the clocks would be made a single individual; there were no mass-produced movements which where then finished, or a network of individuals making a single component. One individual made every component, meaning that style and form would be partially at the whim of the maker and partially at the whim of the client.The lid of the box is labelled 'Mulberry box with lid seven panels shaku dokei', with the back of one of the panels being labelled with the date, '10th month in the 10th year of Bunsei era' (1827 by the modern Gregorian calendar) and the maker's name, Kanshutei, below. This translation was courtesy of Yoko Chino, Junior Specialist of Japanese Art at Bonhams.Provenance-Sold in these rooms 12 December 2018, Lot 102Strachan, A. WADOKEI.ORG: Sharing a passion for Japanese Edo Period Clocks. Available at: https://wadokei.org/ (Accessed 9 May 2022).Japan Reference (2019) The Japanese Calendar. Available at:https://jref.com/articles/the-japanese-calendar.479/ (Accessed: 10 May 2022)National Diet Library of Japan (2016) Unriddling the Daisho-reki Calendar. Available at:https://www.ndl.go.jp/koyomi/e/quiz/index.html (Accessed: 10 May 2022).For further information on this lot please visit Bonhams.com

Banksy (British 1974-), 'Vandalism As Modern Art', 2018, offset lithograph in colours on paper, Beyond The Streets Exhibition poster; sheet: 59 x 84cm ARR

Pokemon TCG. Sword & Shield Modern Day Collection. This lot contains a number of cards from the current Sword and Shield sets. Sets include the SWSH Base Set, Rebel Clash, Darkness Ablaze and early SWSH Black Star promos. Some of the highlights include Rainbow rare Dragapult Vmax, Full Art Boss's Orders, Gold/Secret Ordinary Rod alongside many full art V's Vmax and trainers. Also includes some Jumbo cards (x2). Condition Report: The overall condition of this lot is Near Mint.

JOAQUÍN PEINADO (Ronda, Malaga, 1898 - Paris, 1975)."Composition with a Pipe", 1943.Oil on canvas.With the label of the Carmen Aranguren Gallery (Seville) on the back.Signed and dated in the upper right corner.Measurements: 22 x 35 cm; 25 x 38 cm (frame).The instability and unrest caused by the Second World War distanced Peinado from easel painting, and he focused on making drawings which he sent to different publishers and which helped him to survive. For this reason this work is of great importance, as it marks the moment when Peinado returned to painting, with a less avant-garde conception, assimilating a "return to order" aesthetic, which was common to many painters due to the political situation of the time. During that period he focused particularly on still lifes, as can be seen in this painting, which has a post-Cubist aesthetic.Joaquín Ruiz-Peinado Vallejo was a Cubist painter, successor of Cézanne and spiritual son of Picasso, and one of the most outstanding representatives of the Spanish School of Paris. He entered the San Fernando School of Fine Arts in Madrid in 1918 and in the following years became a pupil of Cecilio Plá and Julio Romero de Torres, and was awarded a scholarship for three years at the Monastery of Santa María de El Paular, winning the El Paular Painting Prize in 1922. In 1923, once he had finished his studies, he went to Paris, where he settled permanently. There he attended the classes given at the Ranson, Colarossi and La Grande Chaumière academies and at the same time became interested in Cubist painting, an aesthetic he would personalise and maintain in his works. In 1924 he also showed his work at the Salons des Indépendants, Surindépendants and d'Automne. Nevertheless, from the city of the Seine he continued to be part of Spanish artistic life, taking part in the mythical First Exhibition of the Society of Iberian Artists in 1925, and illustrating the magazines "Litoral", "Gallo" and "La Gaceta Literaria", as well as "La flor de California" (1928) by José María Hinojosa. In 1926 he also won the Painting Prize of the Diputación de Málaga. Three years later, in 1929, he took part in two important exhibitions of avant-garde art in Spain: the Exhibition of Paintings and Sculptures by Spanish Residents in Paris, at the Botanical Gardens in Madrid, and the Regional Exhibition of Modern Art, at the Casa de los Tiros in Granada. He was also involved in the performing arts, like other artists of the time, participating in the films "Un perro andaluz" (1929) and "La edad de oro" (1930), by his friend Buñuel, and as a set designer and draughtsman for Feyder's "Carmen" (1925). In 1926 he also took part in the performance of Falla's "El retablo de Maese Pedro" in Amsterdam together with Buñuel, Cossío, Viñes and Ángeles Ortiz. In time, his artistic career would lead him to occupy a prominent position within the School of Paris; he would become director of the Painting Section of the Union of Spanish Intellectuals and later vice-president of the same, and UNESCO would appoint him delegate of the Section of Spanish Painters of the School of Paris. In 1946 he was also one of the organisers of the exhibition "Arte de la España Republicana. Spanish Artists of the School of Paris", held in Prague and, due to its enormous success, later also in Brno. From that date onwards his international exhibitions were frequent, both individual and collective, and he was grouped together with the best French art of the time. However, it was not until 1969 that a retrospective of his work was held in Spain; organised by the Dirección General de Bellas Artes and held at the Museo de Arte Español Contemporáneo in Madrid, this exhibition consecrated his figure in our country. In fact, that same year he was made a member of the Royal Academy of San Telmo in Malaga. His work is currently widely represented in the museum that bears his name in Ronda.

