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An Art Deco brass table lamp of angular form, with cast decoration and oak plinth base, width 66cm, and a modern composite wall bracket, height 55cm (2).

HERBERT FURST: THE MODERN WOODCUT, A STUDY OF THE EVOLUTION OF THE CRAFT..., London, John Lane, 1924, 1st edition, 4to, original pictorial cloth + IMRE REINER: THE WOODCUT/WOOD ENGRAVINGS, A CONTRIBUTION TO THE HISTORY OF THE ART, London, Publix Publishing, 1947, 1st edition, 4to, original cloth, d/w (losses) (2)

A MODERN BRASS FUNCTION CHAIR AND A BRASS ART NOUVEAU STANDARD LAMP

Six boxes of various books including "The Modern Carpenter and Joiner and Cabinet Maker" prepared under the editorship of G LISTER SUTCLIFFE, volumes 1-8, published Gresham Publishing Co. London 1904, tooled cloth board bound in the Art Deco taste, RONALD SEARLE "Searle's Cats" and other books on the subject of cats, "The Tom Lehrer Songbook" and other books on the subject of music, etc

Plutarch. Lives, translated from the Greek by several hands, 5 volumes, London: Jacob Tonson, 1683-86, engraved frontispiece to each and numerous plates, endpapers renewed, contemporary calf, rebacked, 8vo, together with:Spanheim (Ezechiel), Orbis romanus, seu Ad constitutionem Antonini ... exercitationes duae, 2nd edition, London: A. & J. Churchill, 1703, ink shelf number to title, few illustrations of coins, bookplate of art historian Patricia Milne-Henderson (1935-2018) to upper pastedown, modern dark brown morocco, 4to,Suetonius Tranquillus (Caius), The Lives of the Twelve Cæsars, the first Emperors of Rome ... now done into English by several hands, London: Tho. Hodgkin for Awnsham & John Churchill, 1698, engraved frontispiece and portrait plates, some browning, front free endpaper discarded, armorial bookplate of Earl of Harrington to upper pastedown, contemporary calf, some wear to extremities, 8vo,Plutarch, Lives, translated from the original Greek..., and a new life of Plutarch by John Langhorne and William Langhorne, 5 volumes, Dublin: Printed by T. Ewing, 1771, engraved frontispiece to volume 1 and numerous plates, contemporary calf, joints cracked and some light wear, 8vo, plus others relatedQTY: (13)

Lairesse (Gerard de). Groot Schilderboek, waar in de Schilderkonst in al haar deelen grondig werd onderweezen, ook door Redeneeringen en Printverbeeldingen verklaard; met voorbeelden uyt de beste konst-stukken der Oude en Nieuwe Puyk-Schilderen, bevestigd, 2 parts bound in one, Amsterdam: David Mortier, 1714, engraved frontispiece to first title. both titles printed in red and black with engraved vignette, and 66 engraved plates (including some folding), contemporary full calf, somewhat worn and discoloured, modern calf reback, 4toQTY: (1)NOTE:Gérard de Lairesse (1640-1711), painter and art theorist, moved away from his native Liège and settled in Amsterdam, following a scandal in connection with a broken marriage contract in 1664. According to Houbraken, he became blind in 1690 and began to give art lectures which were subsequently published by his sons in two books –Grondlegginge der teekenkonst (Principles of Drawing, 1701) and Het groot schilderboek (The Great Book of Painters, 1707). Reissued in 1712, 1714 and 1716, and translated into English in 1738, the Schilderboek remains a valuable source for seventeenth-century Dutch art.

Glasse (Hannah). The Art of Cookery made Plain and Easy; which far excels any thing of the kind yet published, new edition, London: printed for J. Johnson et al, 1803, fornt endpaper detached, some light toning & marks throughout, contemporary full calf, front & rear boards detached & rubbed, 8vo, together with;Copley (Esther), Cottage Comforts, with hints for promoting them,..., 9th edition, London: Simpkin and Marshall, 1832, period inscription to the original front endpaper, some light toning & spotting, later front & rear endpapers, rebound in later blue boards with cloth spine, 8vo, plus other late 19th & early 20th-century cookery books & literature, including The Modern Baker Confectioner and Caterer, 4 volumes, by John Kirkland, new edition, London: The Gresham Publishing Company, 1933, original uniform red cloth, 8vo, some leather bindings, mostly original cloth, some in dust jackets, G, 8voQTY: (2 cartons)

Japanese Art Reference. A collection of modern Japanese art reference books & auction catalogues, including The Baur Collection, Japanese Prints, 2 volumes, by Matthi Forrer Genève: Collections Baur, 1994, 4to, plus auction catalogues from Christie's, Sotheby's, Bonhams, some original cloth, mostly in original wrappers, some Japanese language, G, 8vo/folioQTY: (3 shelves )

Chappuis (Adrien). The Drawings of Paul Cézanne, a Catalogue Raisonné, 2 volumes, London: Thames and Hudson, 1973, numerous black & white illustrations, ex-library copy with associated stamps, publishers original uniform brown cloth in slipcase, boards lightly marked, spine labels slightly rubbed, large 8vo, together with;Pissaro (Ludovic Rodo & Lionello Venturi), Camille Pissarro, 2 volumes, limited edition, Paris: Paul Rosenberg, 1939, numerous monochrome illustrations, some light toning, publishers original uniform wrappers, covers rubbed with slight liss to head & foot, large 8vo, 327/1000, plusChu (Petra ten-Doesschate), Letters of Gustave Courbet, 1st edition, Chicago: University Press, 1992, original cloth in dust jacket, covers lightly rubbed to head & foot, 8vo, and other modern Impressionism art reference books & related, mostly original cloth in dust jackets, some paperback editions, G/VG, 8vo/folioQTY: (3 shelves )

A selection of modern Japanese works of art in two bone inro, each decorated with erotic scenes, height 5cm, a jade panel with carved detailing, a darker soapstone circular panel decorated with a fish, two scent bottles and stoppers and five carved wood models of animals. Additional InformationThe lighter jade panel has a chip to one of the edges on one of the leaf details, other items with minor wear.

A collection of modern history and art reference books to include Marine Art and Marine painting, the Great Japanese Exhibition and Landscapes.

A collection of modern reference on art and artists to include The Impressionists, Romanticism, Tunnicliffe and French Art in the Hermitage.

A Chinese white metal cigarette case, with applied cast decoration of a four claw dragon, and a contemporary hallmarked silver mounted address book, a hallmarked silver matchbox holder, modern hallmarked silver pill box, a sterling silver novelty pill box in the form of a purse and a silver plated match holder in the Art Deco style, inscribed 'Automobiles UNIC' (6).

