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A folding spark guard, a set of six modern glass champagne flutes and two other glasses together with an Art Nouveau style brass table lamp of flared square form 63 cm high including fitting

Ireland (Samuel). Picturesque Views, on the River Medway, from the Nore to the vicinity of its source in Sussex: with observations on the public buildings and other works of art in its neighbourhood, London: T. & J. Egerton, 1793, sepia aquatint frontispiece and 28 hand-coloured aquatint plates, single-page map, woodcut illustrations, modern dark terracotta red morocco, gilt decorated spine, 4to, together with:Page (John Lloyd Warden), An Exploration of Exmoor and the Hill Country of West Somerset, with notes on its Archaeology, London: Seeley & Co., Ltd., 1890, half-title, mounted etched frontispiece, 17 plates (including three etched plates, remainder monochrome), folding map at rear, verso of front free endpaper with ownership signature of Walter D. Watney 26 March 1891, top edge gilt, remainder untrimmed, original cloth-covered boards with modern gilt-decorated morocco spine, 8vo (limited Large paper edition 72/250),Pinks (William J.), The History of Clerkenwell ... with additions by the editor Edward J. Wood, 2nd edition, London: Charles Herbert, 1881, wood engraved portrait frontispiece, plate and illustrations, hand-coloured folding lithograph map, endpapers renewed, original gilt and blind blocked cloth-covered boards with modern polished sheep spine, 4toQty: (3)

[Trusler, John]. The Honours of the Table, or, Rules for Behaviour during Meals; with the Whole Art of Carving, illustrated by a variety of cuts. Together with Directions for going to market, and the method of distinguishing good provisions from bad; to which is added a number of hints or concise lessons for the improvement of youth, on all occasions in life. By the author of Principles of Politeness, &c. For the use of young people, London: Printed for the Author, at the Literary Press, 1788, numerous woodcut illustrations, modern half calf, gilt decorated spine, 12mo, together with:Weatherley (Henry), A Treatise on the Art of Boiling Sugar, Chrystalizing, Lozenge making, Comfits, gum goods, and other processes for Confectionary, &c..., London: Printed by A.G. Harston, 1864, advertisement frontispiece with wood engraved illustration, upper blank margin of title inscribed 'with the authors compliments', illustrated adverts at rear, some toning and marginal spotting, modern speckled half calf, gilt decorated spine with morocco title label, 8vo,Nutt (Frederic), The Complete Confectioner, or the whole art of Confectionary, made easy; with Receipts for Liqueurs, Home-made Wines, &c. the result of many years experience with the celebrated Negri and Witten, 6th edition, London: Mathews & Leigh, 1809, without frontispiece, early signature to title, ten engraved plates of bills of fare (including 3 folding), light toning and occasional scattered spotting, modern speckled half calf, gilt decorated spine, 12mo, and Reboul (Jean-Baptiste), La cuisinière provençale, 15th edition, Marseille: Tacussel, circa 1930, monochrome portrait frontispiece, browning throughout, upper hinge strengthened, original printed wrappers, joints splitting and some browning, 8voQty: (4)

Rudbeck (Gustaf). Broderade bokband från äldre tid in svenska samlingar, Stockholm: Föreningen för Bokhantverk, 1925, half-title, 39 monochrome and colour plates, modern burgundy half calf, gilt decorated spine with green morocco title label, folio, together with:Devauchelle (Roger), La Reliure en France de ses origines à nos jours, ouvrage couronné par l'Institut de France. Prix Calenacci 1959, volume 3 only (of 3), Paris: Jean Rousseau-Girard, 1961, mounted colour frontispiece, colour & monochrome plates, monochrome illustrations, original printed stiff wrappers bound in, modern dark brown half morocco, gilt decorated spine with red morocco title label, 4to (limited edition of 900 copies printed),Christian (Arthur), De?buts de l'imprimerie en France. L'imprimerie nationale, l'Hôtel de Rohan, Paris: Imprimerie Nationale, 1904, monochrome illustrations, original printed wrappers, 4to (no. 27 of undisclosed limited edition),Hugo (Thomas), The Bewick Collector. A Descriptive Catalogue of the Works of Thomas and John Bewick..., London: Lovell Reeve & Co., 1866, numerous wood engraved illustrations, modern light brown half calf, gilt decorated spine with skiver title label, 8vo, plus Zaehnsdorf (Joseph W.), The Art of Bookbinding, a Practical Treatise, Technological Handbooks series, 2nd edition, 1890, facsimile reprint, 2nd impression, Farnborough: Gregg International, 1969, monochrome plates and illustrations, modern maroon half sheep, gilt decorated spine, small 8voQty: (5)

Spielmann (Sir Isidore). Royal Commission, St Louis International Exhibition 1904, The British Section, 1906, numerous monochrome illustrations, light spotting to preliminary leaves, top edge gilt, original pale green cloth gilt, rubbed and some marks and joints frayed at head and foot, folio, together withThe British Government Exhibit at the New Zealand International Exhibition (1906-1907), British Government committee, 1908, Souvenir of the Fine Art Section, Franko-British Exhibition 1908, British Art Committee, circa 1908 & International Fine Arts Exhibition, Rome, 1911, Souvenir of the British Section, issued under the auspices of the board of Trade, circa 1911, together three volumes, numerous monochrome plates, mostly after photographs to each volume, top edge gilt, original blue or green-blue cloth, rubbed and some marks, 1908 Franco-British Exhibition with some soiling and heavily frayed to upper joint, all large 4to, plusArts Decoratifs de Grande-Bretagne et d'Irland, Exposition organisée par le Gouvernement Britannique, Paris Palais du Louvre, Pavillon de Marsan, Avril-Octobre 1914, monochrome plates, top edge gilt, original light bllue cloth gilt, in very good condition, 4to, andReports on the Present Position and Tendencies of the Industrial Arts as indicated at the International Exhibition of Modern Decorative and Industrial Arts, Paris 19025, with an introductory survey, Department of Overseas Trade, [1927], monochrome plates, original cream cloth with morocco title label to spine, little rubbed, 4to, plus others on important historical exhibitions, including, Lectures on the results of the Great Exhibition of 1851, Second Series, 1853, Illustrated Souvenir of the Palace of Arts, British Empire Exhibition 1925, Illustrated Souvenir, The Royal Academy Exhibition of British Art in Industry, 1935, The Daily Telegraph Exhibition of Antiques and Works of Art, Olympia, 1928, (original printed wrappers), Jeffrey A. Auerbach, Decorate Exhibition of 1851, A Nation on Display, 1999, etc.Qty: (26)

Venturi (Lionello). Cezanne, Son Art, Son Oeuvre, 2 volumes, Paris: Paul Rosenberg editeur, 1936, numerous monochrome illustrations, original printed wrappers, a little frayed to extremities with slight loss to head of spine of first volume and foot of spine of second volume, 4to, together withLa Fresnaye (Roger de). Dessins et Gouache (1919-1925), Notice de Waldemar George, Paris: Librairie de France, 1927, thirty colour and monochrome plates (some with two tipped-images to the page), some minor chips to extreme edges, plates, and introductory printed text loosely contained in original publishers cloth-backed boards, with ties, printed paper label to upper cover, covers somewhat faded and with a little wear to extremities, large folio, plus other early 20th century publications mainly on modern French artists, including Waldemar George, Georgio de Chirico, Paris: 1928, Carl Einstein, Georges Braque, Paris: 1934, André Salmon Modigliani, Paris, 1926, Georges Charensol Rouault, Paris, 1926, Marcel Jouhandeau Marie Laurencin, Paris, 1928, Maximilien Gauthier, André Bauchant, Paris, Editions du Chene, 1943 (with colour lithograph frontispiece), André Malraux, Pyschologie de l'Art, 2 volumes (Le Musée Imaginaire/La Creation Artistique, 1947/48), etc., mainly original cloth/original wrappers, 4to & folioQty: (approx. 50)