Edwin Whitney-Smith (British, 1880-1952): 'The Baltic Fountain', an important and impressive patinated and polished bronze figural fountain commissioned for the Baltic Shipping Exchange, London, 1907cast by the A. B. Burton Foundry, Thames Dittonthe female nude probably representing a sea nymph, holding aloft a model of a galleon in her upheld hands, standing on a shell and rockwork plinth issuing four sea serpent head spouts, signed and dated within the cast E. Whitney Smith, 1907, above a circular dished basin, raised on an octagonal open plinth cast with seaweed and foundry inscription A. B. Burton, Founder, Thames Ditton, the spreading circular base cast with sea scallop shells above a capitalised Latin presentation inscription to the outer border translating as 'This fountain was given by Edward Power and Edward John Power, father and son, well known/distinguished merchants (67) who for many years were members of the Baltic co/council/consigliore and who were its leaders 1907.', 281cm high x 136cm diameter approximatelyFootnotes:Bonhams is delighted to offer the Baltic Exchange fountain in our 'Fine Decorative Arts: Through the Ages' sale.The fountain, which formerly sat in the lobby of the Exchange's headquarters at 38 St Mary Axe, London however cannot be housed in the new designs of the building.Earlier this year the sale of the fountain was postponed while alternative options were investigated. One of these options was to donate the fountain to the National Maritime Museum in Greenwich. However, it was then concluded that the piece was 'outside the Museum's collecting remit'. The amount raised will go towards funding a new Baltic Exchange lifeboat at Salcombe for the Royal National Lifeboat Institute (RNLI).'The Royal Academy Exhibition', The Building News, April 26th, 1907, Vol 92, p. 607.'Of the other works in the Central Hall, Mr. E. Whitney Smith's 'Drinking Fountain,' No. 1664, is the most delicately beautiful, with its fanciful base of seaweed, and its group of large shells surrounding a rock, on which a nude figure stands, holding the hull of an ancient galleon in her outstretched arms;...' Edwin Whitney-Smith: Born in Bath, Somerset, Edwin Whitney-Smith studied sculpture at Bath and Bristol Schools of Art. He also worked as assistant to William Harbutt, the inventor of plasticine and headmaster of Bath art school. Smith subsequently moved to London and began exhibiting at the Royal Academy and Paris Salon. Shortly afterwards, he began to hyphenate his name and thereafter styled himself as 'Whitney-Smith'. He received many commissions for portrait busts as well as creating small statuettes and, as was typical of his generation, a number of war memorials. Amongst his portrait sitters of note were the art critic Adrian Stokes, the painter Sir Alfred Munnings and perhaps also very pertinently given the maritime theme of the offered lot, the Liverpool shipping magnate, Sir William Forwood. In spite of several Academician proposals by prestigious sculptors and artists of the day during his career (including the sculptors Frederick William Pomeroy, Henry Alfred Pegram and Francis Derwent Wood in 1922 and the artists Samuel John Lamorna Birch and William Russell Flint in 1935), he was unsuccessful in being elected to the Royal Academy although ironically, the renowned sculptor Sir William Reid Dick, who was an early assistant in his studio in the early 1900s went on to secure his own membership two years after Whitney-Smith's death in 1954. The A. B Burton Foundry, Thames Ditton:As one of Great Britain's leading firms of bronze founders, the Thames Ditton Foundry operated from 1874 to 1939 under various owners producing numerous fine major statues and monuments. Established by Cox & Sons, a large firm of ecclesiastical furnishing suppliers, it cast ornaments and statues in bronze for sculptors and commercial suppliers. From 1902 to 1933 the firm came under the sole ownership of Arthur Bryan Burton (1860-1933). Originally apprenticed to Cox & Sons, Burton had later opened his own foundry in Kingston but returning in 1897 to become a co-owner with Arthur John Hollinshead. Burton served as a councillor on Surbiton Council, deacon of Surbiton Park Congregational Church, Sunday school teach, benefactor of the Scout Movement and a Special Constable during World War I.Works of particularly note cast by A. B. Burton from the same period include George Frederic Watts's Physical Energy in Kensington Gardens dating from the same year as the Baltic Exchange fountain, Adrian Jones equestrian statue of the Duke of Cambridge in Whitehall dating from 1909 and the forty-ton Quadriga on the Wellington Arch in Hyde Park Corner dating from 1910-11 which is one of the largest bronzes ever cast in Britain.The Baltic Exchange:Baltic Exchange Ltd, a community of hundreds of shipping companies and tracker of maritime transportation markets, was based at 24-28 St Mary Axe in the City of London. The exchange can trace its roots back to 1744 in Threadneedle Street. It was incorporated as a private limited company in 1900.In the early 20th century the firms main premises designed by Smith and Wimble and completed by George Trollope & Sons were opened in 1903. The building had an impressive and distinctively Cathedral-like trading hall housing an unusual stained glass war memorial completed after the first world war (now in the permanent collection of the National Maritime Museum). The building was subsequently used as a film location for a number of period drama films including Howards End, released in 1992.In 1992 on 10 April, the facade and parts of the building were badly damaged by an IRA bomb attack which very sadly saw three people killed and ninety one injured. The fountain suffered some minor damage in the attack but was later re-instated in the replacement modern premises which were rebuilt on land adjacent to the original site.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Monogrammist AB, Mitte 20. Jh.Bildnis einer Dame in grüner Bluse. Öl auf Sperrholz, 1955. Monogrammiert und datiert oben rechts. Ungerahmt. 80 x 55 cm. Etwas berieben. Modernes, leicht nachdenkliches Portrait einer Sitzenden; stylistisch in starker Anlehnung an Picasso und die klassische Moderne. Monogrammed AB, Mid 20th century. Portrait of a Lady in green blouse. Oil on ply wood, 1955. Monogrammed and dated top right. Unframed. Paint a bit rubbed. Modern portrait in slghtly melancholy mood; resembling of classic modern art around Picasso.