HENDERSONS; an Art Deco walnut cased mantel clock, the silvered chapter dial set with Roman numerals, height 23cm, width 29cm, also a modern mahogany quartz mantel clock (2).Additional InformationThe Art Deco clock is 13.5cm deep. 

'Titty Farfar', a bronzed and painted spelter Art Deco table lamp modelled as a semi naked young woman holding the globe aloft and raised on a stepped onyx base, height 66.5cm.Additional InformationAn original 1920s/30s example. The globular shade is a modern replacement. It has heavy rubbing throughout. Some chips to the onyx an pitting to the body.

Pair of modern Moorcroft Art Pottery Tube-lined cream ground floral baluster table lamp bases - the bases only approx 21cm high (2) (B.P. 21% + VAT)

ADRIAN ALLINSON (BRITISH, 1890-1959)Mountainous Estuarysigned and indistinctly dated 'allinson' (lower left)oil on panel56 x 68.5cmProvenanceThomas Agnew & Sons Ltd, LondonVictorian and Modern British Paintings and Sculpture, Sotheby's, London, 24th June 1985, lot 358, as A Quiet CoveModern British and Continental Paintings, Drawings & Watercolours, Christie's, London, 20th September 1990, lot 6720th Century Art, Sotheby's, London, 24th October 1997, lot 128Private collection, UKCondition reportAppears in generally good condition. Inspection under uv light reveals some well executed scattered in filling.

JAPAN -- LILLEHOJ, E. Art and palace politics in early modern Japan 1580s-1680s. 2011. Sm-4°. Obrds. w. dust-j. -- P. KORNICKI. The book in Japan. A cultural history from the beginnings to the 19th c. 1998. Ocl. w. dust-j. -- Th.J. COGAN, (ed.). The tale of the Soga brothers. (1987). Ocl. w. dust-j. -- W.H. EDMUNDS. Pointers and clues to the subjects of Chinese and Japanese art. (1934). Sm-4°. Ocl. -- And 4 o. (8).

RUSKIN, J. Modern painters. Orpington, G. Allen, 1888. 6 vols., incl. index. W. 94 plates. 4°. Fine cont. vellum w. black & red lettering, & gilt dec. endpapers. (Some foxing in places). NOTE:Sumptuous edition of Ruskins art historical chef d'oeuvre.

Two modern silver rectangular photograph frames and a silver fronted desk clockboth frames Birmingham, no date, later makers mark RH, with Art Nouveau style embossed surround and wooden strut backs, the clock, London, 1997 by Mappin and Webb, square with ribbon and reed border, (3)first height 7.8 cm.,Condition: Good condition

Attributed to Samuel David Colkett (1800-1863)'Country Lane near Norwich, Norfolk', oil on canvas, bearing label verso 'Eastbourne Fine Art' inscribed with artist name and title, framed,overall 62 x 51cm, within frame 49.5 x 38.5cm Condition: The painting has been cleaned, relined, and restored, within modern frame which has some losses.

HOROLOGY: Daniels, G: The art of Breguet, Southeby, 1975, 1st. DW; Longitude, an appeal to the public. British Horological Institute, 1986, Facsimile reprint of the 1808 original. Limited to 350 numbered copies, this being 294. Leather backed boards, Fine; Tripplin & Rigg: Treatise on modern Horology in theory & practice. Foyle, 1952. With numerous double-page colour plates, 844pp; Symonds, RW: Thomas Tompion, his life & works. Batsford, 1951, 1st. edn. 4to; Needham, J: Heavenly Clockwork. Cambridge, 1960, 1st. edn. Dw; Eckhardt, GH: Pennsylvania clocks and clockmakers. NY, Bonanza books, copyright 1955, DW; Hope-Jones: Electrical timekeeping. N.A.G. press, 1942, rep; ETC, JK ROWLING: 3 1st. edns. With dust jackets: Order of the Phoenix; Deathly Hallows; & Half Blood Prince; Plus one other. All well read. (qty.)

A collection of cased silver flatware,comprising eight sets, to include a pair of Scottish silver teaspoons with stag head crests, by J R & W Laing, Glasgow 1934, a set of six Art Deco teaspoons, a 1930s caddy spoon, and a set of modern enamel and gilt six coffee spoons,together with a cased silver proof coin,commemorating the marriage of HRH Prince of Wales and Lady Diana Spencer, with original box and papers,4cm diameter total 15.5oztWear and marks to every box. Tarnishing and surface scratches throughout. Heavier wear and dents to the caddy spoon.

BLUE NOTE RECORDS - MODERN AUDIOPHILE PRESSING LPs. Fantastic collection of 12 x LPs, all of which are in Ex+ / As New condition. Titles / Artists include Wayne Shorter - Etcetera (33581), Stanley Turrentine - Comin' Your Way (ST-84065), McCoy Tyner - Tender Moments (BST 84275), Stanley Turrentine - Hustlin' (84162), Lonnie Smith - Love (31880), Dr. Lonnie Smith - All In My Mind, Joe Henderson - In N' Out (84166), Andrew Hill - Smokestack (84160), Joe Henderson - The State of the Tenor, Lonnie Smith - Think!, Art Taylor (84047) and Pete La Roca - Basra.

BLUE NOTE RECORDS - MODERN AUDIOPHILE PRESSING LPs. Impressive collection of 12 x LPs, all in Ex+ / As New condition. Titles / Artists include Lee Morgan - The Rajah (BST-84426), Andrew Hill - Black Fire (ST-84151), John Scofield & Pat Metheny - I Can See Your House From Here, Bobbi Humphrey - Blacks and Blues (BN-LA142-G), The Horace Silver Quintet - Song For My Father (84185), John Scofield - Hand Jive (7759665), Art Blakey and The Jazz Messengers - Just Coolin' (ST-64201), Herbie Hancock - Maiden Voyage, Reuben Wilson - Blue Mode (BST 84343), Herbie Hancock - Inventions & Dimensions, Jackie McLean - A Fickle Sonance and Jutta Hipp with Zoot Sims (Blue Note 1530).