ROBERT NATKIN (AMERICAN 1930-2010) UNTITLED (ABSTRACT), C.1950s Oil on canvas(100cm x 85cm (39.5in x 33.5in))Provenance: Purchased by the present owner from Robert Henry Adams Fine Art, Chicago Art Fair, Navy Pier, Chicago, USA 1990 Note: Robert Natkin was born into a dysfunctional, impoverished Chicago family in 1930. The cinema and theatre proved a welcome distraction which the young Natkin would enjoy up to six times a week, often with his father, a rag-dealer (and, as he enjoyed recalling, a failed tap dancer). An encounter with a book of Paul Klee’s paintings in 1947 proved pivotal for Natkin, who found the vibrant evocations of the subconscious revelatory. Against his parents’ protestations, he resolved to become an artist. Klee’s influence is evident in the rhythmic, structural forms of ‘Untitled (Abstract)’, which is understood to date to the 1950s. Natkin stated that during this period he was influenced by the artificial lighting of theatre sets and Technicolour musicals, by turns dramatic and lurid, that had illuminated so much of his childhood. In this early work, intermingled pigments are pushed across the canvas, eliciting broad passages of moody, earthier tones, which are punctuated by flashes of pure cerulean, vermillion and tangerine. The bold linear mark-making anticipates the vertical planes that would dominate Natkin’s output throughout the 1960s, dubbed the ‘Apollo series’. Yet while his ‘Apollo’ paintings contrasted adjoining bands of solid colour to catalyse what he termed a ‘visual vibrato’, his earlier abstracts demonstrate an inquisitive and playful approach to his palette, as if he were testing his ability to manipulate colour and light. Robert Natkin studied at the Art Institute of Chicago between 1948 and 1952, where he was afforded access to their collection of Post-Impressionist paintings. In the early 1950s Natkin moved to New York to commence a successful and varied exhibiting career, and immerse himself in the contemporary art scene, which at the time was preoccupied with Abstract Expressionism. Natkin recalled that he was first exposed to the style when reading Life magazine’s 1949 spread on Jackson Pollock, which asked readers ‘Is he the greatest living painter in the United States?’; Natkin professed to never having warmed to Pollock’s work, instead preferring Willem de Kooning, but above all remaining committed to European abstraction. His most celebrated commission came in 1992, when he was invited to create a mural for the lobby of 1211 Avenue of the Americas, New York. Situated on the corner of the Rockefeller Centre, the vast composition is visible from the street, and has become a beloved local landmark. By this point Natkin was in his 60s and living with his family in Connecticut, but in the summer of 1991 he relocated to New York to work on the mural full-time upon an elevated scaffold. Natkin was commissioned to fill a space measuring twenty by forty-two feet, and preparatory studies therefore proved integral to the successful fulfilment of the commission; he was adamant that his composition should retain its emotional intensity and integrity when transcribed from the smaller studies to the towering lobby wall. By this point his palette was lighter, and his forms softer and more luscious, influenced by a particularly fruitful stay in England in 1974. ‘Study for “1211 – Mural”’ provides an intriguing insight into the developing composition, and evidences a concern for textural mark-making and architectural form. Robert Natkin died in Connecticut in 2010, and is remembered as an important name in the development of American abstraction. He is well-represented in important national collections, including the Metropolitan Museum of Art, the Museum of Modern Art, the Solomon R. Guggenheim Museum, and the Centre Pompidou.Footnote: Exhibited: Robert Henry Adams Fine Art, Chicago

ROBERT NATKIN (AMERICAN 1930-2010) STUDY FOR "1211 - MURAL", 1992 Signed and inscribed with title and dated lower edge, acrylic on board(29cm x 59cm (11.5in x 23.25in))Provenance: Gifted by the artist to the present ownerFootnote: Note: Robert Natkin was born into a dysfunctional, impoverished Chicago family in 1930. The cinema and theatre proved a welcome distraction which the young Natkin would enjoy up to six times a week, often with his father, a rag-dealer (and, as he enjoyed recalling, a failed tap dancer). An encounter with a book of Paul Klee’s paintings in 1947 proved pivotal for Natkin, who found the vibrant evocations of the subconscious revelatory. Against his parents’ protestations, he resolved to become an artist. Klee’s influence is evident in the rhythmic, structural forms of ‘Untitled (Abstract)’, which is understood to date to the 1950s. Natkin stated that during this period he was influenced by the artificial lighting of theatre sets and Technicolour musicals, by turns dramatic and lurid, that had illuminated so much of his childhood. In this early work, intermingled pigments are pushed across the canvas, eliciting broad passages of moody, earthier tones, which are punctuated by flashes of pure cerulean, vermillion and tangerine. The bold linear mark-making anticipates the vertical planes that would dominate Natkin’s output throughout the 1960s, dubbed the ‘Apollo series’. Yet while his ‘Apollo’ paintings contrasted adjoining bands of solid colour to catalyse what he termed a ‘visual vibrato’, his earlier abstracts demonstrate an inquisitive and playful approach to his palette, as if he were testing his ability to manipulate colour and light. Robert Natkin studied at the Art Institute of Chicago between 1948 and 1952, where he was afforded access to their collection of Post-Impressionist paintings. In the early 1950s Natkin moved to New York to commence a successful and varied exhibiting career, and immerse himself in the contemporary art scene, which at the time was preoccupied with Abstract Expressionism. Natkin recalled that he was first exposed to the style when reading Life magazine’s 1949 spread on Jackson Pollock, which asked readers ‘Is he the greatest living painter in the United States?’; Natkin professed to never having warmed to Pollock’s work, instead preferring Willem de Kooning, but above all remaining committed to European abstraction. His most celebrated commission came in 1992, when he was invited to create a mural for the lobby of 1211 Avenue of the Americas, New York. Situated on the corner of the Rockefeller Centre, the vast composition is visible from the street, and has become a beloved local landmark. By this point Natkin was in his 60s and living with his family in Connecticut, but in the summer of 1991 he relocated to New York to work on the mural full-time upon an elevated scaffold. Natkin was commissioned to fill a space measuring twenty by forty-two feet, and preparatory studies therefore proved integral to the successful fulfilment of the commission; he was adamant that his composition should retain its emotional intensity and integrity when transcribed from the smaller studies to the towering lobby wall. By this point his palette was lighter, and his forms softer and more luscious, influenced by a particularly fruitful stay in England in 1974. ‘Study for “1211 – Mural”’ provides an intriguing insight into the developing composition, and evidences a concern for textural mark-making and architectural form. Robert Natkin died in Connecticut in 2010, and is remembered as an important name in the development of American abstraction. He is well-represented in important national collections, including the Metropolitan Museum of Art, the Museum of Modern Art, the Solomon R. Guggenheim Museum, and the Centre Pompidou.

§ CALLUM INNES (SCOTTISH 1962-) EXPOSED PAINTING, 2004 Signed and dated stretcher verso, oil on canvas(122.5cm x 117cm (48in x 42in))Footnote: Exhibited: Ingleby Gallery, Edinburgh Lyon & Turnbull are delighted to offer Callum Innes’ ‘Exposed Painting, Paynes Grey / Cobalt’ for sale. Not only does this work date from that pivotal year of recognition for the artist, 1995, it is from his famed ‘Exposed Paintings’ series, a body of work which cemented his reputation and remains the lynchpin of his oeuvre. His Exposed Paintings exemplify what has been described as Innes’ “painting and un-painting” technique. The works embody balance and tension: between the application and subtraction of materials, between simplicity and complexity, between meticulous technique and serendipitous outcomes. Painted in the typical large format that characterises this series (apparently selected as it is the span of the artist’s arm), it features a block of pure highly saturated blue, the striations of Innes’ gestural brushwork visible upon scrutiny. The year 1995 saw the artist meditate on the minimalistic juxtaposition of just two tonal fields, in this case Paynes Grey and Cobalt Blue, meeting in a feathery, bleeding intersection. Though graphic, indeed almost stark, nothing is ever quite what it first seems with a work by Innes. “Everything that pertains to be minimal of course is not,” he once commented. “The way the eye works, it goes to the painted area, then the white, then the feathering. Something simple becomes complex.” Callum Innes is recognised as one of the UK’s foremost contemporary painters as supported by his highly regarded international reputation. A graduate of Gray’s School of Art, Aberdeen, and the Edinburgh College of Art, his work earned high regard from an early stage in his career. In 1992, the artist was the recipient of two major exhibitions in significant public institutions: the ICA, London, and the Scottish National Gallery of Modern Art, Edinburgh. In 1995 Innes was shortlisted for the Turner Prize and Jerwood Painting Prize. In 1998 he won the prestigious NatWest Art Prize and in 2002 was awarded the Jerwood Painting Prize and the Artisti Invitati Al Premio Internazionale. Innes has had numerous solo shows around the world, and his work his held in major collections including Tate, London, and the Guggenheim, New York.