Faiss, Fritz (1905 Furtwangen - 1981 Los Angeles)Rheinblick mit Kölner Brücken. Öl auf Leinwand, 1937. Signiert und datiert unten links. Rückseitig mit Einlieferungs-Etikett zur Großen Deutschen Kunstausstellung München 1937 (offensichtlich abgelehnt). In Eichenholzrahmen. 55 x 105 cm (Ra). Leichtes Druckstellenkrakelee. Modern aufgefasste Hafenansicht in gestrecktem Querformat. View across the river Rhine with bridges of Cologne. Oil on canvas, 1937. Signed and dated bottom left. Backside with application label for the Great Art Fair in Munich 1937 (obv. declined). In oak wood frame. Some craquelure. Modern cityscape by the Bauhaus student before the harrassment by the NS regime.

Faiss, Fritz (1905 Furtwangen - 1981 Los Angeles)Rheinblick mit Kölner Dom. Öl auf Leinwand, 1937. Signiert und datiert unten rechts. Rückseitig mit Einlieferungs-Etikett zur Großen Deutschen Kunstausstellung München 1937 (offensichtlich abgelehnt). In Eichenholzrahmen. 55 x 105 cm (Ra). Leichtes Druckstellenkrakelee. Modern aufgefasstes Stadtpanorama in gestrecktem Querformat. Die Bewerbung des Bauhaus-Schülers zur GDK 1937 zeigt eine noch anfängliche Hoffnung auf Akzeptanz des eigenen künstlerischen Werks durch die Ausstellungsleitung - die danach einsetzende Verfolgung durch das NS-Regime gibt Zeugnis von der unbestechlichen Modernität des Künstlers. View across the river Rhine with the cathedral of Cologne. Oil on canvas, 1937. Signed and dated bottom right. Backside with application label for the Great Art Fair in Munich 1937 (obv. declined). In oak wood frame. Some craquelure. Modern skyline by the Bauhaus student before the harrassment by the NS regime.

A pair of Magineya continental porcelain egg cups, modern art design with bold painted borders, with leaves, spots and animals, sign to interior, 8cm high.