BLUE NOTE RECORDS - MODERN AUDIOPHILE PRESSING LPs. Killer collection of 12 x LPs, all of which are in Ex+ / As New Condition. Titles / Artists include Jackie McLean - It's Time (84179), Hank Mobley - Poppin', Ike Quebec - Blue & Sentimental (84098), Wayne Shorter - The Soothsayer (988), Herbie Hancock - Takin' Off (84109), Joe Henderson - The State of the Tenor (BT85126), Art Blakey and the Jazz Messengers - Indestructible! (84193), Herbie Hancock - The Prisoner, Baby Face Willette - Face to Face (84068), Charlie Parker - Jazz at Midnight (Blue Note 8801), Freddie Hubbard - Ready For Freddie and Jimmy Smith - Groovin' at Smalls' Paradise.

BLUE NOTE RECORDS - MODERN AUDIOPHILE PRESSING LPs - RARITIES. Stunning collection of 6 x LPs, all of which are in Ex+ / As New Condition. Titles / Artists include Bobby Hutcherson - The Kicker (ST-21437), Lee Morgan - Cornbread (BST 84222), Tina Brooks - Minor Move (B0030487-01), Bobby Hutcherson - Oblique (31963), Art Blakey and the Jazz Messengers - Roots & Herbs (ST-84347) and Lou Donaldson - Mr. Shing-a-Ling (BST 84271).

Postcards, a collection of approx. 330 glamour cards in modern album, both Art Deco and Nouveau. Includes Boileau, Wichera, Dance, greetings, RPs, Gladys Cooper, comic etc. Interesting mix (mainly gd)

A GROUP OF DECORATIVE RESIN FIGURES, TABLE LAMPS, REPRODUCTION CERAMICS AND ASSORTED GLASSWARE, including a boxed Stuart Crystal rose bowl, a boxed Edinburgh Crystal rose bowl lacking metal grille, a pair of table lamps with resin Florence figure groups of children, three Florence resin figures of Art Deco style ladies, a pair of modern oval ceramic hors oeuvres dishes with gilt metal mounts, some loose, etc, s.d. (Qty) (Condition report: mixed condition, gilt metal mounts are loose on several items, ceramic vase and cover has damage to a handle, one lamp has figures detached from the base, etc)

Salvador Dalí (Figueres 1904 - Figueres 1989). Venus au Joueur d'Orgue. 1971. Kolorierte Kaltnadel, 39 x 58 cm, r. u. mit Bleistift sign. Dalí, l. u. num. 75/150, unter Passepartout und Glas gerahmt, ungeöffnet. - Aus der Folge 'Suite mythologique nouvelle'. - Literatur: WVZ: Michler/Löpsinger 484. - Spanischer Universalkünstler, Hauptvertreter des Surrealismus. Nach dem Studium an der Madrider Akademie machten sich zunächst Einflüsse der 'pittura metafisica' de Chiricos und Carràs auf Dalís Werk bemerkbar. Während seiner Paris-Reise 1929 schloß er sich der Gruppe der Surrealisten um A. Breton an. Die künstlerische Auseinandersetzung mit den Schriften S. Freuds zur Traumdeutung förderte seine Neigung zum Phantastischen und Irrealen. Viele seiner Motive sind als Ikonen der modernen Kunst auf der ganzen Welt bekannt. Mus.: Figueres, St. Petersburg (Florida), Zürich u.a. Lit.: Etherington-Smith, Salber, Schiebler, Michler/Löpsinger 'S.D. - Das druckgraphische Werk 1924-1980' (1994) u.a. Dalí, Salvador (Figueres 1904 - Figueres 1989). Venus au Joueur d'Orgue. 1971. Coloured drypoint, 39 x 58 cm, lo. ri. autographed Dalí, lo. le. num. 75/150, matted and framed under glass, uninspected out of frame. - Literature: Cat. rais.: Michler/Löpsinger 484. - Multitalented spanish artist, main exponent of surrealism. He studied at the Madrid Academy a. was initially influenced by the 'pittura metafisica' of de Chirico and Carrà. During a Paris trip in 1929 he affiliated at the surrealist A. Breton. Freuds theories of interpretation of dreams fostered D.s inclination to the fantastac a. surreal. Some of his motifs are among the most famous and popular creations of modern art. Mus.: Figueres, St. Petersburg (Florida), Zürich a. others. Lit.: Etherington-Smith, Salber, Schiebler, Michler/Löpsinger 'S.D. - Catalogue raisoné of etchings and mixed-media prints, 1924-1980' (1994) a. others.

Günther Uecker (Wendorf/Meckl. 1930). Nagelköpfe. 1995. Prägedruck, 40 x 26 cm, r. u. mit Bleistift sign. und dat. Uecker 95, l. u. num. 116/300, ungerahmt. - Bedeutender deutscher Nachkriegskünstler, bekannt durch seine dreidimensionalen Nagelbilder. U. studierte in Wismar sowie an den Kunstakademien Berlin-Weißensee und Düsseldorf. 1961 wurde er Mitglied der Gruppe 'ZERO' und wandte sich vermehrt der kinetischen Lichtkunst zu. Daneben entwarf er mehrere Bühnenbilder und nahm an den Documenta III, IV und VII teil. Bis 1995 hatte U. eine Professur an der Düsseldorfer Akademie inne. Mus.: Düsseldorf (Museum Kunstpalast), London (Courtauld Institute of Art), New York (Museum of Modern Art), Paris (Centre Pompidou) u. a. Lit.: Brockhaus 'G. U. - Graphein' (2002), Ortheil 'G. U. - Wasser Veneziana. Aquarelle von G. U.' (2005) u.a. Uecker, Günther (Wendorf/Meckl. 1930). Nailheads. 1995. Embossing, 40 x 26 cm, lo. ri. autographed and dat. Uecker 95, lo. le. num. 116/300, unframed. - Important German post war artist, well-known for using nails in his art. U. studied in Wismar, Berlin-Weißensee and Düsseldorf. 1961 he became a member of the group 'ZERO' and increasingly turned to kinetic light art. Also he designed several stage decorations and took part in Documenta III, IV and VII. U. was appointed professor at the Düsseldorf Academy until 1995. Mus.: Düsseldorf (Museum Kunstpalast), London (Courtauld Institute of Art), New York (Museum of Modern Art), Paris (Centre Pompidou) et al. Lit.: Brockhaus 'G. U. - Graphein' (2002), Ortheil 'G.U. - Wasser Veneziana. Aquarelle von G. U.' (2005) et. al.