§ CALLUM INNES (SCOTTISH 1962-) EXPOSED PAINTING, PAYNES GREY / COBALT, 1995 Signed and dated '95 stretcher verso, further inscribed 'To Jimmy, Happy Birthday, 17.02.00, Love Callum' to stretcher verso, oil on canvas(175cm x 165cm (69in x 65in))Footnote: Exhibited: Frith Street Gallery, London, 1995 Note: Lyon & Turnbull are delighted to offer Callum Innes’ ‘Exposed Painting, Paynes Grey / Cobalt’ for sale. Not only does this work date from that pivotal year of recognition for the artist, 1995, it is from his famed ‘Exposed Paintings’ series, a body of work which cemented his reputation and remains the lynchpin of his oeuvre. His Exposed Paintings exemplify what has been described as Innes’ “painting and un-painting” technique. The works embody balance and tension: between the application and subtraction of materials, between simplicity and complexity, between meticulous technique and serendipitous outcomes. Painted in the typical large format that characterises this series (apparently selected as it is the span of the artist’s arm), it features a block of pure highly saturated blue, the striations of Innes’ gestural brushwork visible upon scrutiny. The year 1995 saw the artist meditate on the minimalistic juxtaposition of just two tonal fields, in this case Paynes Grey and Cobalt Blue, meeting in a feathery, bleeding intersection. Though graphic, indeed almost stark, nothing is ever quite what it first seems with a work by Innes. “Everything that pertains to be minimal of course is not,” he once commented. “The way the eye works, it goes to the painted area, then the white, then the feathering. Something simple becomes complex.” Callum Innes is recognised as one of the UK’s foremost contemporary painters as supported by his highly regarded international reputation. A graduate of Gray’s School of Art, Aberdeen, and the Edinburgh College of Art, his work earned high regard from an early stage in his career. In 1992, the artist was the recipient of two major exhibitions in significant public institutions: the ICA, London, and the Scottish National Gallery of Modern Art, Edinburgh. In 1995 Innes was shortlisted for the Turner Prize and Jerwood Painting Prize. In 1998 he won the prestigious NatWest Art Prize and in 2002 was awarded the Jerwood Painting Prize and the Artisti Invitati Al Premio Internazionale. Innes has had numerous solo shows around the world, and his work his held in major collections including Tate, London, and the Guggenheim, New York.

A collectors' lot to include a vintage boxed 'Escalado' race game, a large quantity of cigarette cards, many sets in their original boxes, including Players 'Military Uniforms', Benson & Hedges 'Modern Naval Craft', 'Household Hints', State Express Cigarettes 'Do You Know?' series, etc, a framed and glazed set of cigarette cards, all jockeys to include S. Donoghue, W. Nevitt, J. Dines, etc, various vintage tins, a New Bensons Royal Gala tin containing a large number of various razors, a barber's leather strap, vintage spray, hair clippers, a tin containing vintage metal penknives, two IMCO Triplex Junior cigarette lighters and various tobacciana aids, a large quantity of mainly Lancashire Constabulary buttons and cap badges, WWII ARP buttons, various badges, a white metal ring with a Third Reich insignia, John Player & Sons albums of cigarette cards and a schoolboy's 'Commando' illustrated stamp album containing a quantity of British and world stamps, and a quantity of c.1950s black and white photographs of the TT Isle of Man races, featuring various riders to include T. Wood, L. Graham, J. Locket, Howard Daniel, Artie Bell, Bill Doran, Art Western and small quantity of British, African and Continental coinage, etc.

Various decorative items and modern kitchen ware to include Denby lidded tureens, Portmeirion 'Botanic Garden' vases, Portmeirion 'Welsh Dresser' design vase, contemporary salt and pepper pots, French stoneware jugs, contemporary glass fruit bowl with coloured polka dots, also some wooden coasters, an Naef Swiss-made wooden puzzle and a Peer Clahsen German wall hung puzzle comprising thirty-six small cubes with various printed surfaces, combining to make multiple wall art.

A collection of vintage and modern coloured art and clear glass paperweights, ornaments and vases, to include three glass dancing figures on stepped base, glass animal paperweights to include swans, seals, rabbits, owls, squirrels, pig, large mottled brown clear glass vase, height approx 28cm, a graduated red, yellow and orange tone twin-handled glass vase, height 25cm, etc.

A modern reproduction Art Deco bronze figure of a stylised dancer, on brown marbled base, on a further stepped base, height 55cm.

TWO LARGE OIL ON BOARD MODERN ART PORTRAIT STUDIES LARGEST 122CM X 99CM

A modern rock crystal necklace together with an Art Deco necklace. The rock crystal necklace having thirty-six cube shaped beads with lobster claw clasp, marked 925. 42.5cm length. The 1930s Art Deco necklace having geometric faceted clear and pink glass beads with glass spacers. Spring bolt clasp. Unmarked. 41cm length. 

A modern pair of Art glass table lamps, height 50cm

Set of eight mahogany dining chairs, modern Art Deco style, scrolled backs, splayed legs, red sculpted upholstery, including two elbow chairs and six single chairs.

*Pauline Boty (1938-1966)The artist's husband, Clive Goodwin, reclining, c.1963pencil 25 x 20cm Provenance: Estate of Pauline Boty;estate of Clive Goodwin;Nicholas Grindley.Exhibited: The Mayor Gallery, London, 'Pauline Boty and Other Modern British Artists', 7 September - 7 October 2009.Pauline Boty was the only female founder of the British Pop Art movement and an icon of 1970s feminism. Born in South London in 1938, she was the youngest of four children and grew up in a conservative Catholic family. In 1954, she won a scholarship to Wimbledon School of Art, which she accepted with the support of her mother (whose artistic ambitions had been thwarted by her parents).Boty studied lithography and stained-glass making, but also painted in a distinctive style. She exhibited with the Young Contemporaries alongside Robyn Denny and Bridget Riley in 1957 and 1959. Her developing friendships with Pop artists such as David Hockney and Peter Blake drew her further into this circle, and in 1961, she participated in a group show titled ‘Blake, Boty, Porter, Reeve’. Just two years later, she had her first solo show at the Grabowski Gallery, which was received with acclaim. After a brief stint in acting and on radio, Boty returned to painting. Her work became increasingly political with anti-Vietnam War and anti-patriarchy themes emerging. After a whirlwind romance, she married Clive Goodwin, who Boty captures in this intimate drawing of her husband with eyes shut, reclined and apparently sleeping. In 1965, Boty became pregnant, but early into the pregnancy, doctors discovered a cancerous tumour. Knowing that treatment would damage the foetus, Boty chose not to pursue this. She died aged just twenty-eight, only five months after the birth of her daughter.In 2013, Boty received her first retrospective at the Wolverhampton Art Gallery; later travelled to Pallant House Gallery.*Artist's Resale Right may apply to this lot.Condition report: Viewed out of frame, a few creases that have been flattened out lower right corner and one small crease lower left corner, also smaller ones top two corners, a soft fold line diagonally across work, generally these are not obvious once work is within glazed frame, it generally appears to be in good order. Please refer to condition report images that illustrate work out of frame.

*Sir Jacob Epstein (1880-1959)Sketch for 'Day'signed 'Epstein' l.l., pencil, ink and wash57 x 42.5cmProvenance: The Redfern Gallery(?);Lady Epstein (Kathleen Esther Garman);with Obelisk Gallery, London, c.1965:Anon, Bonham's, London, 29 November 2005, lot 69.Sketch for 'Day' is a preparatory drawing of c.1929 for the monumental sculpture 'Day' commissioned along with its pair 'Night' for London Transport HQ (55 Broadway, a Grade 1 listed building close to St James's Park, London). The sculptures, completed in 1929, are amongst Epstein’s most celebrated and, at the time, controversial public works. On their unveiling, there was outcry over the explicit nudity of the boy, which led to the offer of resignation from the Managing Director of London Underground (UERL), which had commissioned the works. In the end, Epstein made a compromise - shortening the boy's penis - and the uproar was forgotten. The inscription verso, in (the elderly) Lady Epstein’s hand on an Obelisk Gallery label, states it was exhibited in 1927 at The Redfern Gallery - but this could be inaccurate as the commission for 'Day & Night' was received in 1928, and other 'Day' related studies are dated '28 or '29. See related Epstein studies in 'Jacob Epstein Sculpture and Drawings'. Leeds City Art Galleries, 1987, pp.224-5. (Lot 47, Modern and Contemporary Art - 05/04/2022).*Artist's Resale Right may apply to this lot.Condition report: overall: 89.5 x 70cm

POOLE MODERN COLOURFUL DISPLAY PLATE, 20cms diameter, art and other type glassware, assorted pottery ETC

Patrick Hughes, A Child of Six Could Do It, Cartoons about modern art. 23 May-8 July 1973, Tate Gallery. Hillingdon Press.

Attributed to Kofi Antubam (Ghanaian, 1922-1964), Untitled', watercolour, framed and glazed 37.5cm x 37.5cm. A former of pupil of Herbert Vladimir Meyerowitz, Antubam the studied at Goldsmiths college in London. He pioneered the use of adinkra symbols in modern art. He exhibited in New York in 1962 at the American Society of African Culture. Provenance: Purchased by the Vendors Father when he was a senior executive working for the United African Company, thence by decent.

Quantity of modern hardback books covering various subjects, to include art history, topography to include English Houses and Gardens, Heald, Tim "Honourable Estates, the English and their Country Houses", Plumptre, George "Great Gardens Great Designers", Wilton, Andrew "Turner Abroad ...", Pavord, Anna "The Tulip", Miller, Lee "Roanoke", Historic Houses in Britain, Darke, Joe "The Monument Guide to England and Wales", Ackroyd, Peter "Dickens" (3 boxes) 

Modern hall table, the rectangular glass top on chrome-effect Art Deco-style base, on rectangular footing, 121cm x 73cm

Brouwn, Stanley. Zwei Ausstellungsplakate. 1970 und 1981. 69,5 x 93 cm - 1. Modern Art Agency Napoli. 24. April 1970. 69,5 x 93 cm. Vierfach gefaltet. Illustriert (Passanten hüftabwärts). - 2. Van Abbemuseum Eindhoven 20.2. tm 20.03 1981. 59 x 42 cm. Zweifach gefaltet. - Mehr Reduktion geht nicht: Name, Ort, Datum. - Gut erhalten.