Pamphlets Collection of plays and tracts, 17th-19th century including: [Vanbrugh, Sir John]. The Provok'd Wife: a Comedy as it is acted at the New Theatre in Little Lincolns-Inn-Fields. London: for Richard Wellington, 1698. 4to, early-20th-century morocco, bookplate of Duff Cooper (1890-1954, British politician), bound without half-title, spotting and browning, tape-repairs to K1 and K4 (the repairs extending into text in the latter, not affecting legibility) [ESTC R3704: eight copies in UK libraries; first published the previous year]; [Swift, Jonathan]. The First Ode of the Second Book of Horace, Paraphras'd and Address'd to Richard St--le, London: for A. Dodd, 1714. 4to, 20th-century sheep, browning [ESTC T35561; first published the previous year]; [Defoe, Daniel]. A New Discovery of an Old Intreague: a Satyr level'd at Treachery and Ambition: calculated to the Nativity of the Rapparee Plott, and the Modesty of the Jacobite Clergy. [London:] printed in the year 1691. First edition, 4to, 20th-century green morocco, retaining final blank (E4), slightly browned, closely trimmed at head, [ESTC R4948, four copies only in UK libraries]; Idem. A Word about a New Election, that the People of England may see the Happy Difference between English Liberty and French Slavery. [London]: printed in the year 1710. First edition, 8vo, modern boards, browning, closely trimmed at foot shaving a few catchwords [ESTC T70864]; Idem. An Essay upon Literature ... proving that the two Tables, written by the Finger of God in Mount Sinai, was the first Writing in the World; and that all other Alphabets derive from the Hebrew. London: for Tho[mas] Bowles [and others], 1726. First edition, 8vo, c.1900 quarter morocco [ESTC T70337: eight copies in UK libraries]; Jonson, Ben. Horace, his Art of Poetrie, made English [extracted from The Workes, 1640]. [London: printed by Richard Bishop], 1640. Folio, modern boards, 29 pp., slightly browned, damp-staining; and approx. 25 others (these not collated), including William Whitehead, Elegies. With an Ode to the Tiber, 1757 (half-title, engraved title-vignette), Thomas Southern, Oroonoko, A Tragedy, 1735, William Grimston, The Lawyer's Fortune ... A Comedy, 1736, Thomas Arne, The Guardian Out-witted, 1764, Arthur Murphy, The Desert Island, a Dramatic Poem, 1760, and similar, mainly in modern wrappers or disbound, a theatrical sammelband (containing e.g. Macklin, Love a-la-Mode, 1784, Sheridan, The Duenna, 1784, Southern, Isabella or the Fatal Marriage ... altered by D. Garrick, 1785, etc., Dryden & Lee, Oedipus, 1784, etc.), and similar (approx. 30)

Heaney, Seamus The Door Stands Open: Czeslaw Milosz 1911-2004 [Dublin]: The Irish Writers' Centre Limited, printed and made in Poland by the Book Art Museum, Lodz, 2005. 'Special edition', one of 250 copies signed by Heaney, 4to, original stainless-steel covers, grey cloth spine, integral silkscreened 'mixed media wrap', black card chemise with Heaney's signature printed in silver, text mainly on light blue handwoven paper; Hughes, Ted. Tales from Ovid. London: Faber and Faber, 1997. First edition, deluxe issue, one of 300 copies signed by the author, 8vo, original quarter cloth, slipcase; Idem. T. S. Eliot: A Tribute. [London]: privately printed by Faber and Faber, 1987. First edition, one of 250 copies signed by the author, 8vo, original blue wrappers, retaining glassine inner chemise and card wrapper; Durrell, Laurence. The Red Limbo Lingo. A Poetry Notebook. London: Faber and Faber, 1971. First edition, one of 1200 numbered copies, this copy inscribed by the author for Yehudi and Diana Menuhin on mounted card slip, and with the recipients' bookplate, 4to, original red cloth, slipcase; and 20 others, modern literature, all signed limited editions, including Ian McEwan, Other Minds, Bridgewater Press, 2001, 2 copies, each one of 100; Graham Greene, How Father Quixote became a Monsignor, 1980, one of 330; idem, Why the Epigraph?, 1980, one of 950; V. S. Naipaul, Two Worlds, Nobel Lecture, December 7 2001, 2002, one of 58 from the total edition of 70 (front board water-damaged); William Golding, To the Ends of the Earth, 1991, one of 400 (with cardboard slipcase); John Updike, Getting the Words Out, 1988, one of 250; and similar (24)Note: The Door Stands Open was published to mark the death of Polish author Czeslaw Milosz, who received the Nobel Prize in Literature in 1980; there was also a 'deluxe' edition of 60 copies with an autograph quotation by Heaney.

Nevinson, C. R. W. Modern War Paintings With an Essay by P. G. Konody. London: Grant Richards Limited, 1917. First edition, 4to, original green quarter cloth, green paper boards, printed labels to spine and front cover, dust jacket, colour lithographic frontispiece ('The Column on the March') signed by Nevinson in pencil and with captioned tissue-guard, 24 monochrome plates, peripheral toning to boards, corners bumped, dust jacket with toned spine, chipping to head and foot of spine and joints, short closed tear to head of front panel, a few small marks; Bone, Muirhead. Glasgow. Fifty Drawings. Glasgow: James Maclehose, 1911. 'Special edition', number 2 of 110 copies (of which 10 were for presentation) with a signed original etching, comprising text volume (folio, original wrappers, partly unopened), signed etching (in window-mount), and 53 unbound plates (each on separate card mount and including duplicates of plates 3, 11 and 36), all in portfolio as issued; Binyon, Laurence. The Art of Botticelli. An Essay in Pictorial Criticism. London: Macmillan and Co., 1913. First edition, one of 275 copies, folio, original quarter vellum, etched frontispiece by Muirhead Bone (signed by the artist), 23 tipped-in colour plates, tissue-guards browned; Burns, Robert (1869-1941). Scots Ballads. London: Seeley Service & Co Limited, [1939]. First edition, one of 320 copies only, folio, original quarter cloth, printed on japon, wood-engraved illustrations throughout; [Chromolithography]. Poem by Lord Byron. Illuminated by W & G Hudsley, Architects. London: Day & Son, 1865. 4to, original decorative cloth, 20 chromolithographic leaves, gutta percha perished and contents loose; Stevenson, Robert Louis. Familiar Studies of Men and Books, New Arabian Nights. A New Edition; Ballads. London: Chatto and Windus, 1888-89-90. 3 works, large-paper editions, each one of 100 copies only, 4to, original cream cloth, slightly marked, tips bumped (8)

