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Artist: Joel-Peter Witkin (America, b.1939). Title: "Journeys of the Mask: A Prince in Hell". Medium: Original vintage photogravure. Date: Composed 1983. Printed 1985. Dimensions: Overall size: 10 13/16 x 11 in. (275 x 279 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Witkin’s controversial and carefully constructed photographs frequently depict macabre, often grotesque scenes, with images including torture, cadavers, hermaphrodites, dwarfs, etc. His works can be found in the collections of The Museum of Modern Art in New York City, the J. Paul Getty Museum in Los Angeles, the National Gallery in Washington, D.C., the Victoria and Albert Museum in London, and the Centre Georges Pompidou in Paris. Image copyright © Joel-Peter Witkin Rare. “Gordon’s” locates only one sale of this image, a silver print which realized $6,953 (£3,840) at Christie's, South Kensington, 6/29/2006, lot #155. Witkin’s controversial and carefully constructed photographs depict macabre, often grotesque scenes, with images including torture, cadavers, hermaphrodites, dwarfs, etc. His works can be found in the collections of The Museum of Modern Art in New York City, the J. Paul Getty Museum in Los Angeles, the National Gallery in Washington, D.C., the Victoria and Albert Museum in London, and the Centre Georges Pompidou in Paris. Image copyright © Joel-Peter Witkin. [29678-2-300]

signed ‘Grau Sala’ (lower right) oil on panel 31 x 24 cm Emilio Grau Sala, born in Barcelona in June 1911, is a Spanish painter, engraver, and illustrator. He emigrated to France and settled permanently in Paris in 1936. He began to exhibit in the main annual salons, including the Salon des Humoristes in Paris, and later exhibited his work all over the world - Madrid, London, Buenos Aires, New York. A remarkable colourist and illustrator, he designed numerous costumes and theatre sets, including «Un matin aux Champs Elysées» for the Théâtre de la Mode (1945) and «La Demoiselle de petite vertu» by Marcel Achard (1949). He illustrated many books, including “Les Fleurs du Mal” and “Madame Bovary”. He participated in the decoration of restaurant interiors and, above all, continued to paint and develop his own style, mixing French and Spanish influences in his work. Thanks to his work and numerous exhibitions, his paintings and illustrations soon gained an international reputation. Emilio Grau Sala died in Paris in June 1975. Today, his paintings are part of numerous public collections throughout the world, including the Museum of Modern Art in Paris and museums in Barcelona, Buenos Aires, Honfleur, Philadelphia, La Rochelle, Sceaux and Tossa del Mar. Emilio Grau Sala, né à Barcelone en juin 1911, est un artiste peintre, graveur et illustrateur espagnol. Il émigre en France et se fixe définitivement à Paris en 1936. Il fut élève de l’Ecole des Beaux-Arts de Barcelone, ville où a lieu sa première exposition personnelle en 1929. Il commence à exposer dans les principaux salons annuels dont le Salon des Humoristes à Paris et a ensuite exposé ses œuvres dans le monde entier Madrid, Londres, Buenos Aires, New York, remportant en 1937, une importante distinction à l’Exposition Internationale de la Fondation Carnegie de Pittsburgh. Remarquable coloriste et illustrateur, il dessine de nombreux costumes et décors de théâtre dont “Un matin aux Champs Elysées“ pour le Théâtre de la Mode (1945), “la Demoiselle de petite vertu“ de Marcel Achard (1949). Il illustre de nombreux livres dont « Les Fleurs du Mal », « Madame Bovary », « Bel-Ami » , ou encore « À la recherche du temps perdu », participe à la décoration des intérieurs de restaurants et, surtout, continue à peindre et à développer son propre style, mêlant à son travail influences françaises et espagnoles. Il a fait revivre le Paris du demi-monde, les quartiers bohèmes et artistiques, avec un charme doux et un goût typiquement espagnol qui ont rendu son œuvre à la fois immédiatement reconnaissable et extraordinairement populaire. Grâce à son travail et à ses nombreuses expositions, ses peintures et illustrations bénéficieront très vite d’une réputation internationale. Décédé à Paris en juin 1975, Emilio Grau Sala aura marqué son temps. Aujourd’hui, ses tableaux font partie de nombreuses collections publiques dans le monde entier, dont le Musée d’art moderne de Paris et les musées de Barcelone, Buenos Aires, Honfleur, Philadelphie, La Rochelle, Sceaux et Tossa del Mar.

Artist: Roy Lichtenstein (American, 1923-1997). Title: "Paper Plate". Medium: Original color screenprint, in yellow, red, and blue, on white paper plate. Date: Composed 1969. Dimensions: Image size: (Diameter): 10 1/4 in. (260 mm).Lot Note(s): Signed in pencil, lower center, recto. Dated and copyrighted with artist's name "Roy Lichtenstein" printed on verso. Edition of c5,000. Fine impression. Very good condition. Literature/catalogue raisonne: Corlett III.45. Comment(s): According to 'Gordon's Art Reference' the auction record for another impression (signed) of this plate is $2,360 at Ivey-Selkirk, St. Louis, 11/12/2011, lot #393. Corlett notes that "Many of these plates have been autographed by the artist" (Mary Lee Corlett, "The Prints of Roy Lichtenstein: A Catalogue Raisonne, 1948-1993," pg. 286). In the permanent collection of the Museum of Modern Art. The plates were commercially printed and wrapped in clear cellophane for sale at Bert Stern's "On 1st" store. Correspondence found in the artist's records indicates that the plates may have been fabricated at Artmongers Manufactory, New York. "Paper Plate" is related to other designs the artist produced for dishware, such as the limited edition place settings produced by Jackson China Co. for Durable Dish Company in 1966, and the tea service designed for Rosenthal China in 1984. Image copyright © Estate of Roy Lichtenstein. [28546-13-600]

Artist: Roy Lichtenstein (American, 1923-1997). Title: "Drowning Girl". Medium: Color offset lithograph. Date: Composed 1989. Dimensions: Overall size: 55 13/16 x 47 1/4 in. (1418 x 1200 mm). Image size: 45 11/16 x 45 1/6 in. (1160 x 1147 mm).Lot Note(s): Signed in pencil, lower right. Edition of 500-1,000. Light cream wove paper. The full sheet. Fine impression. Very good condition. Literature/catalogue raisonne: Doering/Von der Osten 146. Provenance: Estate of a private collector, New York City (Manhattan). Comment(s): This famous, large, and scarce poster was last offered at auction in 2007; it has been offered six times at auction dating back to 1994, with the lowest sale price being $2,241 (DM3,450, Bassenge, Berlin, 1994). Published by the Museum of Modern Art, New York. Image copyright © Estate of Roy Lichtenstein. [26354-8-2000]