Ausstellungskataloge, meist zur Kunst vor 1930. Sammlung von 17 kleineren Ausstellungskatalogen sowie einigen Monographien. Originaleinbände. Verschiedene Orte und Verlage 1914-1982.Enthält: 1. Große Berliner Kunstausstellung 1914. 153 S., 29 Bl. Mit zahlreichen Illustrationen und Abbildungen. 1735 x 12,5 cm. OUmschlag (leicht gebräunt, gering fleckig). Berlin, Felix Lehmann, 1914. - Zu Beginn wenige Blätter gelöst. - 2. Adolf Behne. Die Wiederkehr der Kunst. 113 S., 1 Bl. Farbig illustrierter OKarton (Kapital etwas lädiert). Leipzig, Kurt Wolff, 1919. - 3. Katalog der Veröffentlichungen des graphischen Verlags Friedrich Dehne. 32 S. Mit zahlreichen Abbildungen. 22 x 14 cm. Illustrierter OUmschlag. Leipzig, Dehne, 1920. - 4. Ludwig Justi. Neue Kunst. 37 S. Mit wenigen blattgroßen Abbildungen. OPappband (ohne Rücken). Berlin, Julius Bard, 1921. - 5. Ferdinand Hodler, Ernst Ludwig Kirchner, Fritz Huf. Mai-Ausstellung. 15 S. 22 x 14,5 cm. OUmschlag (etwas fleckig). Dresden, Galerie Arnold, 1925. - 6. Frans Masereel. Das Gesammelte Werk. Städtische Kunsthalle Mannheim. 24 S. Mit zahlreichen Abbildungen. Mannheim 1929. - 7. Ausstellung Hamburgischer Künstler in sämtlichen Räumen des neuen Kunst-Ausstellungsgebäudes des Kunstvereins in Hamburg, Neue Rabenstraße. 16 S. 18,5 x 12,5 cm. Illustrierter OUmschlag. Hamburg 1930. - 8. Simplicissimus, Künstler-Kneipe. 46 S. 17,5 x 12,5 cm. Illustrierter OUmschlag (stärker ladiert). München, Selbstverlag, (1932). - 9. Dresdner Sezession 1932. 1. Ausstellung im sächsischen Kunstverein Dresden Brühlsche Terrase. Mit zahlreichen Abbildungen. 11 x 16 cm. OUmschlag (Vorderumschlag gelöst). Dresden 1932. - 10. Expressionism. Cincinnati modern art society. 8 Bl. 13 x 19 cm. Mit illustriertem OUmschlag (gestempelt und fleckig). 1941. - 11. Oskar Kokoschka. A retrospective Exhibition. 87 S. Mit zahlreichen beidseitig bedruckten Tafeln. 24,5 x 18 cm. Illustrierter OKarton (gering berieben). New York, Chanticleer Press, 1948. - 12. Gerhard Marcks. 8 Bl. Mit zahlreichen Abbildungen. 17 x 12 cm. Illustrierter OUmschlag. New York, Curt Valentin, 1951. - 13. Ernst Ludwig Kirchner. Ausstellung. 23 S. Mit einigen Abbildungen. 23 x 15,5 cm. Illustrierter OUmschlag. Bern, Klipstein, 1955. - 14. Ernst Ludwig Kirchner. Bildwerkerei und Graphik. 8 Bl. 14,5 x 10,5 cm. OUmschlag. Hannover, Kestner-Museum, 1955. - 15. Lyonel Feininger. Ships and Seas. First retrospective exhibition. 10 Bl. Mit zahlreichen Textabbildungen. 15 x 22,5 cm. Illustrierter OUmschlag. New York, Associated American Artists, 1964. - 16. Roland März. Heartfield. John Heartfield zum 85. Geburtstag. 8 Bl. Mit zahlreichen Textabbildungen. 21 x 15 cm. Illustrierter OUmschlag (gering berieben). Berlin, Staatliche Museen, 1976. - 17. Ausstellung Hamburgischer Künstler. 4. Mai bis Mitte Juni 1930. 16 S. 18,5 x 12,5 cm. OBroschur. Hamburg 1930. - 18. E. L. Kirchner. Bildwirkerei und Graphik. Ausstellung im Kestner-Museum Hannover Januar-Februar 1955. 14,5 x 10,5 cm. OBroschur. (Hannover 1950). - 19. P.H. Beyer & Sohn, Leipzig. Eine Sammlung neuerer Graphik und Handzeichnungen. Katalog 50. 48 S. Leipzig (nach 1925). - Ein weiterer Titel beigegeben. - Leicht gebräunt, teils mit Gebrauchsspuren.

Lichtenstein, Roy. Ausstellungsplakat. Roy Lichtenstein January 22-March 7, 1976. Modern Art Pavillion Seattle Art Museum. Farboffsetdruck. Ca. 74 x 60 cm. 1975.Rechts neben der Darstellung "The Red Horseman" von Roy Lichtenstein eigenhändig signiert. - Stellenweise etwas knitterfaltig und berieben. Nicht ausgerahmt, daher mit möglichen Randläsuren. Versand nur ohne Rahmen.

Goodwin, Philip L. Brazil Builds. Architecture new and old 1652-1942. 198 S. Mit zahlreichen, teils photograph. Abb. von E. Kidder Smith. 28 x 21 cm. OLeinen (etwas berieben). New York, The Museum od Modern Art, 1943.Erste Ausgabe dieses Überblicks über das brasilianische Bauschaffen. - Wohlerhalten.

Design des 20. Jahrhunderts. Konvolut von neun Werken. Mit zahlreichen Abb. Meist Gr.8vo. Originaleinbände. 1947-2012.Enthält: 1. Philip C. Johnson. Mies van der Rohe. Illustr. OKart. (berieben). New York, The Museum of Modern Art, 1947. - Erste Ausgabe. - 2. Ludwig Glaeser. Ludwig Mies van der Rohe. Furniture and Furniture Drawings from the Design Collection an the Mies van der Rohe Archive. OKart. Ebenda 41985. - 3. A. Drexler und G. Daniel. Introduction to Twentieth Century Design from the collection of The Museum of Modern Art New York. OKart. Ebenda 1959. - 4. Design for Music. An intimate journal for Art Directors and Production Managers. Spiralbindung. O. O. (um 1950). - 5. Herbert Read. The practice of Design. Spiralbindung. London, Lund Humphries, 1946. - 6. Bauhaus 1919-1969 (Ausstellungskatalog). Paris, Musée National d'Art Moderne, 1969. - 7. Gerhard Krohn. Lampen und Leuchten. Ein internationaler Formenquerschnitt. München, Callwey, 1962. - 8. Beate Manske. Zeitgemäß und zeitbeständig. Industrieformen von Wilhelm Wagenfeld. Bremen, W. Wagenfeld Stiftung, 2012. - 9. 1 Year Peter Struycken at the Stateuniversity of Utrecht. Utrecht 1971.

Revue Integration. Review for a new conception in culture and art. Editor: Herman de Vries. Nr. 1, 7/8, 9, 10, 13/14 in 5 Heften. Mit zahlreichen, teils originalgraphischen Arbeiten, Faltblättern etc. 29,5 x 21 cm. OBroschur (teils berieben) mit Klammerheftung. Arnhem 1965-1972.Mehrsprachiges Magazin (englisch, niederländisch). Enthält: No. 1. Katalog der Übersichtsausstellung Aktuell 65 der Galerie Aktuell, Bern. - No. 7/8. Mit Beiträgen von H. de Vries. Eines von 350 nummer. Ex. - No. 9. Ad Reinhardt. Mit Beiträgen von Ad Reinhardt, Matthais Goeritz und H. de Vries. Eines von 320 nummer. Ex. - No. 10. In memoriam Ad Reinhardt. Mit Beiträgen von Lehning, Seuphor, Sauerbier, Tinguely, Ulrichs, de Vreis u. a. - Eines von 320 nummer. Ex. - No. 13/14. Mit Beiträgen von Nake, Noll, Donnelly, Aubertin, Saunders, Petronio, Clavin, Nannucci, Roth u. a. - Eines von 300 nummer. Exemplaren. - Dabei: Revue Nul, No. 3. Werner Ruhnau, 2 Vorträge in Amsterdam. Mit 3 graph. Beiträgen von H. de Vries (darunter ein Prägedruck). - Revue Nul, No. 4. Hommage à O. Mit Beiträgen von Bischoffshausen, Calderara (Serigrafie), H. de Vries, H. Göpfert. - Information. Ed. by Kynaston L. McShine. The Museum of Modern Art. New York 1970.