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

Taravat Niki, "Fire flames ", acrylic on canvas, 60 x 45cm, c. 2022. In this painting, I am inspired by a millennial Iranian tradition called the celebration of the last Wednesday of the year, in which people light fires and celebrate next to it. This work is a combination of Iranian miniature art and painting, but in a modern way. In this painting, fire is a symbol of burning love and feminine power from which the lines of flowers and bushes or life itself are created. UK shipping £35.

FERRÁN GARCÍA SEVILLA (Palma de Mallorca, 1949)."Untitled.Oil on paper.Signed in the lower right-hand corner.Measurements: 48 x 68 cm; 59 x 79 cm (frame).Initially linked to art theory and criticism, García Sevilla has been a professor of Fine Arts at various universities. He made his solo debut in 1972. He has had solo exhibitions in Europe and the United States, and has participated in group exhibitions in Hamburg, Vienna, Munich, St. Petersburg, Lisbon and various Spanish cities, as well as in Documenta in Kassel (1987) and the Istanbul (1989) and São Paulo (1996) Biennials. His solo exhibitions in recent years include the Elga Wimmer Gallery in New York (1992), the Thomas Netusil Kunsthandel in Vienna (2000) and the Fúcares gallery in Madrid (2008) García Sevilla is represented at the Centre Pompidou in Paris - National Museum of Modern Art, the Museo Nacional Reina Sofía, the MACBA in Barcelona, the Centro Atlántico de Arte Moderno in Las Palmas, the CaixaForum in Barcelona, the Fundación Suñol, the Museo Colecciones Ico, the Es Baluard in Palma de Mallorca, the IVAM in Valencia, the Fundación Juan March, the Museo Patio Herreriano in Valladolid, the ARTIUM in Vitoria and the MuHKA in Antwerp.

ALBERT RÀFOLS CASAMADA (Barcelona, 1923-2009)."Serie Méxic n. 5", 1979.Pencil and pastel on paper.Provenance: private collection.Work published in the catalogue of the exhibition "Albert Ràfols Casamada", IVAM, 2001, p. 107.Size: 24 x 31.5 cm; 43 x 43 cm (frame).After a brief figurative period, the 1950s gave way to a more schematic and structured conception of reality, with a clearly abstractionist slant, which he would cultivate throughout the rest of his life. During the 1970s his work dematerialised, becoming more ethereal, atmospheric and more subdued in colour due to the impact and influence of American Expressionism, particularly Mark Rothko. Nevertheless, structural rigour remained present in the geometric composition and in the Matissian window, seeking and achieving a balance between structure and its dissolution. A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on atmospheres, themes, objects or graphics from everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many prizes, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.

ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009)."Blue box (2)", 1997.Watercolour on paper.Signed and dated in the lower left corner.Provenance: Collection.Work published and exhibited in "Ràfols Casamada", IVAM, 2001, p. 139.Size: 28 x 32 cm; 43 x 43 cm (frame).After a brief figurative period, the 1950s gave way to a more schematic and structured conception of reality, with a clearly abstractionist slant, which he would cultivate throughout the rest of his life. During the 1990s, until the end of his career, his production is interpreted as a study of his own work. His compositions, stable and calm, show a structural purity taken to the extreme in which symmetry, order and balance configure the use of space dominated by geometry and the complementarity of colours.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on atmospheres, themes, objects or graphics from everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many prizes, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.