Artist: Wifredo Lam (Cuban, 1902 - 1982). Title: "Composicion". Medium: Mixed media (Gouache, pastel, and crayon) on paper. Date: Composed 1973. Dimensions: Overall size: 16 1/8 x 12 in. (410 x 305 mm).Lot Note(s): Signed and dated, lower right. Tan wove paper. Very good to fine condition. Provenance: Through the artist Max Ernst; Private collection, Vera Cruz, Mexico. Comment(s): Our example undoubtedly removed from a sketchbook. Lam, like many of the most renowned artists of the 20th century, combined radical modern styles with the "primitive" arts of the Americas. While Diego Rivera and Joaquin Torres-Garcia drew inspiration from Pre-Columbian art, Lam was influenced by the Afro-Cubans of the time. He dramatically synthesized Surrealist and Cubist strategies while incorporating the iconography and spirit of Afro-Cuban religion. Image copyright © The Estate of Wifredo Lam. [30170-3-5000]

Artist: Andy Warhol (American, 1928 - 1987). Title: "Marilyn [Louisiana]". Medium: Color offset lithograph. Date: Composed 1986. Dimensions: Overall size: 33 1/2 x 24 1/2 in. (851 x 622 mm). Image size: 22 x 22 in. (559 x 559 mm).Lot Note(s): Signed in black marker, lower right. Edition unknown. Light cream wove paper. The full sheet. Fine impression. Very good condition. Comment(s): Based on Warhol's 1967 "Marilyn". Published by the Louisiana Museum of Modern Art, located in Humlebaek, 35 km (22 mi) north of Copenhagen, Denmark. It is the most visited art museum in Denmark. This poster will presumably be included in the forthcoming catalogue raisonne of Warhol's posters by Paul Marechal. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28397-6-1200]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Teel's Island". Medium: Color offset lithograph. Date: Composed 1954. Printed 1963. Dimensions: Overall size: 10 15/16 x 17 in. (278 x 432 mm). Image size: 5 1/2 x 13 3/16 in. (140 x 335 mm).Lot Note(s): Signed in pencil, lower right; signed in the plate, lower left. A proof from the edition of unknown size (c300?). Cream wove paper. Wide margins. Fine impression. Fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [27974-3-400]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Helga, Nude [AW inventory #2925]". Medium: Color offset lithograph. Date: Composed 1981. Printed 1987. Dimensions: Overall size: 11 3/8 x 15 3/4 in. (289 x 400 mm). Image size: 9 3/8 x 12 5/8 in. (238 x 321 mm).Lot Note(s): Signed in pencil, lower right; signed in the plate, lower right. Edition unknown. Cream wove paper. Wide margins. Fine impression. Very good to fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [28302-3-300]

Artist: Joel-Peter Witkin (America, b.1939). Title: "Sanitarium". Medium: Original vintage photogravure. Date: Composed 1983. Printed 1985. Dimensions: Overall size: 10 5/8 x 10 3/4 in. (270 x 273 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): According to “Gordon’s Photography Prices” the auction record for a silver print of this image is $10,200 realized at Christie's, New York, 2/14/2006, lot #78. Witkin’s controversial and carefully constructed photographs frequently depict macabre, often grotesque scenes, with images including torture, cadavers, hermaphrodites, dwarfs, etc. His works can be found in the collections of The Museum of Modern Art in New York City, the J. Paul Getty Museum in Los Angeles, the National Gallery in Washington, D.C., the Victoria and Albert Museum in London, and the Centre Georges Pompidou in Paris. Image copyright © Joel-Peter Witkin. [29680-2-600]

Keith HARING (1958-1990), Attribué àSans titre,1984Dessin au marqueur et technique mixte, signé en haut à droitePorte le cachet ‘Keith Haring Collection’ et un cachet ‘Museum of Modern Art, NY’ au dos 29,3 x 21 cm

A large modern art school canvas and similar work 

A Modern Yalos Murano Glass Bowl, white swirl on a black ground, signed Yalos murano made in italy, 45.5cm diameter; and A Greek Iris Clear Glass Fused Square Dish, with red and white fused glass, on a mottled green and red ground, labelled IRIS fusing glass art hand made in Greece, 42.5cm wide (2)

Artist: Frantisek Drtikol (Czech, 1883 - 1961). Title: "Le Cri [Modernist nude study]". Medium: Original vintage photogravure. Date: Composed 1927. Printed 1928. Dimensions: Image size: 9 3/16 x 7 1/8 in. (233 x 181 mm).Lot Note(s): Signature stamp, lower right recto; Studio stamp, verso. Edition unknown, presumed very small. High-grade archival paper. Wide margins. Fine, quality printing. Very good to fine condition. Comment(s): According to ‘Gordon’s Art Reference’ the auction record for another example of this image (pigment process & signed in pencil) is $ 67,769 (£46,850) at Christie’s South Kensington, London, May 21, 2010, lot #48. Drtikol’s nudes show development from pictorialism and symbolism to modern composite pictures of the nude body, with geometric decorations and thrown shadows, where one finds a number of parallels with the avant-garde works of his epoch. These often are reminiscent of Cubism, and at the same time the nudes suggest the kind of movement that was characteristic of the futurism aesthetic. Image copyright © The Estate of Frantisek Drtikol. [25476-1-1200]

Artist: Guillermo Meza (Mexican, 1917 - 1997). Title: "Once Ahau Katun [plate 06 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel."]". Medium: Lithograph in brown ink. Date: Composed 1962. Dimensions: Overall size: 17 7/8 x 13 11/16 in. (454 x 348 mm). Image size: 16 3/8 x 11 3/8 in. (416 x 289 mm).Lot Note(s): Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (of which all were printed?). Cream wove paper. Full margins. Fine impression. Very good condition. Provenance: Estate of Jaled Muyaes, one of the collaborators. Comment(s): Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. Prints by Meza are scarce. His work is in the collections of the Museo de Arte Moderno, Mexico City, the Museum of Modern Art, New York, the Art Institute of Chicago, and the San Francisco Museum of Modern Art. His 'expressionist - surrealist' paintings, with themes often drawn from Indian mythology, are often associated with artists such as Frida Kahlo and Agustín Lazo. [24468-3-225]

Artist: Guillermo Meza (Mexican, 1917 - 1997). Title: "Bajaran Hormigas Como Tigres [plate 05 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel."]". Medium: Lithograph in brown ink. Date: Composed 1962. Dimensions: Overall size: 17 7/8 x 13 11/16 in. (454 x 348 mm). Image size: 16 1/4 x 11 7/8 in. (413 x 302 mm).Lot Note(s): Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (of which all were printed?). Cream wove paper. Full margins. Fine impression. Very good condition. Provenance: Estate of Jaled Muyaes, one of the collaborators. Comment(s): Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. Prints by Meza are scarce. His work is in the collections of the Museo de Arte Moderno, Mexico City, the Museum of Modern Art, New York, the Art Institute of Chicago, and the San Francisco Museum of Modern Art. His 'expressionist - surrealist' paintings, with themes often drawn from Indian mythology, are often associated with artists such as Frida Kahlo and Agustín Lazo. Image copyright © The Estate of Guillermo Meza. [24467-3-225]