Fluxus etc. Konvolut von ca. 30 Bänden, Kleinschriften, Künstlerbüchern, Ephemera zur Kunst der 1960er, 70er und 80er Jahre. Mit zahlreichen Abbildungen. Verschiedene Formate, Einbände und Verlage. 1955-1983.Enthält: Happenings (& Actions) U.S. Pop Art, Nouveau Realisme etc. Kalender 65. Düsseldorf 1965. - Eines von 300 Exemplaren. - Bindung defekt. - Electronic Art. Kalender 69. Düsseldorf 1969. - Eines von 500 Exemplaren. - Kalender-Rolle 1961. Mit zahlreichen Abb. 11,5 x 240 cm. Wuppertal 1961. - Mehrere Klebestellen, einige Abb. ausgeschnitten. - Al Hansen. A Primer of Happenings & Time/Space Art. New York, Something Else Press, 1965. - Daniel Spoerri. The Mythological Travels of a modern Sir John Mandeville. New York, Something Else Press, 1970. - Hans Arp. Unsern täglichen Traum ... Zürich 1955. - Der Löwe. Zwei Ausgaben. Nr. 7, April 1976 und Nr. 8, August 1976. - Rolf-Gunter Dienst. Pop Art. Wiesbaden 1965. - Joseph Beuys. Aus Berlin: Neues vom Kojoten. New York und Berlin, Ronald Feldman bzw. René Block, 1979. - Heinz Ohff. Pop und die Folgen. Visualisiert von Vostell. Düsseldorf 1968. - Dennis Oppenheim 1967-1971. Paris 1972. - Pierre Demarne. René Magritte. 1961 (Rhétorique No. 3). - Rhétorique No. 10. Oktober 1963. - La Monte Young und Marian Zazeela. Selected Writings. München 1969. - Claus Böhmler zeigt: Pinocchio. Ein lineares Programm. Köln, Gebr. König, 1969. - Claus Böhmler. Grant. Bildroman. 1969. - Joseph Kosuth. Function, Funzione, Funcion, Fonction, Fubnktion. Turin 1970. - Paolo Barrile. Il secondo libro di Messaggio Terra. Turin 1980. - An Anthology of Music etc. Köln 1959. - Lawrence Weiner. Innerhalb vorwärtsgerichteter Bewegung. Bremerhaven 1973. - Eines von 500 Exemplaren. - Nummer zwei (und:) drei. Köln (1971)-1972. - Hans Peter Riegel und Jörg Immendorff. FF bringts. München, Maximilian Verlag Sabine Knust, 1983. - Eduard Trier. Max Ernst. Recklinghausen 1959. - Andy Warhol. Katalog Ileana Sonnabend. Paris 1965. - Mit Einladungskarte. - Salvador Dalí. Le mythe tragique de l'Angélus de Millet. (Paris), J.-J. Pauvert, 1963. - Salvador Dalì. Ich und die Malerei. Zürich 1959. - Salvador Dalì. Da Da Dali mit Bildern von Werner Bokelberg. Bremen 1966. - Pascal Pia. Guillaume Apollinaire in Selbstzeugnissen und Bilddokumenten. Reinbek 1961. - Zwei T-Shirts, designed and tailored by Norbert Watts: eines simuliert einen nackten weiblichern Oberkörper, das andere einen Smoking mit schwarzer Schleife. - Alle Bände in gutem bis sehr gutem Zustand, meist mit Exlibris.

FOUR BOXES OF DECORATIVE CERAMICS ETC, to include a Sadler art deco motor car teapot, modern Sadler Bandstand teapot, Wade conservatory teapot, other novelty teapots in the form of a piano, toadstool, snow covered cottage and a mouse etc, limited edition Coalport Prince Charles & Diana wedding goblet, Heredities resin mouse, Carlton Ware Lily pad table wares, twelve Wedgwood 'Wind in the Willows' collectors plates, six wildlife of Britain plates designed by Susan Beresford, dogs of Fo, assorted ornaments etc (one of the boxes contains the boxes for the collectors plates)

° ° A large collection of modern and vintage Fine Art reference books and catalogues, 7 boxes, subjects include -Ancient art, British ceramics Benezit, Vienna Art, Treasures from Great Houses, Old Master Drawings, German art, Spanish art, etc. and some other reference books

A large collection of modern and vintage Fine Art reference books and catalogues, 7 boxes, subjects include -Renaissance art, French painters, Drawings, textiles, gardening, Islamic and Indian arts etc. other reference books

A large collection of modern and vintage reference books and catalogues on Chinese, Korean, Japanese and Buddhist art, 4 boxesSubjects include the Han civilisation of China, the art of the lotus sutra, antique Chinese rugs, the Tang potter, Chinese art by Soame Jenyns, in three volumes, Oriental Silver work Malay and Chinese by Ling Roth, Chinese Korean and Japanese sculpture from the Avery Brundage collection, Oriental blue and white by Sir Harry Garner, Chinese celadon wares by Gompertz, Chinese Connoisseurship Sir Percival David, Masterpieces of Chinese miniature crafts at the National Palace Museum etc.

After Alexander Calder (American 1898-1976) -  "Derriere le Miroir No. 156" - A 1960's surrealism lithograph print in colours depicting distorted figures / animals with splashes of red throughout. Unsigned. Painting measures approx; 370mm x 52cm. Frame measures approx; 50cm x 70cm.  This piece once belonging to Walter Strachan. Mr Strachan (1903-1994) was Head of Modern Languages at Bishop Stortford College for over 40 years, but also pursued a parallel career as a poet, French translator, art critic and connoisseur.

Bob Pennington (British 20th Century) - Southern Dinosaur Site - A 20th Century oil on board abstract modern art painting depicting abstract alactic shapes with blinding light bleeding through the centre. Measures approx; 620mm x 920mm.

Art and related. Modern miscellany. (21)

Applied Art. Hawley, Walter A. - Oriental Rugs: Antique and Modern. New York: Dodd, Mead & Co. 1925. Original cloth. (1)

A GROUP OF MODERN ART & MUSIC BOOKS Consisting of six titles including: Street Art - Johannes Stahl Guerilla Art - Sebastian Peiter Hi Fructose - Collected Edition Prince/Randee St. Nicholas - 21 Nights MTV Unplugged Book Largest book 35 high x 26 wide x 3cm deep Condition: Minor signs of wear commensurate with age and use

Modern Metal VW Wall Art 60cm DiaThe buyers premium for automobilia items, including registration numbers is 15% plus VAT (18% in total)

A pair of Victorian cranberry tinted glass vases, each having Mary Gregory type decoration depicting a boy and girl within woodland landscape, h.21cm; together with a Victorian cranberry glass basket; a modern cranberry art glass vase; and a small German glass jug (5)Condition report: Both Mary Gregory style vases are intact but with some surface scratches.

‘WARING & GILLOW’ AN ART DECO WALNUT MANTEL CLOCK (5)20cm wide; 15cm high, an early 20th century mahogany desk Calendar, a chrome desk clock and two modern silver plated trays the largest 42cm wideBoth clocks are in good overall condition, with the walnut clock having a split on both side, the desk clock has marks/scratches to the chrome and marks to the dial, both clocks are sold as seen with no guarantee to be in fully working condition. 

A large Swedish "Modern art and design" auction catalogue, including Victor Vasarely, a European Handmade silver catalogue, Collect 2007 exhibition catalogue, and other misc art catalogues etc.

Four volumes on cookery including The Cook's Guide and Housekeepers and Butlers Assistant by Charles Elme Francatelli 1874, Royal Cookery of the Compleat Court-Cook by Patrick Lamb 1726, Culina Famulatrix Medicinae or Reculipts in Modern Cookery by Ignotus, revised A Hunter 1806 (re-bound) and The Housekeepers Instructor and Complete Art of Carving by William Augustus Henderson c1800 (re-bound)

Ramsay (W.M.) A Study of Phrygian Art, Parts I & II, offprints from 'The Journal of Hellenic Studies', illustrations, 1888-89; Antiquities of Southern Phrygia and the Border Lands, offprint from 'American Journal of Archaeology' vol.III nos.3 & 4, folding table and 2 folding maps, Baltimore, 1888 bound with 8 other similar papers by Ramsay and others on Greece and Turkey, together 11 works in 1 vol., mostly offprints or extracts, modern half calf, spine gilt, some original wrappers bound in, 4to

Optics.- Rubens (Peter Paul).- Aguilon (François d') Opticorum libri sex Philosophis iuxta ac Mathematicis utiles, first edition, half-title, fine engraved title and 6 head-pieces by Theodor Galle after Peter Paul Rubens, numerous woodcut diagrams and illustrations in text, woodcut decorative initials and tail-pieces, final f. with large woodcut printer's device recto otherwise blank, occasional spotting or light staining, lightly browned throughout, new endpapers, contemporary calf, rebacked in a modern light brown morocco in compartments, gilt and with a black morocco label, corners repaired, covers rubbed and scuffed, [Norman 25; NLM/Krivatsy 92; Martin Kemp, The Science of Art, 1990, pp. 101-104], folio, Antwerp, widow and sons of J. Moretus in the house of Plantin, 1613.⁂ As well as providing a compendium of classical and modern works on optics, he describes his original theory of binocular vision (later disproved) and for the first time his invention of the horopter. This is one of only seven books known to have been illustrated by Rubens, a friend of the publisher Balthasar Moretus. D'Aguilon's colour theory and his prescriptions for the mixing of colours are known to have been used in Rubens's paintings.