HENRI GÖETZ (United States, 1909 - France, 1989)."Composition", 1980.Oil on canvas.Signed in the lower right corner. Signed and dated on the back.Size: 55 x 65 cm; 73 x 84 cm (frame).French-American painter and engraver, Henri Goetz is as well known for his work as for his invention of the carborundum engraving process, a process that uses carbon silicide as an abrasive. Born in New York, he began to draw as a child, although he was frustrated by the clumsiness of his drawings. He later began his training at the Grand Central School of Art in New York, and after completing his studies there, he went to Paris in 1930 to broaden his knowledge. In the French capital he attended courses at the Colarossi, Julian and Grande Chaumière academies, where he met his wife, the Dutch painter Christine Boumeester, who was born in Java. Around this time Goetz was already developing a personal surrealist style, which influenced his wife's work. In 1934, thanks to his friend Victor Bauer, an Austrian artist, Goetz held his first solo exhibition in London. It was also at this time that he met Hans Hartung, who introduced him to his circle of friends. Through him he came into contact with Fernand Léger and Wassily Kandinsky. In 1937 he held his first exhibition in Paris at the Bonaparte gallery. After the outbreak of the Second World War, Goetz and his wife collaborated with the French Resistance by printing pamphlets and posters, although their main occupation was to create identity cards. In 1939 Goetz, Christian Dotremont and Raoul Ubac created "La Main à Plume", the first surrealist publication under the occupation. After the war, Goetz spent every week visiting the studio of a different artist, meeting Picasso, Brancusi, Julio González, Picabia and Max Ernst. In 1947 he became the protagonist of Alain Resnais's short film "Portrait de Henri Goetz", made for the Musée National d'Art Moderne. Two years later, he began teaching, first independently and shortly afterwards at the Académie Ranson. Later he also taught at the Grande Chaumière, and finally founded his own academy, although he never charged for his lessons. In the meantime, he continued to exhibit his work in leading European galleries. In 1968 he accepted a teaching post at the École des Beaux-Arts in Paris, but when the school closed due to student strikes two weeks later he moved to Paris 8 University. After her death Goetz came across her diaries, which he published in a book with a foreword by himself. After being hospitalised for illness, the artist committed suicide by jumping from a window on the fifth floor of the hospital in Nice in 1989. He is currently represented in the Goetz-Boumeester Museum in Villefranche-sur-Mer on the Côte d'Azur, as well as in the Centre Georges Pompidou in Paris, the Miró Foundation in Barcelona, the San Francisco Museum of Art, the French State Museum, the Budapest Museum, the National Museum of Modern Art in Brussels and many others around the world.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Untitled.Ink on paper.Signed on the back.It has a label (partially conserved) from the Dau al Set gallery in Barcelona, on the back.Sizes: 69 x 69 cm; 100 x 100 cm (frame).Painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946 at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the metaphysical characters period (1970), the acupainting period (1971) and a final period of synthesis (1972).

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Sint itulo". Circa 1954Oil on wood.Signed in the lower left corner.This work is published in the artist's online catalogue raisonné, ref. 0176.Size: 110 x 53 cm; 126 x 68 cm (frame).Ponç defined himself as a sorcerer artist, conceiving art as an incantation, something magical. This is palpable in each of his works, whether they are dreamlike landscapes or figures which, like the one we are dealing with here, seem to emerge from a parallel reality.A painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the metaphysical characters period (1970), the acupainting period (1971) and a final period of synthesis (1972).

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Character", c.1954Oil on wood.Signed in the lower left corner.This work is published in the artist's online catalogue raisonné, ref. 0177.Size: 110 x 53 cm; 126 x 68 cm (frame).Ponç defined himself as a sorcerer artist, conceiving art as an incantation, something magical. This is palpable in each of his works, whether they are dreamlike landscapes or figures which, like the one we are dealing with here, seem to emerge from a parallel reality.A painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the metaphysical characters period (1970), the acupainting period (1971) and a final period of synthesis (1972).

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Untitled", 1947.Oil on paper.Signed and dated on the back.Size: 65.5 x 50 cm; 89 x 74 cm (frame).This seminal work in Joan Ponç's artistic career condenses the revolutionary impetus of the young artist into a motley composition. Dated 1947, this was a key year for Ponç, who was at the crest of the avant-garde wave in Franco's Catalonia. He had just founded the magazine Algol, the embryo of what would become the magazine Dau al Set (1948). In this work on paper, the influence of Miró can be seen, but at the same time, there are already creations born out of Ponç's boisterous imagination.A painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946 at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). One of the most singular and enigmatic painters in the history of modern art, Ponç painted in order to survive the world, and turned each of his creations into a magical act. His trajectory describes a circular path over the years, almost without evolution, if we understand as such the change from one language to another, the variation of styles, the transformation of the unknowns that led him to paint. Ponç was a painter-poet, who used his brushes to discover the only world he knew, the most real of all, the world that lies in the depths of his own being. It is a world inhabited by strange creatures with half-human, half-animal bodies, by demons who make us participants in their actions, by deserted spaces in which symmetrical mounds, craters in a line, Stygian lagoons under dark skies broken only by the glow of coloured moons stand out. He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, among others.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984).Untitled, 1947.Ink on paper.Signed in the lower left corner.Work published in the artist's online catalogue raisonné, ref. 1979.Size: 55 x 43.7 cm; 82 x 71 cm (frame).In this composition, full of cryptic emblems, Joan Ponç's imaginary is synthesised in all its alchemical splendour. During the 1940s, the period to which this painting belongs, Ponç's plastic universe was already beginning to be nourished by premonitory visions and hunches, giving shape to a clairvoyant, mystical and existential language. The perspective of time has reaffirmed the relevance and exceptionality of his work, as well as the intensity of his voice and the need for its rediscovery.A painter and draughtsman, Joan Ponç trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946 at the Galería Arte in Bilbao, which was to mark his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art, with such success that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, the Museo de L'Empordà and the Museo Nacional Centro de Arte Reina Sofía.