Salvador Dalí (Figueres 1904 - Figueres 1989). Pirueta de Plátano. 1977. Kaltnadel und Lichtdruck, 23,5 x 17 cm, r. u. mit Bleistift sign. Dalí, l. u. num. 21/200, unter Glas gerahmt, ungeöffnet. - Literatur: WVZ: Michler/Löpsinger 927. - Spanischer Universalkünstler, Hauptvertreter des Surrealismus. Nach dem Studium an der Madrider Akademie machten sich zunächst Einflüsse der 'pittura metafisica' de Chiricos und Carràs auf Dalís Werk bemerkbar. Während seiner Paris-Reise 1929 schloß er sich der Gruppe der Surrealisten um A. Breton an. Die künstlerische Auseinandersetzung mit den Schriften S. Freuds zur Traumdeutung förderte seine Neigung zum Phantastischen und Irrealen. Viele seiner Motive sind als Ikonen der modernen Kunst auf der ganzen Welt bekannt. Mus.: Figueres, St. Petersburg (Florida), Zürich u.a. Lit.: Etherington-Smith, Salber, Schiebler, Michler/Löpsinger 'S.D. - Das druckgraphische Werk 1924-1980' (1994) u.a. Dalí, Salvador (Figueres 1904 - Figueres 1989). Pirueta de Plátano. 1977. Dry point and collotype, 23,5 x 17 cm, lo. ri. autographed Dalí, lo. le. num. 21/200, framed under glass, uninspected out of frame. - Literature: Cat. rais.: Michler/Löpsinger 927. - Multitalented spanish artist, main exponent of surrealism. He studied at the Madrid Academy a. was initially influenced by the 'pittura metafisica' of de Chirico and Carrà. During a Paris trip in 1929 he affiliated at the surrealist A. Breton. Freuds theories of interpretation of dreams fostered D.s inclination to the fantastac a. surreal. Some of his motifs are among the most famous and popular creations of modern art. Mus.: Figueres, St. Petersburg (Florida), Zürich a. others. Lit.: Etherington-Smith, Salber, Schiebler, Michler/Löpsinger 'S.D. - Catalogue raisoné of etchings and mixed-media prints, 1924-1980' (1994) a. others.

Max Clarenbach (Neuss 1880 - Köln 1952). Winter am Niederrhein. Öl/Lw., 50 x 60,5 cm, l. u. sign. M. Clarenbach. - Deutscher Landschaftsmaler. Wegen seines außerordentlichen Talents konnte C. bereits mit 13 Jahren ab 1893 an der Düsseldorfer Akademie studieren. Seine Lehrer waren u.a. A. Kampf und E. Dücker, dessen Meisterschüler er 1900 wurde. C.s Können war in Ausstellungen vielfach gewürdigt worden, bevor er 1917 als Nachfolger Dückers Professor in Düsseldorf wurde. C. war in seiner Zeit einer der bedeutendsten Vermittler der französischen Moderne nach Deutschland. Mus.: Berlin (Nat.-Gal.), Köln (Mus. Ludwig), Essen (Folkwang-Mus.), Wuppertal (Van-der-Heydt-Mus.), Düsseldorf, Dortmund, Hamburg (Altonaer Mus.), Wien (Albertina) u.a. Lit.: AKL, Thieme-Becker, Vollmer u.a. Clarenbach, Max (Neuss 1880 - Köln 1952). Winter at River Rhine. Oil/canvas, 50 x 60,5 cm, lo. le. sign. M. Clarenbach. - German landscape painter. Because of extraordinary great talent C. was admitted to the Düsseldorf academy as early as 1893. His teachers were A. Kampf and E. Dücker, whose master student C. became in 1900. C. followed Dücker as professor at the Düsseldorf academy in 1917. He is considered to be one of the most important promoters of French modern art in Germany at his time. Mus.: Berlin (Nat.-Gal.), Cologne (Mus. Ludwig), Essen (Folkwang-Mus.), Wuppertal (Van-der-Heydt-Mus.), Düsseldorf, Dortmund, Hamburg (Altonaer Mus.), Vienna (Albertina) a. others. Lit.: AKL, Thieme-Becker, Vollmer a. others.

Adrian Gerald Sallis Benney (Hull 1930 - 2008). Moderner Becher. London, 1956-57. Silber gest., tlw. vergoldet. BZ., MZ.: 'AGB', auf der Unterseite gest. 'Gerald Benney London', 'EM', '925'. Runder Becher mit texturierter Oberfläche und glattem Lippenrand. H. 7,3 cm. Gew. ca. 140 g. - Bedeutender britischer Silber- und Goldschmied. Nach seiner Ausbildung am Brighton College of Art besuchte Benney das Royal College of Art in London, an dem er später von 1974-83 eine Professur innehatte. 1953 eröffnete B. seine eigene Werkstatt in London, die er 1974 nach Beenham House verlegte, seinem Wohnsitz in Berkshire, 1971 erfolgte seine Ernennung zum Kgl. Industriedesigner, 1993 eröffnete sein Sohn Simon den Benney Showroom in der Walton Street. - Gemeinsam mit dem norwegischen Designer Berger Bergersen belebte Benney die Technik der Emaillekunst wieder. Die von ihm mittels eines Spezialhammers entwickelte Methode, Silber zu 'texturieren', d.h. mit winzigen Streifen zu versehen, wurde zu seinem Markenzeichen. Benney, Adrian Gerald Sallis (Hull 1930 - 2008). A Modern Mug. London, 1956-57. Silver, stamped, partly gilded. Assay mark, mm.: 'AGB', on the underside stamped 'Gerald Benney London', 'EM', '925'. Round mug with textured wall and even rim. H. 7,3 cm. Weight approx. 140 g. - An influential British silver and goldsmith.

Günther Uecker (Wendorf/Meckl. 1930). Engadin II. 1982. Farblithographie, 40 x 40 cm, r. u. mit Bleistift sign. und dat. Uecker 82, l. u. num. e.a. sowie Blindstempel der Erker-Presse St. Gallen, unter Glas gerahmt, ungeöffnet. - Bedeutender deutscher Nachkriegskünstler, bekannt durch seine dreidimensionalen Nagelbilder. U. studierte in Wismar sowie an den Kunstakademien Berlin-Weißensee und Düsseldorf. 1961 wurde er Mitglied der Gruppe 'ZERO' und wandte sich vermehrt der kinetischen Lichtkunst zu. Daneben entwarf er mehrere Bühnenbilder und nahm an den Documenta III, IV und VII teil. Bis 1995 hatte U. eine Professur an der Düsseldorfer Akademie inne. Mus.: Düsseldorf (Museum Kunstpalast), London (Courtauld Institute of Art), New York (Museum of Modern Art), Paris (Centre Pompidou) u. a. Lit.: Brockhaus 'G. U. - Graphein' (2002), Ortheil 'G. U. - Wasser Veneziana. Aquarelle von G. U.' (2005) u.a. Uecker, Günther (Wendorf/Meckl. 1930). Engadin II. 1982. Lithograph in colours, 40 x 40 cm, lo. ri. autographed and dat. Uecker 82, lo. le. num. e.a. as well as blind stamp of Erker-Presse St. Gallen, framed under glass, uninspected out of frame. - Important German post war artist, well-known for using nails in his art. U. studied in Wismar, Berlin-Weißensee and Düsseldorf. 1961 he became a member of the group 'ZERO' and increasingly turned to kinetic light art. Also he designed several stage decorations and took part in Documenta III, IV and VII. U. was appointed professor at the Düsseldorf Academy until 1995. Mus.: Düsseldorf (Museum Kunstpalast), London (Courtauld Institute of Art), New York (Museum of Modern Art), Paris (Centre Pompidou) et al. Lit.: Brockhaus 'G. U. - Graphein' (2002), Ortheil 'G.U. - Wasser Veneziana. Aquarelle von G. U.' (2005) et. al.