Artist: Frank Lloyd Wright/Taliesin Architects (American, 1869 - 1959). Title: "Vintage Frank Lloyd Wright/Taliesin Architects Designed Carpet from the Arizona Biltmore Hotel [01 "tile"] [approximate size: 54" x 54" (4 1/2' x 4 1/2') square. The integral repeating design of the carpet consists of four green “squares” with an “arrow” through the middle of each square, pointing to the “center.” Each one of the squares is approximately 27” square and four of them make the complete design, a “tile.” The tile dimension is approximately 54 inches square (4 ½ feet x 4 ½ feet)]". Medium: Textile. Date: Lot Note(s): The carpet has been professionally cleaned and bordered. Very good condition, with no holes, patches, stains, color bleeding, etc. Several minimal, virtually undetectable, professionally repaired tears. This carpet size is perfect for a wall hanging. It is also very impressive when framed. Provenance: Arizona Biltmore Hotel, Phoenix, Arizona. Comment(s): Built in 1929 and known throughout the world as “The Jewel of the Desert," the Biltmore resort was designed by Albert Chase MacArthur, with consulting from Frank Lloyd Wright and his Taliesin Architects, particularly on the brick design and general interior design, including the carpeting. Mr. Wright's carpet design was sent to the prestigious Wilton Carpet Manufacturing Company in Axminster, England, which used only the highest quality 100% wool available in its manufacture. In 1932 the carpet was installed throughout the hotel as an integral part of the overall interior design. On June 21st, 1973, a tragic fire led to the replacement of all the carpeting throughout the resort, of which our example is part (please see image of the carpet in place). The carpet was designed by Wright's Taliesin Architects based on a Wright drawing (dated by him in 1921) for the Second Imperial Hotel in Tokyo, constructed 1915-1923. "As classically correct today as the day it was created, Mr. Wright's modern use of line and rich jewel tones make this vintage carpet as modern and enduring as the Biltmore itself." (from the "Arizona Republic"). Included in several important collections, including the Baltimore Museum of Art. Image copyright © Artists Rights Society (ARS), New York. [23620-16-400]

Artist: Joel-Peter Witkin (America, b.1939). Title: "Portrait of Nan". Medium: Original vintage photogravure. Date: Composed 1984. Printed 1985. Dimensions: Overall size: 11 x 10 15/16 in. (279 x 278 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): According to “Gordon’s Photography Prices” the auction record for a silver print of this image is $14,375 realized at Bonhams, New York, 5/7/2013, lot #119. Witkin’s controversial and carefully constructed photographs frequently depict macabre, often grotesque scenes, with images including torture, cadavers, hermaphrodites, dwarfs, etc. His works can be found in the collections of The Museum of Modern Art in New York City, the J. Paul Getty Museum in Los Angeles, the National Gallery in Washington, D.C., the Victoria and Albert Museum in London, and the Centre Georges Pompidou in Paris. N.B. This image has been incorrectly titled “Larry’s First Wife.” Image copyright © Joel-Peter Witkin. [29675-2-600]

Over ninety booklets and pamphlets of Hull and East Yorkshire interest including railways, docks, shipping and fishing industry, crime, street scenes, art, history etcCondition Report:Condition varies but most quite modern so generally in good condition.

Gutai Group - - Kazuo Shiraga. (1924 Amagasaki, Japan - 2008 ebd.). Un. 1990. Farbserigraphie auf Papier. 65,1 x 85 cm (72,5 x 95,5 cm, Sichtmaß). Signiert und betitelt auf Japanisch, zusätzlich bezeichnet "p.p.". Punktuell auf Unterlage und unter Passepartout montiert. Unter Plexiglas gerahmt. - Guter Zustand. Die Farbe sehr satt und pastos. Leuchtend und rein in der Wirkung. Printers proof abseits der herkömmlichen Auflage von 60 Exemplaren. - Aus dem "Shiraga Kazuo Portfolio", 1990. - Mit dem Blindstempel der Druckerei Hoshida Graphics, Kyoto. - Kazuo Shiraga war einer der prominentesten Akteure der japanischen Nachkriegsavantgarde. Als Mitglied des Kunstkollektivs Gutai, das für seine unkonventionelle Praxis bekannt ist, bewegte sich Shiraga spielend und frei zwischen Malerei und Performance-Kunst. Einflüsse des westlichen abstrakten Expressionismus (insbesondere Jackson Pollocks Action Painting) und des Tachismus ebenso wie Elemente der japanischen traditionellen Kultur aus Dichtung, Malerei und dem Buddhismus vereinigte Kazuo zu gestisch-impulsiven Arbeiten. Shiragas Werke sind international in öffentlichen Sammlungen zu besichtigen, darunter das Musée d'Art Contemporain, Marseille oder das Museum of Modern Art, Tokio. Colour silkscreen on paper. Signed and titled in Japanese, additionally inscribed "p.p.". Spot mounted on backing and under passepartout. Framed under plexiglass. - Good condition. The colour very rich and impasto. Luminous and pure effect. - Printers proof off the usual edition of 60. - From the "Shiraga Kazuo Portfolio", 1990. - With the blind stamp of Hoshida Graphics, Kyoto.

Amerikanische Moderne - - Jasper Johns. (1930 Augusta, Georgia (USA)). Techniques and Creativity. 1971. Offsetlithographie mit 3 aufmontierten Aquarellpads und einem Pinsel. Offsetlithographie 26,2 x 21 cm. Drucksigniert sowie mit typographischer Betitelung und Datierung. Offsetlithographie voll montiert in der originalen Box. Mit dem Werkkatalog der Gemini Gel. - Box außen mit leichten Anschmutzungen, die Offsetlithographie und der Katalog davon nicht betroffen. Der Pinsel lose beiliegend. Insgesamt in gutem Zustand. Die Idee des Multiples ist es, dass der Besitzer in Zusammenarbeit mit Jasper Johns tritt und das von Johns vorgelegte Motiv der Zielscheibe mit den 3 Grundfarben und dem Pinsel individuell ausgestaltet. - Herausgegeben vom Museum of Modern Art, New York, für die gleichnamige Ausstellung. - Druck bei Gemini G.E.L., Los Angeles. - The idea of the multiple is that the owner enters into collaboration with Jasper Johns and individually fleshes out the motif of the target presented by Johns with the 3 basic colours and the brush. - Published by the Museum of Modern Art, New York, for the exhibition of the same name. - Printed by Gemini G.E.L., Los Angeles. Offset lithograph with 3 mounted watercolour pads and a brush. Signed with a print, typographical title and date. Offset lithograph fully mounted in the original box. With the catalogue of works of the Gemini Gel. - Box with slight soiling on the outside, the offset lithograph and the catalogue not affected. The brush loosely enclosed. At all in good condition.