JOSEP MARIA RIERA I ARAGÓ (Barcelona, 1954).Untitled, 1998.Mixed media and collage on canvas.Signed and dated in the lower right-hand corner.Size: 129,5 x 182,5 cm.The poetics of the absurd beats with intensity in Riera i Aragó's "poetic machinism". His interest in transforming machines into living sculptures that express the idea of flight or diving originated in the eighties, and in the nineties (the decade in which he produced the painting in question) this interest had already spread to a variety of techniques, not only in sculpture (graphic art, collage, works on paper...) Wheels and propellers suggest an impossible journey, a flight that is only possible with the imagination. Riera i Aragó somehow picks up on the Dadaist spirit and his passion for creating useless machines, but his is a passion for a very particular type of machine, which has become a rubric, so that his art is recognisable whatever the medium used.A painter and sculptor, Josep Riera i Aragó trained at the Escuela Superior de Bellas Artes in Barcelona. He made his individual debut in 1981 at the Artema gallery in Barcelona. Two years later he took part in the Salón de Otoño in that city, and since then he has shown his work all over the world, in leading galleries in Spain, Mexico, Holland, Israel, Germany, Belgium, France, Luxembourg, Switzerland, Colombia and the United States. Particularly noteworthy are the solo exhibitions he has held at the Musée de Ceret (France, 1989), the Bibliothèque Nationale de Paris (1993), the Oostende Museum of Modern Art (Belgium, 1997), the Joan Prats Gallery in New York (1998), the Tassende Gallery in Los Angeles (2003) and the Museum of Aalst in Belgium (2006), among others. Since 1983, Riera i Aragó has developed his plastic discourse around machinery, with a symbolic language marked by an interest in air and sea transport, which he sees decontextualised, separated from their original function. At the same time, his plastic language has been enriched by the deepening of the line/plane and empty/full dialogue. Never repetitive, each "machine" he creates evokes, without pathos or condescension, a clear and comprehensive vision of humanity. With a visual vocabulary limited to simple forms reminiscent of zeppelins, submarines or aeroplanes, Riera i Aragó develops a fertile iconography charged with meaning which, endowed with a clear irony, speaks of the absurd recklessness of man's creations and of the poetic justice that results when these creations turn against him. His work should be understood as a global story, which is related to languages as disparate as astronomy, botany, mathematics and mysticism, and which offers the spectator the possibility of entering a particular and highly lyrical universe, where reality and fiction cease to be opposing categories. Riera i Aragó is currently represented at the MACBA, the Joan Miró, La Caixa and Vicent Van Gogh foundations, the Museum of Modern Art in Luxembourg, the Rufino Tamayo Museum in Mexico, the Ceret and Reattu Museum in Arles in France, the Otani Museum in Japan and the Heilbronn Museum in Germany, among many others.

PIETRO RUFFO (Italy, 1978).Untitled.Mixed media on paper.Signed on the back.Size: 46 x 55 cm; 66 x 74,5 cm (frame).This work is part of Pietro Ruffo's paper micro-architectures, in which the artist (an architect by training) uses scalpels. Pietro Ruffo is an Italian multidisciplinary artist and ceramist. After studying architecture in Rome, he travelled to Beslan, Russia, to work with the children who survived the massacre at their local school by Chechen rebels. Pietro Ruffo has also worked on other public projects, including a sculpture proposal for Ground Zero, a project at the psychiatric hospital in Colmar and art workshops with disadvantaged children. He won the Cairo Prize in 2009 and the New York Prize in 2010. Maria Grazia Chiuri, former creative director of Valentino, chose him to present Memorabilia, the Roman fashion house's 50th anniversary show at Place Mignanelli. He has participated in numerous solo and group exhibitions in museums and foundations. To cite a few solo exhibitions: 1998: Air Terminal, Ostiense, Rome. 2008: Testori, London. 2011 Di Meo, Paris. Group exhibitions. 2001: Gallery of Modern Art, Sendai, Japan.

ARTISTS: Selection of three signed postcard photographs by various modern art artists, comprising Allen Jones (1937- ) British Pop Artist, Karl Hartung (1908-1967) German Artist, and Marlene Dumas (1953- ) South-African Artist and Painter. Together with a card signed and inscribed by Cesar Domela (1900-1992) Dutch Sculptor and Painter. G to VG, 4