Salvador Dalí (Figueres 1904 - Figueres 1989). Les huit péchés capiteaux. 1966/67. Acht farbige Aquatintaradierungen, 19 x 14 cm, r. u. mit Bleistift sign. Dalí, l. u. num. 70/125, ungerahmt in Originalkassette, jede Radierung in einem grauen Umschlagblatt mit Bildtitel in Deutsch, Französisch und Englisch. - Spanischer Universalkünstler, Hauptvertreter des Surrealismus. Nach dem Studium an der Madrider Akademie machten sich zunächst Einflüsse der 'pittura metafisica' de Chiricos und Carràs auf Dalís Werk bemerkbar. Während seiner Paris-Reise 1929 schloß er sich der Gruppe der Surrealisten um A. Breton an. Die künstlerische Auseinandersetzung mit den Schriften S. Freuds zur Traumdeutung förderte seine Neigung zum Phantastischen und Irrealen. Viele seiner Motive sind als Ikonen der modernen Kunst auf der ganzen Welt bekannt. Mus.: Figueres, St. Petersburg (Florida), Zürich u.a. Lit.: Etherington-Smith, Salber, Schiebler, Michler/Löpsinger 'S.D. - Das druckgraphische Werk 1924-1980' (1994) u.a. Dalí, Salvador (Figueres 1904 - Figueres 1989). Les huit péchés capiteaux. 1966/67. Eight coloured aquatint etchings, 19 x 14 cm, lo. ri. autographed Dalí, lo. le. num. 70/125, unframed in original case, each etching in a grey wrapper with picture title in German, French and English. - Multitalented spanish artist, main exponent of surrealism. He studied at the Madrid Academy a. was initially influenced by the 'pittura metafisica' of de Chirico and Carrà. During a Paris trip in 1929 he affiliated at the surrealist A. Breton. Freuds theories of interpretation of dreams fostered D.s inclination to the fantastac a. surreal. Some of his motifs are among the most famous and popular creations of modern art. Mus.: Figueres, St. Petersburg (Florida), Zürich a. others. Lit.: Etherington-Smith, Salber, Schiebler, Michler/Löpsinger 'S.D. - Catalogue raisoné of etchings and mixed-media prints, 1924-1980' (1994) a. others.

Salvador Dalí (Figueres 1904 - Figueres 1989). Aquellos armarios tinosos. 1977. Kaltnadel und Lichtdruck, 23,5 x 17 cm, r. u. mit Bleistift sign. Dalí, l. u. num. 21/200, unter Glas gerahmt, ungeöffnet. - Literatur: WVZ: Michler/Löpsinger 870. - Spanischer Universalkünstler, Hauptvertreter des Surrealismus. Nach dem Studium an der Madrider Akademie machten sich zunächst Einflüsse der 'pittura metafisica' de Chiricos und Carràs auf Dalís Werk bemerkbar. Während seiner Paris-Reise 1929 schloß er sich der Gruppe der Surrealisten um A. Breton an. Die künstlerische Auseinandersetzung mit den Schriften S. Freuds zur Traumdeutung förderte seine Neigung zum Phantastischen und Irrealen. Viele seiner Motive sind als Ikonen der modernen Kunst auf der ganzen Welt bekannt. Mus.: Figueres, St. Petersburg (Florida), Zürich u.a. Lit.: Etherington-Smith, Salber, Schiebler, Michler/Löpsinger 'S.D. - Das druckgraphische Werk 1924-1980' (1994) u.a. Dalí, Salvador (Figueres 1904 - Figueres 1989). Aquellos armarios tinosos. 1977. Dry point and collotype, 23,5 x 17 cm, lo. ri. autographed Dalí, lo. le. num. 21/200, framed under glass, uninspected out of frame. - Literature: Cat. rais.: Michler/Löpsinger 870. - Multitalented spanish artist, main exponent of surrealism. He studied at the Madrid Academy a. was initially influenced by the 'pittura metafisica' of de Chirico and Carrà. During a Paris trip in 1929 he affiliated at the surrealist A. Breton. Freuds theories of interpretation of dreams fostered D.s inclination to the fantastac a. surreal. Some of his motifs are among the most famous and popular creations of modern art. Mus.: Figueres, St. Petersburg (Florida), Zürich a. others. Lit.: Etherington-Smith, Salber, Schiebler, Michler/Löpsinger 'S.D. - Catalogue raisoné of etchings and mixed-media prints, 1924-1980' (1994) a. others.

Hans (Jean) Arp (1886 Straßburg - 1966 Basel) "Ramure" (Geäst). OriginaltitelAbstrakte, assoziative Komposition mit für Arp charakteristischen, organischen, weich-gerundeten, fließenden Formen. Wohl um 1954 entstandener Scherenschnitt auf weißem Grund. Hierbei variierte Arp eine Komposition, die 1954 auch im kleineren Holzschnitt "Relief II" (in einer Auflage von 30 Exemplaren erschienen, Hrsg. XXe Siècle, Paris; Wvz. Arnzt 183) und etwa zur gleichen Zeit im größeren, schwarz-gelben Wandteppich "Ramure" im Art Institute of Chicago (ausgeführt im Atelier von Tabard Frères et Soeurs, Aubusson) wiederkehrt. Arp, der in der Kunst der Moderne als einer der Hauptvertreter der organisch-abstrakten Formensprache gilt, wurde in seinen Plastiken, Reliefs, Collagen, Scherenschnitten, Zeichnungen und Grafiken von der stetigen Metamorphose im Wachstum der Natur inspiriert. 1916 war Arp Mitbegründer der Dada-Bewegung, in den 1920er Jahren einer der bedeutendsten Vertreter des Surrealismus. 1930 gehörte er zur Gruppe "Cercle et Carré", 1931 begründete er die neue Pariser Künstlergruppe "Abstraction-Création". Von den Nationalsozialisten als "entartet" verfemt, floh Arp 1942 ins Schweizer Exil. 1958 veranstaltete das Museum of Modern Art in New York eine umfassende Retrospektive; 1955-1964 nahm Arp an allen drei documenta-Ausstellungen in Kassel teil. Scherenschnitt/Karton. L. u. sign.; 35 cm x 28,5 cm. Rahmen.Provenienz: Süddeutsche Privatsammlung.Paper cut on cardboard. Signed.