Amerikanische Moderne - - Sean Scully. (1945 Dublin). Heart of Darkness. Komposition VI. 1992. Farbquatintaradierung auf chamoisfarbenem Magnani (mit dem Wasserzeichen). 12,1 x 17,8 cm (47 x 56 cm). Signiert und datiert sowie von fremder Hand bezeichnet "archive". Unter Passepartout montiert und unter Glas gerahmt. - Im weißen Rand mit wenigen minimalen Knickspuren, diese kaum sichtbar. Verso vereinzelt mit zarten Atelierspuren. Insgesamt in gutem, wohlerhaltenem Zustand. Gratiger, kontrastreicher Abzug. Aus dem Portfolio "Heart of Darkness" von 1992, in welchem Sean Scully auf Grundlage von Joseph Conrads Roman "Herz der Finsternis" (1899) eine Serie von Aquatintaradierungen erschuf. - Sean Scully ist eine Ikone der zeitgenössischen Malerei und mit seinen Werken in den Sammlungen der renomiertesten Institutionen der Welt vertreten wie u. A. dem Museum of Modern Art und dem Metropolitan Museum, beide New York. Die vorliegende Arbeit findet sich in der Graphischen Sammlung der Albertina, Wien unter der Archivnummer 92001.6. Colour quatinta etching on buff handmade Magnani paper (with watermark). Signed and dated as well as inscribed "archive" by a foreign hand. Mounted under passepartout and framed under glass. - In the white margin with a few minimal crease marks, these hardly visible. Overall in good, well-preserved condition. Burr-rich, high-contrast print.

A superb collection of enamelled St Christopher dashboard plaques and medallions,housed in two wooden collectors cabinets, sixty one various types of plaques, majority enamelled, from highly decorated art deco geometric shapes and patterns to plain engraved metal with outer enamel decoration, includes one with box, one with jeweller's case and one with plastic 'pearl' backing, together with 3 enamelled St. Christopher bracelet decorations, 13 enamelled charm bracelet St. Christopher decorations, 2 enamelled brooches, 1 large blue enamel pin badge, 1 ashtray, 1 key fob, 1 painted tourist's badge with St. Christopher from Capri, a 1925 Farthing pen knife and a modern enamel racing car plaque. This lot is subject to the following lot symbols: ◊◊ £30 + VAT uplift and storage at £6 + VAT per lot per day.For further information on this lot please visit Bonhams.com

FOUR MODERN FAUX BRONZE FIGURAL TABLE LAMPS (5)Formed as Art Deco dancing girls, each with frosted glass shade, 62cm high, and another modern figure, 55cm high

A LARGE QUANTITY OF MODERN ART REFERENCE BOOKSIncluding furniture, architecture, interior design, paintings, mid-20th century design and sundry

After Alphonse Mucha, coloured prints in the Art Nouveau manner, featuring semi clad figures, all framed, 120 x 48 overall. (4)Lot 1519 - modern reproductions, frames have knocks and wear

Modern Oceanic tribal art carved hardwood figure of two heads with mother of pearl inlaid eyes and teeth

14 various boxed Auto Art 1/43 scale boxed modern release diecast vehicles, mixed examples to include a Subaru Impreza WRX STi, a Bugatti 16.4 Veyron, together with various others

[Women Artists] Beatriz Gonzalez, Colombia 1978 Instituto Colombiano de Cultura, Bienal de Venecia, 1978. Folded sheets, colour printed on newspaper stock, 23.5 x 21.5 cm, 16 pp. Catalogue for Gonzalez' exhibition at the XXVIII Venice Biennial, representing her native country Colombia. Texts by Eduardo Serrano, curator of the Museum of Modern Art in Bogota and Beatriz Gonzalez in Spanish and English. Contains amazing reproductions of paintings, including a double spread of the now famous 'Drop Curtain for a Lunch (1975)', as well as details of paintings and photo documentation featuring the production of a huge mural. There are some underlinings in pencil throughout, which can probably be removed. Rare beautiful item.

[Fluxus] Four Fluxus reference books (1) Hans Sohm, Happening & Fluxus, materialien. Cologne, Kunstverein Kölnischer, 1970. Classic book with chronology of Fluxus events. Very good copy. (2) Actie, werkelijkheid en fictie in de kunst van de jaren '60 in Nederland. Rotterdam, Museum Boymans-Van Beuningen,1979, 176 pp. Features an extensive overview of early Fluxus events in The Netherlands. Text in Dutch, excellent b/w pictures of performances/happenings.(3) Fluxus selections from the Gilbert & Lila Silvermann Collection. New York, Museum of Modern Art, 1988, 66 pp. With wrap around cover, else fine. (4) Ubi Fluxus ibi motus, 1990-1962. Milan, Mazzota, 1990. Edited by A. Bonito Oliva, G. Di Maggio and G. Sassi. Extensive exhibition catalogue of the Venice Biennale in 1990. 27 x 23 cm, 500 pp. Heavy item, ca. 2.5 kg. Toning and moderate rubbing on cover, fine copy. (total 4)

[s and 1970s] L'Esperto, Super Studio Stapled booklet, 29 x 21 cm, 28 pp. Milan, L'Esperto S.p.a., undated (early 70s). Seems to be a company advertising brochure promoting various creative and educational products for children such as an encyclopedia, a bible, board games, crafts, 'bricolage with paper', mini books. Illustrated with colour drawings in a psychedelic 60s style.Interspersed between the products are 3 double page colour spreads showing work by the legendary Italian artists/radical architecture group Superstudio. Featured are stills from 'Superface, an alternative model for life on earth. A film by Superstudio for the Museum of Modern Art in New York.' (pages 2-3 and 14-15 and 20-21). Brochure with text in Italian. No further information found, rare item in fine condition.

[s and 1970s] Ger van Elk and Bas Jan Ader (1) Six publications on the renowned Dutch conceptual artist Ger van Elk (1941-2014). Comprises: Ger van Elk 5.1.1973 tot en met 18.2.1973. Eindhoven, Van Abbemuseum, 1973; Ger van Elk: The Horizon, a Mental Perspective and The Cadillac and the Nun. Both published by Van Abbemuseum Eindhoven and Nai Uitgevers Rotterdam, 1999; Ger van Elk, Monograph. Deventer, Thieme Art, 2009. First edition, 304 pp. Editing and compilation by Marente Bloemheuvel and Zsa-Zsa Eyck. Text in English. Book design by Irma Boom; Ger van Elk, Kunsthalle Basel and Boijmans van Beuningen, 1980. Name on first page; Ger van Elk, La Biennale di Venezia, 1980. Name on first page. (2) Bas Jan Ader Please don't leave me (Dutch edition). Rotterdam, Museum Boijmans Van Beuningen, 2006. Text by Rein Wolfs et al. (3) In & Out of Amsterdam, Travels in Conceptual Art 1960-1976. New York, Museum of Modern Art, 2009. Great survey of the Dutch conceptual art scene with chapters on Bas Jan Ader, Ger van Elk, Stanley Brouwn a.o., with extensive documentation. Most books feature some shelf wear, heavy stack. (total 8)

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

May (Robert) The accomplisht cook, or The art & mystery of cookery. Wherein the whole art is revealed in a more easie and perfect method, than hath been publisht in any language, fifth edition, engraved portrait frontispiece, woodcut illustrations in text, including pies, 9pp. advertisements at end, lacking 4 folding woodcut plates (as often), T6 torn, with considerable loss of text, some foxing or staining, lightly browned, 19th century polished calf, rebacked, corners worn, rubbed, [Bitting p.318; Cagle 868 (lacking plates); Oxford pp.29-30 (note); Simon BG 1029 (note); Wing M1394], 8vo, Printed for Obadiah Blagrave at the Bear and Star in St. Paul's Church-Yard, 1685.⁂ Scarce at auction. Our copy with an interesting related provenance - Henry Benjamin Hanbury Beaufoy (1785-1851), owner of a vinegar distillery, philanthropist, and politician. Provenance: H.B.H. Beaufoy; William Foster Reynolds, Carshalton House (engraved bookplates); John L. Marks (modern bookplate).