[WARHOL ANDY]: (1928-1987) American artist, a leading figure in the pop art movement. Warhol's personal 14K gold open face pocket watch by E. Howard & Co., Boston, measuring 1.75" in diameter, with an opening hinged glass cover to the front, the watch face on a second hinge to reveal the inner working mechanism and the inside of the back casing engraved with the makers name, serial number (148873) and 14K mark. The back of the outer casing is attractively engraved with a monogram. Contained in a modern black watch case. VG Provenance: The pocket watch was acquired by our vendor at The Andy Warhol Collection auction held by Sotheby's, New York, 23rd April - 3rd May 1988 (Collectibles, Jewelry, Furniture, Decorations and Paintings, 24th - 26th April 1988, lot 619) and their lot label tag is still adjoined to the watch with string. The complete set of auction catalogues (6 vols) for The Andy Warhol Collection is also included in the present lot. E. Howard & Co. was a clock and watch company formed by Edward Howard and Charles Rice in 1858, after the demise of the Boston Watch Company. Howard was to buy out Rice's interest and thereafter sought to make high quality watches based on his own unique designs and eccentric production methods (a factor which, perhaps, Warhol appreciated). 'After his death in 1987 from complications following gallbladder surgery, 313 watches were found at Warhol's East 66th Street townhouse and sold at Sotheby's the following year in a landmark 10-day auction, along with over 10,000 other objects. It was the first time such a sizable cache of fine watches belonging to the same owner had come to market, and it captured the imagination of collectors worldwide. Value was no longer attached solely to the build of a timepiece; price could now be magnified by the object's journey. It sure helped that Warhol had an astute eye as well as an adventure-packed life. Markedly different from the pop aesthetic he had championed, the watches were classic and refined. And unlike the to-and-fro of his iconic silk screens at auction, the watches seldom reappear to feed an ever-hungrier market' (from 'Oh, Yeah. I have Some of Those': How Andy Warhol Amassed One of the World's Most Formidable Watch Collections', by Mark C. O'Flaherty, published in the RobbReport, 14th November 2020)

`..I could perhaps do your drawn portrait; but my eyes, already very tired, refuse..´INGRES JEAN-AUGUSTE: (1780-1867) French Painter. A Painter of History, and a renowned portraitist. Acknowledged as the leader of the Neoclassic school in France, he is a precursor of modern art, influencing Picasso, Matisse and other modernists. A.L.S., `J. Ingres´, one page, 8vo, Paris, 5th December 1855, in French. Ingres confesses the reason why he cannot paint his correspondent´s portrait, and states `Il est vrai que ma bonne volonté m´a entrainé au dela de la possibilité, lorsque je vous ai laisse entrevoir que je pourrais peut-être faire votre portrait dessiné; mais mes yeux déja tres fatigués se refusent de plus en plus a ce genre de travail et je me vois dans l´impossibilité de répondre a votre désir..´ (“I have to say that my good will carried me beyond the possibility when I made you believe that I could perhaps do your drawn portrait; but my eyes, already very tired, refuse more and more this kind of work and I find myself unable to respond to your desire”) Very small overall minor creasing, with a water stain to the right bottom corner, not affecting the text or signature. G 

[SURREALISTS]: PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. Blue ink signature ('Picasso') to the verso of a postcard photograph depicting various sunbathers relaxing on the Cannes beach, n.p. (Cannes), n.d. ('le Samedi 28'; 28th August 1936?), addressed to Man Ray in Paris. The postcard also features an interesting selection of other signatures and autograph notes comprising Paul Eluard (1895-1952) French poet, one of the founders of the Surrealist movement, 'Ooooh!!!! Que faites-vous baron? Nous vous esperons! Ton Paul', his wife Nusch Eluard (1906-1946) French performer, model and surrealist artist, Rosemonde ('Alors! Envoyez-vous', possibly the signature of Rosemonde Wilms, the nom de plume of Rosemonde Gion de Romesnil whose portrait Man Ray had taken in 1935 for her book Reflexions d'une innocente), Roland Penrose (1900-1984) English artist, historian and poet, a major collector and promoter of modern art and an associate of the Surrealists, 'Roland P, Reviens toi-va!', and his wife Valentine Penrose (1898-1978) French Surrealist poet, author and collagist. Hand addressed by Rosemonde to Monsieur Man Ray at 8 Rue du Val de Grace, Paris. An excellent grouping of signatures associated with Surrealism, and a wonderful association piece. The light postal cancellations only very slightly affect the text and signatures, which remain perfectly legible. VG Man Ray (1890-1976) American visual artist, a significant contributor to the Dada and Surrealist movements and a renowned pioneering fashion and portrait photographer.

A tray of modern paperweights, Caithness, art glass vase (af)

BHAWANI PRASAD MITTEL, SANDALS DIVINE watercolour, shown at the India Society exhibition of Modern Indian Art, 1934, 40 x 54 cms

A Mark Rothko museum of modern art New York large framed print

By the Isle of Mull Silver Co (Philip D A Campbell), a modern Scottish silver caddy spoon, Edinburgh 1990, circular bowl, the pierced handle in the Glasgow School of Art manner, length 6.8cm, plus a modern silver caddy spoon in the Iona manner, by Shipton & Co Ltd, Birmingham 1968, the handle with a pierced longboat, length 8.8cm, approx. weight 1.1oz. (2)