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Ladies writing desk designed and made by Silverlining Cheshire. A modern interpretation of an Art Deco design, veneered in ebony, amboyna burr, with drawer linings in rippled sycamore, writing surface in coach-hide brown leather. Exhibition made c 2008.Width 124cm (49"), Height 92cm (36").Condition report: a small crack in the veneer on the right hand side due to movement in the substrate. very very minor scuffs in the lacquer. hallmarked button on the rear stamped 925 SLW - Silverlining workshop. A beautiful desk well presented.

§ Edward Le Bas RA (British 1904-1966) Seated Woman, previously identified as Nellie Edith Schwabeoil on canvas49 x 39cm Exhibited:London, The Royal Society of Portrait Artists, (details untraced)Footnote: Born in London to Anglo-French parents, Edward Le Bas received his early education at Harrow before reading Architecture at Cambridge and from 1924, studying under William Rothenstein at the Royal College of Art. Celebrated for his quiet yet eloquent works, Le Bas was also renowned for his extensive collection of twentieth-century French and English modern paintings. A significant exhibition of Le Bas’ collection, featuring works by Matisse, Sisley, Sickert and Yeats, was held in the Royal Academy of Arts in 1963. Both the present and following lot are believed to depict Nellie Edith Schwabe (1878-1968), cousin of the distinguished painter, etcher and draughtsman, Randolph Schwabe. Thought to have previously worked as housekeeper to Le Bas, possibly during the time that the paintings were executed, Schwabe was also known to have enjoyed a lifelong friendship with him. Indeed, family correspondence sent from Le Bas to Schwabe during his travels throughout Europe in the 1950s demonstrate the warmth of friendship and familiarity shared between the two.Condition report: Some light surface dirt and some negligible brown accretions behind the rear of the sitter's head, but overall clean. There are a handful of extremely fine surface cracks to the paint layer, mostly located to the pillow and the top left hand corner, though the paint layer appears stable and in good overall condition. The canvas is in plane and has good tension.

Frances Mary Hodgkins (New Zealand/British 1869-1947) The Mill Wheel signed 'Frances Hodgkins' (lower right) watercolour39 x 48cmProvenance: With Alex Reid & Lefevre Ltd., where acquired by the parents of the current owner The present lot is probably the picture which was exhibited in 1943 at the Lefevre Galleries, Gouaches by Frances Hodgkins - A New Series of Gouaches painted during 1942-3, March-April 1943, cat. no. 5. We are grateful to Mary Kisler for her assistance with cataloguing this lot.Footnote: Although she is today considered one of New Zealand’s most distinguished modern artists, it was during her time in Western Europe, particularly in Britain, that Frances Hodgkins developed her distinctive style and palette - deviating from the pervasive influence of Impressionism towards the Modernist style that she would ultimately be recognised for. Born in Dunedin, New Zealand, in 1869 to English emigre, William Mathew Hodgkins, a solicitor, barrister and part-time painter and his Australian wife, Rachel Owen, Hodgkins enjoyed a rich childhood, both materially and culturally. Encouraged by their father, a dedicated votary of watercolour painting and a founding member of the Otago Society of Artists and the Dunedin Public Art Gallery, Frances and her elder sister, Isabel, spent their formative years sketching and painting the New Zealand landscape. Although it is generally accepted that Isabel’s artistic talents, particularly in landscape painting, were more apparent in these early years, Frances’ career would ultimately outpace that of her sister’s. In 1893, following her inaugural exhibition three years prior, Hodgkins began studying under Italian artist, Girolamo Nerli. Whilst the early tutelage provided by her father equipped Hodgkins with her fundamental techniques, her relationship with Nerli undoubtedly changed the trajectory of her career. Under Nerli, Hodgkins’ style evolved, demonstrating a boldness of form and colour previously unseen in her work. In 1901, after studying, and briefly teaching, at the Dunedin School of Art, Hodgkins left New Zealand for Europe. Over the intervening 12 years, Hodgkins travelled extensively, oscillating between continents and imbibing inspiration from every place she visited - in her own words: “I wanted to see the masterpieces of all time; learn what was being done in my chosen medium and measure myself against the moderns”. Although this period in her career does not reflect the full maturation of her style, Hodgkins was nonetheless beginning to receive critical acclaim, winning numerous prizes and having her work exhibited by several eminent institutions, notably, in Paris, the Salon and the Société Internationale d'Aquarellistes. In 1908, Hodgkins settled in Paris, where she became the first woman to be appointed as instructor at the Académie Colarossi and established her own school for watercolour painting. Although this was a professionally fertile time for Hodgkins, the outbreak of the First World War forced her to flee Paris and settle in St Ives, Cornwall. Despite this being a period of great financial hardship for Hodgkins, it was also a time of immense creative freedom and experimentation. In St Ives, Hodgkins was quickly accepted into the artistic circle and soon found herself associated with artists including Henry Moore, Barbara Hepworth, Graham Sutherland and John and Myfanwy Piper. It was also around this time that Hodgkins, encouraged by her close friends, Cedric Morris and Arthur Lett-Haines, began experimenting in oils and developing her distinctive Modernist style. After living and working in Cornwall for eight years, Hodgkins spent several years living between Manchester, Paris and Cornwall, before moving to London in 1927 where she swiftly gained the admiration of influential London dealer, Arthur Howell of St George’s Gallery in Hanover Square. The partnership between Hodgkins and Howell precipitated a longstanding relationship with the Lefevre and Leicester Galleries, which would last until her death in 1947. Although Hodgkins was recognised as an exceptionally gifted artist during her lifetime, as a member of the avant-garde, she remained on the peripheries of the commercial art world and, resultingly, achieved very little financial success. Today, however, Hodgkins’ work is prized by collectors and institutions across the globe. Traversing between styles, hemispheres and disciplines, Hodgkins’ remarkable oeuvre is demonstrative of her fearless spirit and is characterised by her daring palette and bold, simplified forms.Condition report: Watercolour on paper stuck down to cardboard and surrounded by cardboard mount, circa 1943. Possibly some fading, though the palette is characteristic of Hodgkins' watercolours. There is some minor and scattered foxing, and the surface is a little discoloured due to ingrained surface dirt, there is also a small, brown, pinhead sized accretion to the centre of the image. Where there is no paint on the surface, the paper shows typical age toning. There is some typical acid burning beneath the mount and some faint scores across the surface, though these may be intrinsic to the piece.