[Menon.] The Professed cook: or, the modern art of cookery, pastry, and confectionary, made plain and easy. Consisting of the most approved methods in the French as well as English cookery, translated & edited by Bernard Clermont, third edition, lacking blank after p.x, N2&7 lower margin trimmed, worming, mostly marginal, but in text in places, without loss of sense (see pages in late 400s and early 500s in particular), some water-staining, mostly at head, occasional spotting, lightly browned, antique style calf, gilt, spine in compartments and with leather label, [Bitting p.92 (note); Cagle 606; Maclean p.99; Oxford p.101 (note); Simon BG 355; Roscoe A84], Printed for W. Davis, in Piccadilly; T. Caslon, opposite Stationer's-Hall; G. Robinson, in Paternoster-Row; F Newbery, the Corner of St. Paul's Church-Yard; and the author, in Princes-Street, Cavendish-Square, 1776; and an 1816 edition of the same, 8vo (2)⁂ A translation and adaptation of Menon's Les Soupers de la Cour.

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

NO RESERVE Jennings (James) Two Thousand Five Hundred Practical Recipes in Family Cookery; in which the Whole Art of Preparing Food and Drink for the Human Stomach is Simplified and Explained...With an Introduction on the Duties of Cooks and other Servants, first edition, engraved frontispiece, wood-engraved illustrations in text, 24pp. publisher's catalogue bound in at end, some spotting / foxing and staining, modern pale calf-backed marbled boards, spine gilt, [Bitting pp.245-246; Cagle 781; cf. Simon BG 885 (1844 edition)], Sherwood, Gilbert & Piper, 1837; and his Family Cyclopædia (not collated), 12mo & large 8vo (2)

AMENDED DESCRIPTION - Two first editions by Evelyn Waugh. A Tourist in Africa. First edition, 3rd impression, published 1960 by Chapman & Hall. Blue boards with dustjacket. Scott-Kings Modern Europe, first edition published 1947 by Chapman & Hall, blue boards with gold lettering and pictorial dustjacket. (2)Catalogue notes; The collection of Ernest Pearce (1930-2012) a dedicated art collector and connoisseur of the bookplate.His files of letters reveal that he was in regular correspondence with many well-known artists and fellow collectors from the 1950s onwards, sharing with them his in-depth knowledge and often exchanging rare prints and other works of art. Of particular note is his collection of works by the Romanticist artist Samuel Palmer many of which were purchased from Carlos Peacock, author of 'Samuel Palmer, The Shoreham Years' who himself acquired a number from AH Palmer, Samuel's son. Also works by well-known 20thcentury artists, some, unusually, accompanied by personal notes or cards. Finally, of course, his extensive collection of bookplates including British and Continental artists and some illustrious libraries.Ewbank's is delighted to have this opportunity to bring Ernest Pearce's lifelong collection to the market. Provenance: The family of Ernest Pearce.

Henri Gaudier-Brzeska (French, 1891-1915)Firebird (The Russian Ballet) signed 'Gaudier/Brzeska' (on the base)bronze with a brown patina63 cm. (24 3/4 in.) highClay conceived in 1912, this cast from the later bronze edition of 10Footnotes:ProvenancePrivate Collection, U.K.ExhibitedLondon, Royal Albert Hall, Allied Artists Association, July 1913, cat.no.1212 (another cast)London, Whitechapel Art Gallery, Twentieth Century Art: A Review of Modern Movements, 8 May-20 June 1914, cat.no.179 (another cast)London, Leicester Galleries, A Memorial Exhibition of the Work of Henri Gaudier-Brzeska, May-June 1918, cat.no.2 (another cast)London, Mercury Gallery, 1987, cat.no.5 (as L'oiseau de Feu, another cast)LiteratureHarold Stanley Ede, Savage Messiah, William Heinemann, London, 1931, pp.156-57Horace Brodsky, Henri Gaudier-Brzeska, Faber and Faber, London, 1932, p.36 (ill., another cast)Mervyn Levy, Henri Gaudier-Brzeska: Drawings and Sculpture, October House, New York, 1965, pl.73 (ill., another cast)Roger Cole, Burning to Speak: The Life and Art of Henri Gaudier-Brzeska, Phaidon Press, Oxford, 1978, cat.no.14Evelyn Silber and David Finn, Gaudier-Brzeska, Thames and Hudson, London, 1996, cat.no.18 (ill.b&w, another cast)Soon after his move to London from his birthplace and hometown of Saint-Jean-de-Braye near Orléans, France, in 1912, Gaudier-Brzeska received a commission from Julian Lousada, an avid art collector and friend of the artist. Gaudier-Brzeska was to produce a series of work inspired by the Ballet Russe production of Stravinsky's Firebird, which was to be performed in London for the first time from June to August that year. The work depicts the moment when Prince Ivan Tsarevitch, portrayed by dancer Adolph Bolm, captures the eponymous Firebird, portrayed by Tamara Karsavina. Gaudier-Brzeska produced two plaster casts from the original clay sculpture. Lousada was given one of the plasters, and paid £20 for a bronze to be cast from it, the highest price ever paid for a work of Gaudier-Brzeska's during his lifetime. This cast was sadly destroyed by bombing during the Blitz, and ten casts were subsequently produced from the surviving plaster.For further information on this lot please visit Bonhams.com