X-Rays.- Roentgen (Conrad Wilhelm) Ueber eine neue Art von Strahlen, 3 parts in Annalen der Physik und Chemie, vol.64, no.1, pp.1-37, modern cloth with gilt-lettered morocco label to upper cover, Leipzig, 1898.⁂ The first collected edition of Roentgen's highly important 3 papers on the discovery of X-rays, for which he was awarded the Nobel Prize for Physics in 1901.

Etiquette & Manners.- Trusler (Rev. Dr. John) A System of Etiquette, second edition, 6pp. advertisements at end, a few small stains, contemporary signature of Sir Henry Oakes Bt. to head of title and with his engraved bookplate, contemporary tree sheep, rubbed, rebacked, Bath, M.Gye, [1805] § [Owen (John)] The Fashionable World Displayed, third edition, half-title, advertisement leaf at end, a few stains, short tear to fore-edge of title, old ink inscription to half-title,original boards, pink paper label to upper cover (chipped), 1805 § [Day (Charles William)], "Count Alfred D'Orsay". Etiquette; or, a Guide to the Usages of Society..., first American edition, spotting to title, light water-staining towards end, modern half calf, New York, 1843 § Etiquette for Gentlemen: with Hints on the Art of Conversation, sixth thousand, half-title, wood-engraved title-vignette, advertisement for Tilt's Classical Library tipped in at end, original embossed limp green cloth, gilt, g.e., a little faded, Charles Tilt, 1838 § Hand-Book of Etiquette (The), half-title, 24pp. catalogue at end, original embossed limp cloth, faded, recased, new endpapers, Cassell, Petter, and Galpin, 1860 § [Clowes (John)] The Golden Wedding Ring; or, Observations on the Institution of Marriage. By a Clergyman, engraved frontispiece and additional vignette title, a few spots, lacking front free endpaper, original pictorial limp red cloth, gilt, g.e., Halifax, Milner & Sowerby, 1851, all rubbed; and 17 others, similar, mostly nineteenth century, a few American, 8vo et infra (23)⁂ A good group of works on etiquette and manners, many scarce. Library Hub lists only 3 copies (BL, Cambridge, Oxford) of this edition of Trusler, and only one copy of the second item (BL).

Roger Jones (Modern) - Oil on canvas - Children on the beach,playing in rock pools, signed lower left, 40cm x 50cm framed, together with Alma Bass - Oil on board - Street scene, 34cm x 44.5cm, remnants of Southampton Fine Art Society label verso, framed, (2)

Jeanne Courtauld (British, 1910-2003), The Helford River, Cornwall oil on board, signed lower left, New English Art Club Label on reverse with title and name and address of artist, Exhibited at the St Helier Galleries, Jersey, No. 44 10 x 14in. (25.4 x 35.6cm.) * Surface dirty. Fracture in the board towards the right edge. Modern frame. Foxed canvas slip.

Chana Orloff, 1888 Starokonstantinov, Ukraine – 1968 Ramat Gan, IsraelMATERNITÉ COUCHEÉ (MUTTER MIT SÄUGLING), 1923 Höhe: 17,6 cm. Länge: 35 cm. Tiefe: 18,8 cm.Liegende Mutter mit Kind in der Armbeuge, das nach der Brust greift. Gefertigt in rotbraunem Ton, mit bräunlicher Patina. Nach Modell wurden die Figur noch zu Lebzeiten in Ton, Béton moulé und Bronze ausgeführt. Die dazu nötigen Ausformungen erfolgten durch Jean Paulhan, einem Freund der Künstlerin.Die Künstlerin zog mit ihrer Familie in der Folge von Pogromen, bei denen tausende Juden ermordet wurden, ins damals osmanische Palästina. Als Näherin, dann als Lehrerin arbeitend, stand sie im Freundeskreis von Samuel Agnon und dem Bildhauer Nahum Gutman. 22-jährig zog sie nach Paris und wandte sich der avantgardistischen Académie Russe zu, die schon 1909 von Marie Vassilieff am Montparnasse gegründet wurde. Dort befreundet mit Picasso, Foujita, Apollinaire, Cocteau, Zadkine und Modigliani, stellte sie alsbald im Salon d´Automne, im Salon des Tuileries und Salon des Indépendants aus. 1925 in Frankreich eingebürgert, geehrt mit dem Verdienstorden der Ehrenlegion, stellte sie alsbald europaweit sowie in New York aus. 1942 musste sie vor der Nazi-Besetzung erneut fliehen, zunächst nach Genf, dann nach New York, um schließlich 1948 von Frankreich nach Israel zu übersiedeln. Eines ihrer bekanntesten dort entstandenen Werke ist neben vielen anderen die überlebensgroße Figur „Maternité“, gewidmet einer im Palästinakrieg umgekommenen Frau. 80-jährig starb sie noch während der Vorbereitung einer Ausstellung im Kunstmuseum Tel Aviv. 120 Figuren wurden 1969 im Helena Rubinstein Pavilion des Museums als Retrospektive ausgestellt. Der Staat Israel brachte eine Briefmarke heraus. Paris benannte im 19. Arrondissement eine Straße nach der Künstlerin.  A. R.Literatur: Paula Birnbaum, Chana Orloff. A Modern Jewish Woman Sculpture of the school of Paris, in: Journal of Modern Jewish Studies, Vol. 15, 2016. Erna Stein, Orlowa, Chana, in: Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, Bd. 23, Leipzig 1932, S. 52-53. Orloff, Chana, in: Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und Völker (AKL), Bd. 93, Berlin 2017, S. 459. Orloff, Chana, in: Encyclopaedia Judaica, Bd.12, 1971, S. 1472. Maryann De Julio, Chana Orloff, in: Jewish Women‘s Archive (Hrsg.), Jewish Women. A Comprehensive Historical Encyclopedia. Alastair Duncan, Encyclopedia of Art Deco, Sydney 1988. (1301303) (11)Chana Orloff,1888 Starokonstantinov, Ukraine – 1968 Ramat Gan, Israel Maternité couchée (Mother and Baby), 1923Height: 17.6 cm. Length: 35 cm. Depth: 18.8 cm.Literature: Paula Birnbaum, Chana Orloff. A Modern Jewish Woman Sculpture of the school of Paris, in: Journal of Modern Jewish Studies, vol. 15, 2016.Erna Stein, Orlowa, Chana, in: Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, vol. 23, Leipzig 1932, p. 52-53.Orloff, Chana, in: Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und Völker (AKL), vol. 93, Berlin 2017, p. 459.Orloff, Chana, in: Encyclopaedia Judaica, vol. 12, 1971, p. 1472.Maryann De Julio, Chana Orloff, in: Jewish Women‘s Archive (ed.), Jewish Women. A Comprehensive Historical Encyclopedia. Alastair Duncan, Encyclopedia of Art Deco, Sydney 1988.