§ Patrick Procktor RA (British 1936-2003) Mo - Ecce Homosigned 'Patrick Procktor' (lower right); titled and dated 78 to the reverseoil on canvas24.5 x 17cm Footnote: Executed in 1978, the present lot depicts Mo McDermott, a long-term friend, model, and assistant to David Hockney. In addition to his association with Hockney, McDermott is also credited with introducing Celia Birtwell to Ossie Clark. Together with Clark, Birtwell and Hockney, McDermott became the centre of what was described as the “Northern Invasion” of the Swinging London. The subtitle of Procktor’s painting, Ecce Homo, from the Latin ‘behold the man’, traditionally refers to images depicting the suffering of Christ and recalls the mocking words of Pontius Pilate before condemning Jesus to crucifixion. A popular theme in Baroque art, Procktor’s 1978 portrait offers a modern, secular rendering of the theme. Whilst McDermott is not conceived as a Christ-like figure, the human skull placed in the foreground functions as a memento mori to remind the viewer of man’s mortality.Condition report: The surface a little dirty and with some small brown accretions. The left hand edge of the canvas shows a small dent and resulting paint loss. There are some fine cracks to the paint layer located on the sitter's chin, shoulder and a longer crack (approx 6cm) on the sitter's left arm. Would benefit from a light clean, otherwise good.

Eduardo Paolozzi, "Moonstrips"Plexiglasbox mit 63 von 100 eingelegten Blättern mit Texten und Siebdrucken, rückseitig Stempel "ea No. 489", eines von 500 Exemplaren, erschienen 1967 bei Editions Alecto, London, Maße der Box ca. 40 x 28 x 5 cm. Künstlerinfo: eigentl. Eduardo Luigi Paolozzi, schottischer Graphiker und Bildhauer (1924 Leith bis 2005 London), Sohn italienischer Immigranten, 1945-47 Studium an der Slade School of Fine Art in London, ging 1947 für zwei Jahre nach Paris und hier kurzzeitiges Studium an der Ecole des Beaux-Art, ab 1949 Dozent an der Central School of Arts and Crafts und von 1955-1958 lehrte er Bildhauerei an der Martin´s School of Art, ab 1952 Mitglied der Independent Group, 1959, 1964, 1968 und 1977 Teilnahme an den documenten in Kassel, 1960 Teilnahme an der XXX. Biennale in Venedig, 1960-62 Gastprofessur an der Hamburger Hochschule für Bildende Künste, 1968 Einzelausstellung in der Kunsthalle Düsseldorf, ab 1979 Mitglied der Royal Academy of Arts, 1981 bis 1989 Professur an der Akademie der Bildenden Künste in München, 1989 von Königin Elisabeth II. zum Ritter geschlagen, 1994 Ausstellung im Yorckshire Sculpturen Park, 1994 Übernahme eines Großteils seines Werks durch die Scottish National Gallery of Modern Art, 2001 Hirnschlag und in dessen Folge auf den Rollstuhl angewiesen. Quelle: Bénécit, Saur, Wikipedia.