Zeitgenössischer Tierbildhauer (Tätig 20./21. Jh.)Schlafender UhuBronze, dunkel patiniert. Marmorsockel. Vollplastische, im Art Déco-Stil gestaltete, modern stilisierte Tierfigur. Ges.-H. 51,5 cm.Contemporary animal sculptor active 20th/21st C.; Dark patinated bronze. Marble base.

Pablo Picasso (1881 Málaga - 1973 Mougins)"Matin, pipe, femme et chocolat" aus der "347 Suite". Originaltitel Aquatintaradierung/Velin, 1968. Sign. in Bleistift u. nummeriert 38/50. In der Platte spiegelbildlich dat. 26.9.(19)68 IV". Wvz. Bloch 1819; Baer 1836Bb1. Drucker Aldo and Piero Crommelynck, Hrsg. Galerie Louise Leiris, Paris. Szenische Darstellung eines am Tisch sitzenden Musketiers mit Pfeife, ihm gegenüber ein weiblicher Halbakt. Plattenmaß ca. 20,5 cm x 26,5 cm. Rahmen.Die Ende 1968 erschienene "347 Suite" ist Picassos größte Grafikserie und machte Schlagzeilen: Mit 86 Jahren hatte er in nur sieben Monaten 347 Radierungen und Aquatintablätter geschaffen; zugleich sorgte die Suite auch wegen ihres teilw. explizit erotischen Inhalts für Kontroversen. Trotzdem wurde die Grafik-Folge im selben Jahr in der Galerie Louise Leiris in Paris, im Art Institute of Chicago und im Museum of Modern Art in New York ausgestellt.Aquatint on wove paper, 1968. Hand-signed in pencil and numbered 38/50. Dated in the plate 26 september 1968 IV.

Roy Lichtenstein (1923 New York - 1997 ebenda)"Drowning Girl". OriginaltitelFarboffsetlithographie/Papier, 1989. Hrsg. Museum of Modern Art. Plakat mit Wiedergabe des gleichnamigen Gemäldes von 1963 im Museum. Typographisch bez.; Unterhalb und an den Rändern beschnitten. Blatt ca. 117 cm x 113,5 cm. Rahmen. Offset lithograph in colour on paper, 1989. Poster published by the Museum of Modern Art in New York after the well-known painting from 1963 in the museum's collection. Cut to the lower area and margins.

Moderner Bildhauer (Tätig im 20. Jh.)Weiblicher TorsoBronze, dunkel patiniert. Bez. "Brussel 1920". Vollplastisch gearbeiteter Torso mit volumenhaft gerundeter Körperlichkeit, der durch einen scharfen, diagonalen Schnitt durch den Kopf und erhobenen rechten Arm gekennzeichnet ist. Inbesondere in der straffen Stilisierung der Kopfpartie, mit den durch Lineaturen angedeuteten Augen, Brauen und Haaren, spiegeln sich Einflüsse des Art Déco und Kubismus, insbesondere Alexander Archipenkos, wider. H. 62,5 cm.Modern sculptor active 20th C.; Dark patinated bronze. Inscribed "Brussel 1920". Late 20th/early 21st C. cast.

José Manuel Belmonte (Geb. 1964 Córdoba. Ansässig ebenda) Aktfigur einer jungen Frau mit erhobener WasserschüsselBronze, in nuancierten, braunen und grünen Tönen patiniert, 1998. Hellgrauer Steinsockel. Sign., dat. u. nummeriert 5/8. Gießerstempel "ART CASTING BELGIUM". Die auf einer quadratischen Plinthe stehende, überlebensgroße, vollplastisch gearbeitete Aktstatue zeigt die junge Frau in dem Moment, als sie sich genussvoll Wasser aus einer runden Schüssel über den erhobenen Kopf und ihren Körper gießen will. Durch ihre subtile Patinierung und sorgfältig geglättete Oberfläche übt sie sowohl optische als auch haptische Reize aus. Belmonte gehört zu den international renommierten, figurativ arbeitenden spanischen Bildhauern der Gegenwart. Außer in Córdoba sind seine teilw. monumentalen Arbeiten im öffentlichen Raum auch in Barcelona, weiteren Teilen Spaniens und in europäischen Ländern wie Griechenland oder Belgien zu sehen. 1995/96 hielt sich Belmonte in Italien auf, in der Nähe der Marmorsteinbrüche von Carrara, um seine Technik bei Marmorskulpturen zu perfektionieren. Im Laufe seiner Karriere nahm er an verschiedenen internationalen Bildhauer-Symposien auf der ganzen Welt teil und gewann so wichtige Preise wie die Figurativas des European Museum of Modern Art in Barcelona (MEAM). Außer in Galerien stellte er seine Arbeiten im Thyssen Museum und im National Museum of Natural Sciences in Madrid sowie im MEAM in Barcelona und im Pablo Gargallo Museum in Saragossa aus. Ges.-H. ca. 220 cm.Brown and green patinated bronze on grey stone base, 1998. Signed, dated and numbered 5/8. Foundry stamp "ART CASTING BELGIUM".