James Arthur O'Connor (1792-1841)Wooded Defile with Figures and Distant Cattle Oil on canvas, 63 x 75cm (24¾ x 29½'')Signed and dated 1827Provenance: Collection of Dr. R.R Woods, Merrion Square, DublinExhibited: Dublin, Municipal Gallery of Modern Art, O'Connor Centenary Exhibition, 1941, Catalogue No. 35When, in Pride and Prejudice [1813] Jane Austen has Elizabeth Bennett exclaim ‘What are men to rocks and mountains?’ Austen, though offering us a humorous view of Romanticism, is nonetheless highlighting the beauty and power of landscape and its effect on us. For T.E. Hulme, the root of all Romanticism is when the individual feels within ‘an infinite reservoir of possibility’ and especially when the open, untamed landscape, the great outdoors, works wonders on both mind and imagination.  James Arthur O’Connor belongs to the great Romantic movement, a movement that celebrates - in literature, music and especially in painting - creativity and a deep involvement with what Wordsworth calls ‘the goings on of earth and sky’. O’Connor was born, at 9 Exchequer St Dublin, in 1792. Shelley was born that same year. In 1792 Constable was sixteen, Turner was seventeen. Wordsworth and Beethoven were both twenty-two, and though not all of them knew each other, being contemporaries, their work reflected and expressed the spirit of the age in which they lived.O’Connor’s father, an engraver and printmaker, died when O’Connor was sixteen, his mother died before O’Connor’s twenty-first birthday. By 1809, O’Connor, then twenty-seven, began to exhibit with success at the Dublin Society. He most likely had been taught by his father but was also self-taught and his early work featured frequently commissioned landscapes of the west of Ireland including View of Lough Derg with Portumna Castle in the Background, The Grounds, Ballinrobe House, View of Westport with Croagh Patrick, Mangerton Killarney.In 1822, O’Connor, experiencing financial difficulties and hoping to improve his lot and help his orphaned sisters, moved to London with his wife Anastasia. He lived at Upper Marylebone Road, travelled widely in Britain and France, exhibited regularly at the Royal Academy, the British Institute and the Royal Society of British Artists. Exiled future French King Louis Philippe bought several of O’Connor’s work but O’Connor beset by conmen and dealers, who behaved dishonourably, deprived him of earnings that were rightly his.When he moved to Hampstead he lived close to where John Constable, an important influence, lived. In 1826 O’Connor spent a year in Brussels. In 1832 he lived in Paris for nine months and then spent six months in Southern Germany where the Saar and Moselle valleys inspired some of his best work. When O’Connor was forty-three, one of his Irish landscapes was acquired by the Musée des Beaux-Arts Thomas-Henry, Normandy, on its foundation in 1835, but during the 1830s O’Connor’s eyesight deteriorated and his career went into decline.    O’Connor died poor in London aged forty-nine and was buried at St Luke’s Church, Chelsea. Prince Albert and the RA initiated a subscription to assist his widow. His obituary in the Dublin Monthly Magazine spoke of O’Connor as ‘a spirit of exceeding mildness; manly, ardent, unobtrusive and sincere; generous in proclaiming contemporary merit, and unskilled and reluctant to put forth his own’.His skill, imagination and brilliant compositional talents are evident in this exceptional work painted when he was thirty-five years old, Wooded Defile, Figures and Distant Cattle [1827]. Defile, here, means ‘a steep-sided narrow gorge or passage (originally one requiring troops to march in single file)’ and the dramatic, steep, rocky cliff-like landscape to the left and the rising ground to the right create a pathway along which four figures are travelling. These four figures, three men and a woman, carry with them and contain their own stories. In the foreground the two figures, a man and a woman, lit from behind, are given prominence. The tall-hatted man in rust-coloured jacket with walking stick and a dog on a lead, seems to have paused to look back at his companion. The woman in red dress, blue-green shawl and carrying a receptacle - a small cage perhaps? - as if in response to the man before her, stands her ground. Farther along the path, the man with his back to us carrying a basket and stick walks on slowly; the blue cloth in his basket a little bright detail, the side of his face brightly lit. A fourth figure in dark clothes and white shirt walks towards us leading a young cow. Each one prompts in the viewer a narrative of our own making. In this painting from 1827 we are invited to ask, who are they? where are they going? what are they like? And against the distant trees the ‘distant cattle’ of the title – important enough to get a mention.There are beautiful details here: in O’Connor’s handling of trees, rocks, shrubs but the triumph is in his capturing the way light falls through the defile and that beautifully bright golden-blue sky. Light, shade, perspective  all make this a radiant and stunning work.Constable who died in 1837, just three years before O’Connor, said that ‘A gentleman’s park is my aversion. It is not beauty because it is not nature.’ Here, O’Connor celebrates the untamed, natural beautiful landscape, a landscape imbued with a Romantic sensibility where rocks and mountains dominate in every sense. Niall MacMonagle, February 2022

***PLEASE NOTE MEASUREMENT IN PRINTED CATALOGUE SHOULD READ 70 x 110cm***Patrick Swift (1927-1983)Monte GordoOil on canvas, 70 x 110cmExhibited: Dublin, Irish Museum of Modern Art, 1993, cat. no. 52.In 1962, following a visit to Portugal, Swift and his wife Oonagh decided to move to the Algarve, where, with Portuguese artist Lima de Freitas, they set up Porches Pottery, a workshop dedicated to the production of hand-painted clay pottery, and to the revival of a local craft tradition that was, by the 1960s, in decline. Swift rarely exhibited thereafter, but continued to practice as a painter, and Monte Gordo is a good demonstration of the increasing lightness and fluidity of his later work. There is a brightness and warmth to this large-scale Algarve landscape that is unlike anything in his earlier, far more constricted and muted approaches to the natural world. A profuse wooded area, seen from above, occupies the lower half of the canvas; this playful foreground of swirling globe-like forms gives way to a more manicured garden in the upper part of the composition, surrounding a low-lying villa on top of the hill. There is a rhythmic, intuitive, sensuous quality to the brushwork in Swift’s later work which might have something to do with his newly-acquired knowledge and skill in relation to hand-painted ceramics. At the same time, there is a simple monumentality to Monte Gordo that perhaps echoes Cézanne’s treatment of Mont Sainte-Victoire and the landscape of Aix-en-Provence; certainly Swift felt a similarly intense and resonant connection to the landscapes of the Algarve, a connection that invigorated and transformed his late work. Monte Gordo was included in the major retrospective of Swift’s work at the Irish Museum of Modern Art in 1993, ten years after his death, which prompted a revival of interest in Swift and a new assessment of his practice, and legacy, beyond the better-known early work of the 1950s.Nathan O’Donnell. February 2022