CHURCHMAN, part sets & odds, inc. Eastern Proverbs, I6talian Art, The Queen Mary, Italian Art, Railway Working, Story of London etc., duplication, in modern album, G to EX, 220*

A MODERN ART DECO STYLE WALL MIRROR 61 X 92 CM

A COLLECTION OF MODERN MIXED MEDIA ABSTRACT ART PICTURES BY BRENDA BERRY LARGEST OVERALL SIZE - 73CM X 60CM

A CONTINENTAL MARBLE GROUP OF ART DECO FIGURES, standing on a square black marble base. 35cm highCondition Report: - reconstituted stone- unsigned - more likely to be modern in the Art Deco style- very condition- small surface abrasions- see images

A Collection of four Art Deco painted plaster wall masks,each modelled as a ladies head, two wearing with scarfs, one holding a fan, largest 55cm high;together with a painted plaster figure of a lady, 46cm wide, a painted figure of a lady seated on a ball, 26cm high and a resin figure of a nude with a hound, 35cm high (7)Condition report: Masks with chips to the edges and some flaking to the extremities. The other two figures are worn and with later painting. The resin figure is modern.

20th-16th century BC. A terracotta plaque with moulded image of Humbaba (or Huwawa), the lion-faced demon, standing with his hands clasped to his midriff, legs splayed; held between membrane in a modern frame. See Aruz, J., Art of the First Cities. The Third Millennium B.C. from the Mediterranean to the Indus, New York, 2003, fig.112, p.482, for an image of the death of Huwawa. 71 grams, 10.2cm (425 grams total, 18.3 x 18cm including case) (4 (7 x 7)"). Family collection since the 1970s. Property of a London gentleman. Property of a UK collector. Humbaba is possibly a form of the Elamite god Humban. He appears in the Epic of Gilgamesh as a guardian of the cedar forests sacred to the god Enlil and is described as a giant protected by seven layers of terrifying radiance. He was eventually killed by Gilgamesh, and his companion Enkidu, by having his head cut off. In art, Humbaba is typically portrayed as a human-bodied figure with lion's claws for hands, a monstrous face, long hair and whiskers. Babylonian models of the face of Humbaba were connected with divination and some are inscribed with omens, but they have also been found placed high up on walls acting as magical charms; the face of Humbaba can be seen carved in stone and set into the wall to one side of the entrance of the temple at Tell al-Rimah, Iraq. [No Reserve] Fair condition.

20th-16th century BC. A D-section ceramic plaque with male deity's face, possibly Humbaba, modelled in the half-round, featuring a brow-band, lentoid eyes, snub nose, scaphoid mouth and short beard; held between membrane in a modern frame. Cf. Godard, F., The Art of Iran, London, 1965, pl.21. 111 grams, 85mm high (249 grams total, 13 x 13cm including case) (3 1/4" (5 x 5")). Mayfair gallery, 1980s. Property of Mr. A.K., acquired London, UK. With Artemission, London, UK, in 2018. Property of a UK collector. The head is likely to be Humbaba, who is possibly a form of the Elamite god Humban. He appears in the Epic of Gilgamesh as a guardian of the cedar forests sacred to the god Enlil and is described as a giant protected by seven layers of terrifying radiance. He was eventually killed by Gilgamesh, and his companion Enkidu, by having his head cut off. In art, Humbaba is typically portrayed as a human-bodied figure with lion's claws for hands, a monstrous face, long hair and whiskers. Babylonian models of the face of Humbaba were connected with divination and some are inscribed with omens, but they have also been found placed high up on walls acting as magical charms; the face of Humbaba can be seen carved in stone and set into the wall to one side of the entrance of the temple at Tell al-Rimah, Iraq. [No Reserve] Fair condition.