Tristram Hillier R.A. (British, 1905-1983)Selsey Bill signed 'Hillier' (lower left)oil on panel22.6 x 35.6 cm. (8 7/8 x 14 in.)Painted in 1945Footnotes:ProvenanceWith Arthur Tooth & Sons, London, 2 May 1948, where acquired by Colonel F. BarkerHenry Luce III and Claire Booth Luce, thence by descentPrivate Collection, Vermont, U.S.A.ExhibitedLondon, Arthur Tooth & Sons, Paintings by Tristram Hillier, 7 May-1 June 1946, cat.no.28The present work was included in Hillier's exhibition at Arthur Tooth & Son's Bruton Street gallery in summer of 1946. This exhibition, the artist's first with Tooth's, had been slated for 1940 but was delayed due to the war. Many of the works selected for inclusion had to be abandoned by Hillier as he fled from his Normandy studio. Subsequently, these paintings had to be rescued and transported to London at great pains, as it transpired just in time with troops ransacking the Hillier house not long after.The delay to the exhibition resulted in an opportunity for Hillier to showcase the scope of development across the years since his Lefevre exhibition of 1933. Together it grouped a select number of Surrealist compositions such as Variations on the Form of an Anchor (1939, Tate Gallery) with a larger number of dazzling continental scenes such as The Lighthouse (1939, sold in these rooms on 23 November 2016 for £106,250). Hillier also included several recent English scenes in the exhibition, such as the present work, The Forsaken Village (1944) and Lobster Pots (1945). Generally executed on a small scale and demonstrating finely laboured application, these views are all deserted, abandoned even, undoubtedly a reflection of the horrors which the continent had just witnessed. Hillier wrote of the Tooth show - 'My exhibition was as successful as I could have wished. All the pictures were sold, within a few days while the critics were in some cases complimentary and in others exceedingly abusive, so that their reactions were without exception gratifying' (Tristram Hillier, Leda and the Goose, Longmans, London, 1954, p.177).Colonel F. Barker, the works first owner, purchased several works by Hillier, including Étretat (1939), and Chapel at Zarza (1969, sold in these rooms on 22 November 2017).The Estate of Tristram Hillier is preparing a forthcoming catalogue raisonné of the Artist's paintings and would like to hear from owners of any works by Hillier. Please write to The Estate of Tristram Hillier, c/o Modern British and Irish Art, Bonhams, 101 New Bond St, Mayfair, London W1S 1SR or email britart@bonhams.com.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Victor Pasmore R.A. (British, 1908-1998)Relief Construction in White, Black, Brown and Maroon signed with initials and dated 'VP./1954' (verso)painted wood construction122 x 122 cm. (48 x 48 in.) (including the artist's box frame)Constructed in 1954Footnotes:ProvenanceWith Marlborough Fine Art London,James H. Clark, Dallas, TexasWith Clark Gallery, Lincoln, Massachusetts, 3 February 1982, where acquired by the family of the present ownerPrivate Collection, U.S.AWriting in 1965 on the occasion of Pasmore's Tate retrospective Ronald Alley opens his catalogue introduction with the statement that 'the conversion of Victor Pasmore to abstract art was one of the most dramatic events in post-war British art' (exh.cat., Victor Pasmore, Tate, London, 1965).Pasmore's conversion, which rather poetically coincided with the approach of the century's mid-point, was so dramatic because it was so stark. Within his output hitherto he had seemingly nailed his colours to the mast of representational painting. He was a leading figure in the Euston Road and Camberwell schools and, as such, strongly associated with a credence of high observation. By comparison his output from 1950 onwards consists almost entirely of pure abstraction, interrogating fundamental concerns of space and materiality. Whilst his work from both periods was celebrated contemporaneously and continues to be so today, any alignment between the two isn't immediately clear. However, a parallel can be found in a series of early important constructed reliefs, of which the present work is a fine example.It is important to note that whilst throughout the 1930s and 1940s Pasmore's own output was representational, he did not reject abstraction. As early as 1934 he exhibited work within the Objective Abstractions exhibition at the Zwemmer Gallery, which set to promote British abstraction. Whilst Pasmore's submissions included depictive scenes, within an interview reprinted in the exhibition catalogue he disclosed an embryonic separation between his work and depiction - 'I do not paint directly from nature; I endeavour to paint in relation to natural forms' (quoted in exh.cat., Victor Pasmore, Tate, London, 1965, under cat.no.5). Following this exhibition, he produced a small number of abstractions, but dissatisfied with the results, did not exhibit the works and would later destroy them. Pasmore was also highly engaged with the work of Ben Nicholson, Britain's leading abstract painter of the interwar years. He acquired one of Nicholson's famous White Reliefs, and visited him in St Ives. Pasmore began to revisit abstraction in 1947 but the catalyst for his switch from engagement to devotion – especially to the form of construction, came in early 1951. He was loaned a copy of the 1948 book Art as The Evolution of Visual Knowledge by the American artist Charles Biederman. Pasmore and Biederman, who specifically championed construction as an art form, engaged in a lively exchange of letters and by the following year Pasmore would write –'The problem of giving comprehensible shape to new concepts has been the constant occupation of artists in the last hundred years...today however; abstract art enters a phase of construction.' (Victor Pasmore, 'Abstract, Concrete and Subjective Art', Broadsheet 2, July 1952).Constructed reliefs became Pasmore's primary concern from this point for more than a decade to follow. He submitted examples to several era-defining exhibitions, including those held at Adrian Heath's 22 Fitzroy Street Studio (1952 and 1953) and Redfern Gallery's Nine Abstract Artists (1955). Pasmore's constructions were deemed highly successful – with publications such as The Times declaring them – 'ravishingly beautiful, standing among the finest things of their kind – paintings as well as constructions – produced anywhere during the last 40 years' (The Times, June 1955, quoted in Alastair Grieve, Victor Pasmore, Tate Publishing, London, 2010, p.68).By 1954 Pasmore's approach to constructed reliefs had been clarified into two types; a vertical series and a horizontal series. It is the second of these to which the present work belongs, and to which we can look to find parallels with the first part of his career. Pasmore confirmed himself that the origin of the horizontal constructed reliefs lay with his majestic river scenes of the mid-1940s, and if we look, for example, at his 1947 painting View of Cambridge (also known as Cam from Magdalene Bridge, Cambridge, No 1, Private Collection) the connection is easily traced.In the 1947 painting, Pasmore has used a centrally positioned chimney and building and their respective reflections to divide the composition vertically in half. He has then balanced the tonal impact of left and right by rendering certain elements vividly, whilst softening others to a similar tonal note of the sky, river, and bank. He has utilised the reflections of building and boats to find a rhythmic stacking of elements which draws one's eye up the composition from the fore.In the series of horizontal constructed reliefs he employs these exact same techniques, albeit in a very different manner. The composition is similarly divided in half but by a vertical bar. The two stacks of horizontal elements either side are loosely aligned with an imprecision reminiscent of the watery reflections of the earlier paintings. Overall balance is achieved by the inclusion of two larger block forms in opposing positions, their contrasting tone is then supplemented by heavier or lighter use of impact within the further elements. Across the series, the palette of highlights selected - notes of Indian red, maroon, brown, lilac, ochre, and vermillion - further references his river pictures.The dates of the horizontal constructed reliefs range from the summer of 1954, through to 1958, with a dozen such examples traced including those now in the Tate Gallery, Walker Art Gallery and British Council collections. Examples from the series were shown by Pasmore at This is Tomorrow (I.C.A., 1956), at the 1960 Venice Biennale, his major Tate retrospective of 1965 and more recently as part of Pallant House's 2017 Pasmore exhibition and the Barbican's current Postwar Modern survey. Relief Construction in White, Black, Brown and Maroon is one of the earliest known examples from this important series, and has resided in private American collections since its acquisition at the Marlborough Gallery.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