A collection of modern Art Glass style vases, perfume bottle and a small millefiori paperweight (6)

Eight modern cut glass wine glasses, a large blue brandy glass, a Bohemian style V shaped vase, a pair of decanters, a modern smokey blue dimpled Art Glass decanter, etc

2 Modern art paintings 1919 largest measures approx 61cm by 60cm wide

Richard Tuff - Four Large Framed Modern Abstract Art Print View of Gyllyngvase Beach, 44cm x 55cm

Ceremonial costume accessory. Feather art. Lichiwayus Chakana. Aymara people, Bolivia Department of La Paz. 1750-1800. 21 x 66,5 cm.This delicate piece of feather art is part of a festive attire from the Bolivian Andes used during the Viceroyalty period and which is still in force until modern times. This “Chakana” is part of the attire of a ritual dance called “Lichiwayus” associated with the call of the snow before starting to work the land. The moisture produced by thawing penetrates the soil and eases the work of the plough. Due to the brittle nature of the material, most of the surviving feather mosaics are fairly modern creations, but archaeological excavations of high-altitude burial sites with little annual rainfall uncovered well-preserved centuries-old feathers as in the case of the specimen here. The Museum of Archeology and Anthropology at the University of Pennsylvania, the Israel Museum in Jerusalem, the Bowers Museum in California, and the Robert Institute of Archaeology. S. Peabody preserve Chakanas and body attire dating from the 18th and 19th centuries to the 20th century. Among the inventoried works, those of the National Museum of Ethnography and Folklore of Bolivia also stand out. The iconography represented by zoomorphic forms of lions and snakes dates back to colonial times where they appear on coats of arms assigned to noble families descended from the Incas. We could be talking about heraldic emblems with which certain families were identified. This type of Lichiwayus Chakanas is made with 17 flat wooden slats placed horizontally and joined by strings that go through perforations in the upper and middle part of each of the slats. The raw materials identified are feathers, wood, animal fibre and cotton, while the plumage normally used in this type of work varies, using the following bird species; White Heron, Amazon Parrot, Purple-throated Cotinga, Collared Aurora, Blue-Yellow Macaw and Red Macaw. Guaman Poma de Ayala describes in his work Nueva Crónica y buen gobierno (New Chronicle and Good Government) the role and interaction of birds with human beings, highlighting the birds of the Andean region that were used as tribute payment to the Inca (...) while young people from twelve to eighteen years old took care of the herds of llamas or alpacas, 'they caught the birds called auchiua, yutu, quiuyo, tacami, auas, with ties or garters for entertainment and cut up the meat, and the feathers they kept for trading with the Incas, the “capac apocuna” and captains. Some time ago they had trained (between the ages of nine and twelve) in catching little birds... which they call polished birds, quinte, uaychau, chayna, urpay, and other birds that exist; The meat was made into “charqui petaquillas” and the feathers were kept for “pluma” and “cunpi de pluma” and other gallantries of the Inca, heads and captains of the Aucamayoc Cuna…” (Millones and Schaedel, 1980: 61-65). In the work Arte Plumario en el Altiplano Paceño: Historia, danza y técnicas de los plumajes en las comunidades Aymara del departamento de la Paz, Bolivia (Featherwork art in the Altiplano Paceño: History, dance and plumage techniques in the Aymara communities of the department of La Paz, Bolivia), they explain that the description of South American fauna, and in some cases of the flora, was a task that some explorers, soldiers, civil servants and religious carried out in response to the request for information from the authorities, eager to learn about and make the most of the advantages offered by the new continent. In the descriptions made by chroniclers and travellers about the animals that inhabited the new continent, they made much of whether they lived in water, either lakes, rivers or seas, were land animals or those of the air. In these various scenarios, birds are the only animals that could be found in the three environments —water, land, and sky—, and from this, be recognized as messengers of the divine and have certain supernatural characteristics. In this regard, Andrés Gutiérrez Usillos mentioned that “birds are usually associated with the sacred, since the ability to fly and ascend to the heavens is only possessed by divinities. The bird can be an incarnation of divinity or an epiphany, that is, the vehicle through which the gods manifest themselves, a messenger between the gods and human beings” (Gutiérrez Usillos, 2002: 313). Bibliography:BETANCOURT Carla Jaimes. EL PODER DE LAS PLUMAS Colección de arte plumario del Museo Nacional de Etnografía y Folklore, según la cadena de producción. Museo Nacional de Etnografía y Folklore Fundación Cultural del Banco Central de Bolivia La Paz, Bolivia. 2015 GISBERT, Teresa. 2008. El paraíso de los pájaros parlantes: la imagen del otro en la cultura andina. 3ra ed. La Paz: Plural Editores. GISBERT, Teresa. 2008. Iconografía y mitos indígenas en el arte. 4th ed. (Ed.) Editorial Gisbert y Cia. La Paz. GISBERT, Teresa, Silvia ARZE y Martha CAJÍAS. 2008. Arte textil y mundo andino. La Paz: Gisbert y Cía. GUTIÉRREZ Usillos, Andrés. 2002. Dioses, símbolos y alimentación en los Andes: interrelación hombre-fauna en el Ecuador prehispánico. (Ed.) Ediciones Abya Yala. Quito. GUAMÁN Poma de Ayala, Felipe. [1615]1980. El Primer Nueva Coronica y Buen Gobierno. 21st century. Mexico. MILLONES, Luis y R. P. SCHAEDEL. 1980. Plumas para el sol: comentarios a un documento sobre cazadores y cotos de zada en el antiguo Peru. Boletín del Instituto Francés de Estudios Andinos 9 (1-2):59-88. VILLAROEL Salguerio Gloria, GUERREROS Burgoa Johnny and MUJICA Angulo Richard. Bolivia, La Paz, 2015. La Rebelión de los objetos. Museo Nacional de Etnografía y Folklore. Reunión Anual de Etnología, 29. Bolivia. (Anales de la Reunión Anual de Etnología) This lot already has a permit for exportation as a cultural asset.

Gladky (Serge) Nouvelles Compositions Décoratives,1st series, 33 pochoir plates only (of 48), with an additional 11 pochoir plates from the 2nd series (making 44 in total), margins toned, some light soiling, tape marks to pastedowns, loose as issued in decorative cloth-backed portfolio, lacking ties, rubbed and soiled, small tape marks to head and foot, joints split but covers holding, folio, Paris, [c.1925].⁂ Serge Gladky was a prominent figure in the Art Deco movement, considered a precursor of modern abstract art. Here he employs pochoir, a hand-stencilling technique popular in the first decades of the 20th century, to produce colourful, abstract plates.