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

William H Bartlett (British, 1858-1932)Returning from the Fair, Co. Galway 'To the periodical Markets, held on the mainland, the inhabitants of the outlying islands are often obliged (owing to the smallness of the boats) to tow their cattle after them.'signed and dated 'WHBARTLETT 1888' (lower right)oil on canvas87.5 x 142cm (34 1/2 x 55 7/8in).Footnotes:ProvenancePrivate collection, South Africa.ExhibitedLondon, Grosvenor Gallery, 1888, no. 21.LiteratureHenry Blackburn, Grosvenor Notes, 1888, 1888, p. 10.The Daily Telegraph, 'The Grosvenor Gallery - Second and Concluding Notice', 2 May 1888, p. 5.Ida Hector, Cheltenham Examiner, 'The Grosvenor Gallery', 2 May 1888, p. 2.Truth, 'The Grosvenor Gallery', 3 May 1888, p. 18.The Graphic, 'The Grosvenor Gallery', 5 May 1888, p. 11.The Athenaeum, 'The Grosvenor Gallery – Second and Concluding Notice', 19 May 1888, p. 638.WH Bartlett, 'Coast Life in Connemara', The Art Journal, 1894, p. 248, illustrated.In the nineteenth century a drama was frequently enacted in the west of Ireland. Having acquired their livestock at local fairs, smallholders, who tenanted land measured in terms of 'a cow's grass', would ferry their cattle to offshore island pastures.1 This perilous task of transporting their purchases across deep treacherous sounds enabled their mainland soil to revive after a hard winter, and while one or two sheep or a young calf might be accommodated in a wooden curragh, or Galway hooker, neither was large enough to take several cattle. These animals had, effectively, to be towed to their new homes, their heads held firmly above the water level as in William Henry Bartlett's Returning from the Fair, Co. Galway. The authenticity of his painting is such that the heave of the long oars breaking the silver-grey waters can almost be felt. Bartlett's first encounter with the west of Ireland came when he accompanied the American painter, Howard Helmick, probably in the summer of 1878.2 So captivated was he, that after spending a winter in Munich, a further session at the atelier Julian, a season at Grez-sur-Loing, and visits to Venice and St Ives, Bartlett returned to Connemara around 1886 to paint The Last Brief Voyage (sold in these rooms, 10 July 2013, lot 115) for the Royal Academy of the following year. This sombre subject, based on an actual burial, sat within an almost lifelong commitment to the hard life endured by peasant farmers of the west. Attending the local fairs where sheep and cattle were exchanged, and witnessing vigils at wayside shrines, 'marked a mile-stone in my artistic life' he later wrote.3Arriving in Roundstone in county Galway, with its majestic backdrop of the Twelve Bens, he recalled that 'my first sight of the beaches nearby made an unforgettable impression'.4 He was instantly charmed by the 'luminous opalescent grey sky' and the 'sea of the tenderest translucent green' – all effects that are seen in the present work.5 Some critics who reviewed the painting when it appeared in the Grosvenor Gallery in 1888, thought this must have been a scene in Scotland, but the light of Connemara was unmistakable. It was left to The Graphic to point out that the occupants were Irish and that the picture was 'firmly painted and effective'. This was translated as 'dash and vigour' in The Daily Telegraph, while The Athenaeum found this 'a capital subject', the treatment of the sea being 'somewhat rough' and 'the designing of the figures...excellent'.The mistaken identity of people and place is, however, not insignificant. So pervasive was the imagery associated with the Irishman and his domain, that the rugged beauties of the Connemara went largely unrecognized. Faced in a prestigious exhibition, surrounded by cognoscenti and London's bourgeoisie, most Grosvenor Gallery visitors would only have the sketchiest idea of life in the estuary at Roundstone or on Galway's offshore islands. The heroism of Synge's Aran Islanders, Yeats's Man from Aranmore, 1905, and Orpen's Nude Pattern, The Holy Well, 1916 (both National Gallery of Ireland) was yet to come. Bartlett noted how superstition led to suspicion when he tried to find models or observe scenes like these. And were it not for the 'entrancing beauty' of the 'strands of pearly white sand' and 'exquisitely delicate green of the sea combined with the lovely blue of the Connemara mountains', he may have returned permanently to the crowded Venetian calli or the val-de-Seine and been less of a painter. Indeed, such was the significance of the present imagery that he looked for it elsewhere in works such as A Breezy Crossing, 1983 (Cartwright Hall, Bradford City Art Galleries and Museums). Crossing the Seine at Caudebec with your flock was however an adventure of different order and while similar scenes could be witnessed in Donegal when Bartlett went there in the early years of the new century, Returning from the Fair, Co Galway, was the classic canvas from which others derived. 1WH Bartlett, 'From and Island in the West', The Art Journal, 1908, p. 258.2The contrast between Helmick's more traditional Wilkie-esque depictions of Irish life and Bartlett's modern, heroic men and women of the west is noteworthy.3William Henry Bartlett, Impressions and Adventures of an Artist, n.d. [c.1920] (unpublished typescript, Private Collection), pp. 55-6.4Ibid.5 WH Bartlett, 'The West Coast of Ireland', in Charles Holme, ed., Sketching Grounds, 1909 (Studio Special Number), p. 120.We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Ramón Tusquets y Maignon (Spanish, 1838-1904)Le Opere, Campiña Romana signed, inscribed and dated 'R Tusquets/Roma 1871.' (lower right)oil on canvas129.5 x 259cm (51 x 102in).Footnotes:ProvenanceEduardo de Carandolet Donado y Castaños, Marqués de Portugalete and Duque de Bailén, Madrid, acquired at, or soon after, the Exposición Nacional de Bellas Artes, Madrid, 1871.Señor Don Gustavo Baüer, Madrid, by at least 1898.Domingos Demarchi, Rio de Janeiro, Brazil and thence by decent to his great grandchildren, the present owners.ExhibitedMadrid, Exposición Nacional de Bellas Artes, 1871, no. 543, where it was awarded a second-class medal.London, Guildhall, Corporation of London Art Gallery, Exhibition of the works by the Prominent painters of Spain, 1901, as The Roman Campagna (Peasants working in the Field), listed as property of Señor Don Gustavo Baüer (exhibition label attached to the reverse).LiteraturePeregrin García Cadena, La Ilustracion de Madrid, vol. 43, p. 292, showing a full-page illustration and p. 334: 'Mr. Tusquets is the one who has surprised this time an episode of that naturalness in the middle of a Roman countryside. Who has not admired that well-ordered composition, that movement so perfectly understood, that impeccable harmony of tone and light, that intelligence of perspective, that general character of truth and naturalness that the photograph of the painting seems to produce? The grouping of the figures, the grandiose effect of the dark light, the delicate accord of the tones and the colours, the refined touch; everything is beautiful in Mr. Tusquets' painting, everything is well expressed, well arranged and executed to perfection.'Manuel Cañete, La Ilustracion Española y Americana, 1871, vol. XXX, p. 524 showing a full-page illustration of the work and vol. XXXVI, p. 614: 'Don Ramon Tusquets, a native of Barcelona, is well placed in the pavilion of Catalan painters. A single painting by him has been shown at the exhibition, but it is worth many, Le Opere Campiña Romana (number 543) is, indeed, a piece of great merit, which none of the other exhibits exceed in quality. It is bewildering therefore the way of distributing the prizes has deprived Tusquets of a first-class medal. Nobody deserved it more, neither for the way of imagining his work, nor for the way of drawing and executing it. The painting of the Roman peasants tilling the land is a new confirmation of the theory so many times demonstrated in practise that the simple representation of nature is enough to produce a beautiful artistic creation, without the need to turn painting into an interpretation of philosophical concepts or abstractions of any genre. What simplicity, what truth, what light, what admirable local colour in the statuesque form of the figures and in the harsh aspect of the landscape! How well understood is the aerial perspective and the gradation of colours. How much harmony in the canvas of Tusquets! There, everything lives with the life of reality and with that of art.'Anon, Correspondencia de Bellas Artes – Raimundo Tusquets, Rome, 24 October 1874, in Revista Europea, no. 38, 1874, p. 93: 'At the Exhibition of 1871 we again saw the appearance of Tusquets' signature in the painting Los Campesinos Romanos. The artist has made a giant step. Nothing so beautiful, nothing so pleasing as that delicious painting, in which one does not know what to admire more - the naturalness and simplicity with which the subject matter was developed or the accuracy of the attitude and expression of the figures; or the correctness or the drawing; or the appropriateness and freshness of the colour; of the diaphanous light and soft atmosphere that bathes it; or the harmony of the whole. That painting was one of the best in that exhibition, and in front of it was constantly seen a group of admirers almost as numerous as the ones that were attracted by La Lucrecia, by Rosales; Santa Clara by Domingo; the Tres de Mayo by Palmaroli, or the Muerte de Seneca by Dominguez.The admirable instinct that leads our people to contemplate the works of art, stopping always in front of the best, without realizing the reason for this, meant that the Tusquets painting had admirers, not just among intelligent people who appreciate and rationalise in detail what the merits and the defects that a painting may have, but among the popular classes that are guided by instinct and appreciate the impression they receive. Nevertheless neither could appreciate that painting well enough because to appreciate it in all its truth, it was necessary to know the country where it was created; it was necessary to have seen these peasants of Roman agriculture engaged in their work; it was necessary to have contemplated these fields with their dark colour, these humid and unhealthy lands; it was necessary have seen this white, soft, pearly light of Roman dawns, a special light that is very different from ours. Everything was captured in that painting with an exactitude, breathtakingly and charmingly beautiful; this could not be gauged by someone in Spain who did not know this country in detail, and yet the picture was admired by all, and Tusquets got an enviable triumph that further strengthened his reputation as an artist. Not even the humorous critic who caused so much hurt to many of the works presented in that exhibition, not speaking of the good qualities of the pictures, but ruthlessly siting any defect, found nothing in the Tusquets that would fuel his scathing jokes. No, I spoke wrong; something occurred in a detail in the background, and precisely in a detail that gave extraordinary truth to the whole, and which the critic had missed seeing to know little of the customs of the Roman peasants.'Alfred George Temple, Modern Spanish Painting, being a review of some of the chief painters and paintings of the Spanish school since the time of Goya, 1898, pp. 48-9: '[Tusquets'] landscapes are very distinctive in character; one of his best examples, rich in colour and firm in delineation, being The Roman Campagna, a large work in the collection of Señor Bauer, in Madrid. Many medals and other distinctions have been awarded to him.'Cien años de pintura en España y Portugal (1830-1930), 1993, p. 72, noting that the work was 'awarded a second-class medal and was acquired by the Marqués de Portugalete.'Photographed by the French photographer Jean Laurent (1816-86), of which there is an example in the Biblioteca Nacional de España, Madrid.Ramón Tusquets' magnificent oil Le Opere, Campiña Romana was painted in Rome, about six years after he had left his Spanish homeland in circa 1865 to live and work in Italy. Keen to maintain his native connections, Tusquets often sent his work to the Spanish exhibitions, of which this was one. It was shown in 1871 at the Exposición Nacional de Bellas Artes, Madrid, where it was awarded a second-class medal. The critics and public alike were unanimous in praising this tour de force for its beauty, harmony, light, colour and naturalism. As some of the reviews noted, Tusquets' achievement drew both on his native artistic heritage and on his more recent understanding of Italian cultur... This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A SET OF FOUR ART DECO STYLE BRASS LACQUERED METAL AND PERSPEX MOUNTED CYLINDRICAL WALL LIGHTS (5)ModernIncluding on chrome-plated example, 40.5cm long overallCondition report: Please note the overall length or height is 40.5cm The backplate is 29cm high. Overall in good condition.  Each with two light fitments. Will require rewiring and PAT testing prior to use. The single chrome example with some tarnishing and pitting to the plated surfaces. There are no bulbs but please see extra image of the internal light socket. These lights are modern, of relatively recent manufacture in the last 10 or so years. 

Silvia Schuergers, "Mother", acrylic on canvas, 60 x 60cm, c. 2020. The portrait of my mother who was born in Odessa region, wearing a national blouse. UK shipping £50. I was inspired to become a painter at a very young age and through the years,I created a recognisable figurative style, with realistic, expressive and modern elements. My style was influenced by a thorough artistic researchand numerous art museums visits.The focus of my art are portraits and figurative work, painted in an original, unique, emotional and sensual manner.