John Hoyland R.A. (British, 1934-2011)Blue Moon signed, titled and dated 'BLUE MOON/1.5.006/John Hoyland' (verso)acrylic on canvas127 x 153 cm. (50 x 60 1/4 in.)(unframed)Footnotes:ProvenanceWith Lemon Street Gallery, Truro, 2006, where acquired by the present ownerPrivate Collection, U.K.This work is drawn out in Hoyland's notebooks, and below it he writes 'Denis Bowen unsung hero' referencing the South African artist, gallery director and promoter of abstract art in Britain, and the title is likely a reference to Bowen's work which often featured moons and skyscapes with spheres. Hoyland painted other tributes to artists and friends, such as Souvenir for Patrick, (his friend Patrick Caulfield), Elegy for Terry (friend Terry Frost), Night Sky (for Vincent Van Gogh) and Master Weaver, Homage to Bryan Robertson.The Hoyland Estate are currently preparing the forthcoming catalogue raisonné of the Artist's work and would like to hear from owners of any work by the Artist so that these can be included in this comprehensive catalogue. Please write to The Hoyland Estate, c/o Modern British and Irish Art, Bonhams, 101 New Bond Street, London, W1S 1SR or email britart@bonhams.comThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Christopher Wood (British, 1901-1930)Drying Sails, Mousehole, Cornwall oil on board40.6 x 50.8 cm. (16 x 20 in.)Painted in 1930Footnotes:ProvenanceMr and Mrs L.K. Elmhirst, thence by descentPrivate Collection, U.K.ExhibitedLondon, The New Burlington Galleries, Christopher Wood, Exhibition of Complete Works, 3 March-2 April 1938, cat.no.37London, The Arts Council of Great Britain, English Contemporaries, 1949, cat.no.2Copenhagen, Kunstforeninger, British Arts 1900-1955, 10-29 April 1956, cat.no.48; this exhibition travelled to Oslo, Kunstnernes Hus, 12 May-10 JuneLiteratureEric Newton, Christopher Wood, The Redfern Gallery, London, 1938, cat.no.437In 1928 Christopher Wood made the decision to join Ben and Winifred Nicholson in Cornwall, rather than return to Paris. He had first travelled to the French capital in 1921 at the age of 20 and his visits had provided invaluable opportunities to observe the finest examples of Post-Impressionism, Cubism and Fauvism. As a result he was familiar with the work of Van Gogh, Gauguin, Cezanne, Matisse and of course Picasso and Jean Cocteau, both of whom he had known and taken lessons with. This time on the continent taught Wood that simplicity and refinement were the essential characteristics of modern art, and it brought a deep understanding of and appreciation for the Primitive movement, which he strove to emulate in his work over the following years in a very English manner. It was during this initial trip to Cornwall, far from the avant-garde artists of Europe, that Christopher Wood and Ben Nicholson were to find their ultimate expression of primitive painting in the form of Alfred Wallis, an 80-year-old retired fisherman and self-taught artist who lived at Number 3 Back Road West in St Ives. Within his home were numerous pictures of ships, lighthouses and harbours painted on a variety of irregular cardboard, paper and other salvaged material with distinctive naivety. This now legendary 'discovery' was to have a profound effect and invigorated both artists who sought to absorb the lessons of the elderly mariner by leaving their lodgings in Feock to move closer to St Ives, with Wood settling at Meadow Cottage overlooking Porthmeor Beach. It was from this location and following almost daily trips to Wallis that Wood wrote to his mother, 'I feel my things are becoming really vital and the studentship has passed, my work is forming something quite personal and sure, unlike anybody else's, and I don't think anyone can paint the pictures I am doing.' (Christopher Wood quoted in Katy Norris, Christopher Wood, Lund Humphries in association with Pallant House Gallery, London, 2016, p.109). Having immersed himself in a seafaring culture which spoke to him, Wood crossed the Channel and spent several months in the fishing village of Treboul in Brittany during 1929. As well as the everyday lives of its inhabitants, many of the images he created are deeply personal and reflect on local customs of the maritime community, observing instances of religious contemplation and festive celebration with both intensity and dignity. The epiphany that had occurred upon meeting Alfred Wallis and the lessons learnt from the nautical communities of northern France were developed in the artist's final visit to Cornwall prior to his untimely death, where he based himself in the tiny village of Mousehole. During March 1930 he worked solidly here for two weeks and described himself to Ben Nicholson as being 'absolutely deliriously happy painting' amongst the narrow grey streets and fishing boats (Christopher Wood quoted in Richard Ingleby, Christopher Wood: An English Painter, Allison & Busby, London, 1995, p.231). Drying Sails, Mousehole, Cornwall belongs to the group of works painted during this busy time and shows the progression of the artist's naïve, figurative style which is entirely unique. It exudes a sense of calm as groups of figures amble along the quay past the Ship Inn, which remains to this day. There can be little doubt this is a fishing community with the large sail strewn across the wall, drying from a recent fishing trip, possibly treacherous given the time of year and in stark contrast to the current atmosphere. The carefully observed structure of the boats is a technique that had been honed on a previous visit to Dieppe, along with the scratching and incising of the painted surface. The flashes of colour both here and in other selected passages of the composition act in contrast to the black, white, grey and brown palette that pervades. This simple clarity of colour and form came from the artist's immediate instinct for his subjects and also the teachings of Wallis who conveyed the essential reduction of these components. Drying Sails, Mousehole, Cornwall is closely related to Ship Inn, Mousehole, completed at the same time and in the collection of Manchester City Galleries.For further information on this lot please visit Bonhams.com

ANGELO (DOMENICO)The School of Fencing, with a General Explanation of the Principal Attitudes and Positions Peculiar to the Art, 47 plates on 44 sheets (nos.2-3, 11-12, and 13-14 on one sheet, imprint at foot of plates dated August 1783, fore-edge of some plates shaved just within margin not touching printed area), modern vellum-backed boards [Thimm, p.10; Vigeant 29], oblong 8vo (149 x 232mm.), [No publisher], 1787This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

OLIVIER (JEAN)Fencing Familiarized: or, a New Treatise in the Art of Sword. Illustrated by Elegant Engravings... New Edition, Revised, Corrected, text in English and French, 14 engraved plates (13 folding, one engraved by William Blake), engraved vignette on dedication leaf to the Earl of Harrington, some off-setting on plates, 3 slightly frayed at fore-edge, modern pigskin, spine tooled in gilt with red morocco lettering label [Bentley, Blake Books 488; Lipperheide 2976; Thimm, p.211; Vigeant p.97], 8vo, John Bell, 1780This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

ROLANDO (GUZMAN)The Modern Art of Fencing... Carefully revised and Augmented with a Technical Glossary... by J.S. Forsyth, half-title, 23 hand-coloured engraved plates (including frontispiece), 12pp. publisher's catalogue at end, publisher's pictorial morocco, gilt-blocked illustration of fencers on upper cover, rubbed [Thimm, p.244; Vigeant, p.113], 12mo, Samuel Leigh, 1822Footnotes:A popular pocket-sized fencing manual finely bound in the publisher's red morocco binding gilt-blocked with an illustration of a fencing scene on the upper cover.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