NO RESERVE Modern art.- Bloch (Georges) Catalogue de l oeuvre grave et lithographie 1904-1967, first edition, light marginal toning, 1968 § Sylvester (David, editor) Henry Moore: Sculpture and Drawings 1921 [1964], 3 vol., mixed editions, 1957-65, plates and illustrations, original boards, dust-jackets, rubbed, some chipping; and 12 others, similar, 4to (16)

Dentistry.- Maury (F.) Treatise on the Dental Art, translated by J.B.Savier, first edition in English, 20 lithographed plates, illustrations, 12pp. publishers' catalogue at end, foxing, water-stain to top outer corner towards end, modern half calf, Philadelphia, 1843 § Arthur (Robert) A Treatise on the use of Adhesive Gold Foil, first edition, illustrations, advertisement leaf at end, some browning, original blind-stamped cloth, rubbed, spine torn and chipped, Philadelphia, 1857 § Garretson (James E.) A System of Oral Surgery, second edition, 17 engraved plates, illustrations, contemporary sheep, rubbed, Philadelphia, 1873 § Muller (E.) Atlas et Traité de Prothèse Métallique Dentaire Moderne, first French edition, colour plates and illustrations, original sheep-backed cloth, rubbed, Paris, 1910; and another on dentistry, 8vo & 4to (5)⁂ The second item is the first book on the use of gold foil for filling teeth; the third is the first modern textbook of oral surgery.

Booksto include Masamune To Sono Ichimon. Masterworks of Japanese Swords by Masamune and His School by Dr. Homma. 1961, The Arts of Japan Late Medieval to Modern by Noma Seiroku, a set of three volumes "Pelican History of Art""The Art and Architecture of China" by Laurence Sickman and Alexander Soper, first published 1956; "The Architecture of Japan" by Robert Treat Paine and Alexander Soper, first published 1955 and "Art and Architecture of India - Buddhist Hindu Jain" by Benjamin Rowland edited by Nikolaus Pevsner, second edition 1956 and The Raymond and Frances Bushell Collection of Netsuke "A Legacy at the Los Angeles County Museum of Art" and othersAt present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.

Two Danish jewellery items, comprising a From Denmark leaf brooch, with six petals entwined in circle, with single pin back, marked 925 sterling, 4cm wide, together with a shaped steel modern art necklace, unmarked. (2)

Modern art prints, to include after Picasso, Gentleman Playing Guitar, 28cm x 17cm, Tate Liverpool Salvador Dali advertising poster for the exhibition A Mythology 24th October 1998 to the 31st January 1999, 57cm x 42cm, etc. (8)

Assorted jewellery comprising a modern Art Nouveau style silver pendant set with a pear cut peridot, a hallmarked silver marcasite leaf shaped brooch, a Scottish silver Iona brooch set with an amethyst, various other items marked '925' & 'silver', a hallmarked 9ct gold ring, costume jewellery etc.

A modern Art Deco style lamp base by Sarsaparilla, length 21cm.

FAULKNER, William (1897-1962). Sanctuary. New York: Jonathan Cape and Harrison Smith, 1931.  8vo. Half-title. Original cloth-backed boards, figured grey and magenta endpapers [first state], top edge stained black (spine slightly toned, slight wear to corners); in unrestored unclipped dust jacket (a few short tears and nicks with some minor rubbing and soiling).FIRST EDITION, FIRST BINDING. "Sanctuary was written in haste when Faulkner was tired of never selling; like the stories in These 13, it is Faulkner for the non-Faulknerites, determined to shock... The novel was a popular success though attacked by Wyndham Lewis in his 'Men Without Art' and I offer it here for not liking Faulkner better" (Connolly, The Modern Movement, 69). Peterson A8b.

MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Málaga, 1933 - Antequera, Málaga, 2006)."La Menina II, Homage to Rafael Alberti", 1973.Detachable sculpture in bronze, copy 307/2000.Signed and numbered.Instruction book attached.Measurements: 34 x 19,5 x 19,5 cm (with base)Miguel Ortiz Berrocal showed a special predilection for articulated and detachable bronze sculptures. Inspired by the main creative forces of the first half of 1900, the artist sought his own artistic path. He was inspired by science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space.Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and since 1968 he has alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicettera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Barcelona Series", 1972-1973.Etching, aquatint and carborundum. HC copy, current print run of 50 copies.Work reproduced in the Jacques Dupin Catalogue, p. 229. Ed Daniel Lelong.Watermark of Sala Gaspar on the paper.Signed and justified.Provenance: Private collection Antonio Orzaez (Madrid, 1933-2021).Measurements: 70 x 105 cm.This work belongs to the collection of Antonio Orzaez, who through his work as a photographer personally knew many of the most important artists of the 20th century, such as Joan Miró. This work is the result of the friendship between Orzaez and Joan Miró, which was reflected in letters, invitations to exhibitions and works that Miró personally gave to Orzaez.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. His work can currently be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

EDUARDO ÚRCULO FERNÁNDEZ (Santurce, Vizcaya, 1938 - Madrid, 2003)."Characters with hats", 1995.Silkscreen, copy P.A. 4/5.Signed, dated, justified and dedicated by hand.Size: 46 x 61 cm; 50 x 66 cm (frame).Following his particular aesthetic, Úrculo composes his works through enigmatic objects and indeterminate, anonymous figures, which, remotely inspired by fashion illustrations and art deco posters, evoke a whole range of the contemporary popular imaginary.A painter and sculptor, one of the best exponents of pop art in Spain, Eduardo Úrculo began to paint as a child, without any artistic training, and in 1957 he published his first illustrated strips in the Oviedo newspaper "La Nueva España". Shortly afterwards he moved to Madrid and began to take classes at the Círculo de Bellas Artes. During these years he earned his living as an illustrator and set designer, and cultivated a style of painting marked by social expressionism. In 1959 he went to Paris, where he furthered his training at the Académie de la Grande Chaumière. In the French capital he worked as a graphic designer and met Eduardo Westerdahl, whose influence led his painting to evolve towards abstraction. Four years later, however, he returned to figuration and social criticism. In 1967 he made a trip to northern Europe, and it was then that he first came into contact with American pop art. From then on, Úrculo's work would be marked by a realism based on a very vivid colouring and, in the seventies, by erotic, satirical and critical themes. In the eighties he lived in New York, where he carried out important projects. In 1992 he returned to Paris. In the latter period he added to his repertoire the theme of the traveller confronted with the great modern city, an ironic variant of the figure of the romantic overwhelmed by the landscape. This formal evolution could be seen through the numerous individual exhibitions he held around the world since 1959, as well as in anthologies (Centro Cultural de la Villa de Madrid, 1997, and Museo del Grabado Español Contemporáneo de Marbella, 2000). Úrculo is currently present in numerous museums and collections of modern art, including the Museo Nacional Centro de Arte Reina Sofía, the Galleria Nazionale d'Arte Moderno in Rome, the Biblioteca Nacional de Madrid, the Museo de Arte Contemporáneo de Bogotá, the AENA, Testimoni and Fundesco collections, the Museo del Dibujo Castillo de Larrés, the Museo de Arte Contemporáneo de Vilafamés and others.