A Modern battery driven clock set in an Art Nouveau silver frame. London 1995

A PIECE OF STAINLESS STEEL MODERN ART HEIGHT APPROX 43CM, WIDTH APPROX 43CM

TWO LARGE PIECES OF FRAMED MODERN WALL ART 57CM X 77CM

A LARGE WHITE MODERN ART STYLE VASE HEIGHT APPROX 43CM

BEETLEJUICE - Delia Deetz's (Catherine O'Hara) Living Room CouchDelia Deetz's (Catherine O'Hara) living room couch from Tim Burton's supernatural comedy Beetlejuice. Deetz kept modern art and unusual decor in her house, including a cow-themed couch that was seen in the living room and tossed down the stairs.This custom-made couch features a black leather seat cushion with a matching loose arm panel affixed to a fastening strip on the center; a backrest hand-punched with synthetic black and white cow fur; and a lifted steel base. It exhibits some loss and fading to the fur, some rusting to the base's underside, and cracked leather throughout from production use and age. Dimensions: 90" x 30" x 37" (229 cm x 76.25 cm x 94 cm)Special shipping required; see notice in the Buyer's Guide. Estimate: $3,000 - 5,000This lot will be auctioned on Tuesday, June 21st. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 22nd; Thursday, June 23rd; or Friday, June 24th.

STAR WARS: RETURN OF THE JEDI (1983) - Full-Size 8D8 Blueprint CopyA full-size 8D8 blueprint copy from Richard Marquand's Star Wars: Return of the Jedi. 8D8 was programmed to torture fellow droids in Jabba's Palace.This blueprint featuring an early design for 8D8 is a modern reproduction taken from a production-used, hand-drawn original created under the film's art directors and production designers' supervision for an unpublished book project. The piece is labeled in the bottom left corner, though the writing is faded and difficult to read. The blueprint exhibits wrinkling and corner creasing. Dimensions: 85" x 35" (216 cm x 89 cm) Estimate: $1,000 - 1,500ΔThis lot will be auctioned on Thursday, June 23rd. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, June 21st; Wednesday, June 22nd; or Friday, June 24th.

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

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Crucifixion", 1989.Oil and collage on laid paper adhered to board.Signed and titled on the right side.Enclosed certificate of authenticity from Esther Romero Fajardo as the universal heir of Victor Mira.Measurements: 149 x 93 cm.; 153 x 96 cm.(frame)In 1989, Victor Mira dealt with the theme of the crucifixion on several occasions. In the painting we are dealing with here, his peculiar way of resorting to the paleochristian legacy is reflected, also delving into primordial palpitations, at the same time as he introduces a certain humour and irreverence. The redemptive figure becomes at the same time an ictyphallic figure, thus bringing together Christian and pagan traditions in the same image. Thus, behind the apparent irreverence of the phallic god lies a sincere desire to recover the symbolic and spiritual richness of the iconographic legacy of antiquity. At the same time, he combines the atavistic with modernity through an innovative language.A sculptor, painter, engraver and writer, his training was basically self-taught. At the age of eighteen he held his first solo exhibition at the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition devoted to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

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

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

BENJAMÍN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980)."Castle", 1958.Oil on canvas.Attached certificate issued by Don Ramón Palencia del Burgo, legal heir of the artist.Signed, dated, and dedicated to Don José María Moro, in the lower right corner.Measurements: 33 x 46 cm; 51 x 64 cm (frame).During this period Palencia isolated himself in the village of Villafranca, dedicating himself completely to painting, without any distractions that could disturb his pictorial exercise. It was then that he turned to the themes of views that reflected the lands of Avila, thus capturing the deepest Spain, but charged with a lively colouring that he recovered after a period of cold and arid tones caused by the consequences of the civil war.Founder of the Vallecas School together with sculptor Alberto Sánchez, Benjamín Palencia was one of the most important heirs of the poetics of the Castilian landscape characteristic of the Generation of '98. At the age of only fifteen Palencia left his native town and settled in Madrid to develop his training through his frequent visits to the Prado Museum, as he always rejected the official teachings of the San Fernando Royal Academy of Fine Arts. In 1925 he took part in the Exhibition of Iberian Artists held at the Retiro Palace in Madrid, and in 1926 he travelled to Paris for the first time. There he met Picasso, Gargallo and Miró and came into contact with the collage technique, which he later applied to his work, incorporating new materials such as sand and ashes. It was during this Parisian stay that Palencia's work took on a surrealist tone, evidenced by an increasingly greater expressive freedom that reached its peak in his mature period. On his return to Madrid he founded the Vallecas School (1927) and made his individual debut at the Museum of Modern Art (1928). Palencia gradually abandoned still lifes to return to the Castilian landscape, capturing it through a magnificent synthesis of tradition and the avant-garde. This personal aesthetic of landscape painting reached its culmination in the Vallecas School and, after a brilliant surrealist incursion in the early 1930s, when the Civil War broke out Palencia remained in Madrid and, like his fellow artists of his generation, suffered a period of profound crisis. When the war ended, between 1939 and 1940 his painting took a radical turn; he abandoned cubist and abstract influences and even aspects of a surrealist nature in search of an art with a strong chromatic impact, linked to Fauvism. Focusing on his work as a landscape painter, in 1942 Palencia took up again the experience of the Vallecas School together with the young painters Álvar Delgado, Carlos Pascual de Lara, Gregorio del Olmo, Enrique Núñez Casteló and Francisco San José. His work would include images of the Castilian countryside and its peasants and animals; his painting became a testimony to the rough, the coarse and the rural, to the subtle expressiveness of Castilian sobriety. Already fully consolidated, in 1943 he won the first medal at the National Exhibition of Fine Arts and in 1944 he was selected to take part in the Salón de los Once de Eugenio D'Ors in Madrid. The following year he was awarded the medal of honour at the National Exhibition, although he renounced it in order to facilitate its award to José Gutiérrez Solana.

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

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

FIVE SILVER MOUNTED PHOTOGRAPH FRAMES (5)Comprising; a shaped rectangular frame, of Art Nouveau inspired design, Birmingham 1908, frame size 14cm x 18cm, a shaped rectangular frame, embossed with flowers and foliate scrolls, Chester 1918, size 16.3cm x 19.5cm, a rectangular frame having a wavy engine turned border, Birmingham 1912, size 13.3cm x 17.7cm, a modern rectangular frame, with floral motifs to the corners, size 15cm x 20.2cm and a modern small oval frame with embossed decoration, height 7.8cm

A modern dolls' house white metal modernist or Art Deco design coffee set, four triangular pieces, black wood handles, three with lids --¾in. (2cm.) height of coffee pot; and on a hallmarked silver Vic Pain tray/stand - being sold on behalf of Cancer Research UK