Early 5th century AD. A double-edged iron spatha of Illerup-Wyhl typology, blade with damask-pattern, narrow parallel cutting edges tapering towards the point, part of the tang preserved. See Bishop, M.C. & Coulston, J.C.N., Roman military equipment, from the Punic wars to the fall of Rome, London, 1993; Miks, C., Studien zur Romischen Schwertbewaffnung in der Kaiserzeit, I-II Banden, Rahden, 2007; D’Amato, R., Roman army Units in the Western Provinces, Oxford, 2019; for a very similar specimen see Miks, 2007, no.A536, 83 (Nydam"). 749 grams, 92cm long (36 1/4"). Acquired 1971-1972. Property of a London, UK, collector; from his father's collection. Accompanied by an expertise by military specialist Dr. Raffaele D’Amato. Accompanied by a positive metal test number HM1460 from an Oxford specialist. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11113-183793. Rosette damask technique B.H.I.2.1-2. The iconographic sources indicate that Roman swords underwent significant changes in the later 2nd and 3rd centuries AD. Longer swords, more popular within Germanic and Celtic cultures, although more useful for fighting on horseback, were soon widespread among the infantrymen and widely produced in the Roman workshops, from which they were brought home by many foreigners after mercenary or auxiliary service in Roman army. This, together with the possibility of war booty, explains why a great number of these swords have been found in the territories of the so-called Barbaricum like Nydam Mose and Illerup Adal, modern Denmark. Dr. Miks refers to the spathae of the 'lllerup-Wyhl' type I as a large group of blades which in terms of their proportions, dimensions and shape, are probably a mixture of blades of the more classical 'Straubing-Nydam' and 'Lauriacum-Hromowka' types of long Roman swords. [No Reserve] Fine condition.

Early 20th century AD. A large and elaborate silver-gilt pendant and chain comprising: a crown with stone-set cross, teardrop panel with filigree and inset facetted red and blue stones; hinged attachment to a silver-gilt cruciform plaque with filigree and granule trefoils set with stones above and below and sets of stones flanking; central enamelled crucifixion scene with stones to the border; small pendant plaque below with scrolled filigree and inset stone; silver-gilt chain with two clip attachments to the crown; supplied in a modern custom-made velvet-lined case. 207 grams, 78.5cm overall, chain: 122cm (48"). German art market before 2000. Old Munich collection. Property of a West Sussex collector. Fine condition.

1st-2nd century AD. The rim and handle from a silver patera, with notched flanges to the rim developing to a broad flat handle; inlaid gold lettering 'FPO'; modern suspension ring fixed to the underside. Cf. for the style similar silverware in the Metropolitan Museum of Art, New York under accession no.1994.431.2.; for a silver patera see MET accession no.47.100.29. 52.7 grams, 14.3cm (5 3/4"). From the late Alison Barker collection, a retired London barrister; from her collection formed early 1960s-1990s. This silver patera represents Roman metalwork of the highest quality. Vessels of this shape are among the most characteristic of the late Roman world. It may have been used for ceremonial purposes and collecting money from the faithful. The name inscribed on the handle may refer to the maker or commissioner of the piece. The 'FPO' legend probably represents the initials of the owner's tria nomina under Roman naming convention. Fine condition.

A modern Art Deco style wall mirror with bevelled panels, 118cms wide.

An interesting and colourful framed print of modern art depicting a bird and signed by the artist. Measuring approximately 54.5cm x 73cm - NO RESERVE

FOUR BOXES AND LOOSE CERAMICS, GLASSWARE, TABLE LAMPS AND HOME DECOR ITEMS, to include a twenty piece Royal Doulton Bruce Oldfield pale blue and white dinner service, an onyx table lamp height including fitting 40cm, four additional late twentieth century table lamps, an Arthur Wood jug with flower and spider web pattern, a boxed Swinnertons two tier cake stand, a thirty piece un-named part tea set, a black glass vase with gold foliate pattern, two Mayflower Glass cut glass egg shaped paperweights, an amber and copper art glass vase with a similar black and copper example, a quantity of cut glass and crystal wares with makers to include Stuart Crystal, modern cannisters and other home decor items, etc (sd) (4 BOXES + LOOSE)

SEVEN BOXES AND LOOSE TYPEWRITER, SEWING ITEMS, CHRISTMAS DECORATIONS, PICTURES AND SUNDRY ITEMS, to include an Olympia Splendid 33 typewriter with case and instructions, a Welfare Foods Service National Dried Milk tin, buttons, threads, needles, other sewing tools, a six foot Christmas tree with a box of modern decorations, picture frames, framed prints and original art, boxed toiletries, a juggling diablo (attached to packaging), two Crown Green bowls, soft toys, a bottle of 12 and Tsantali Ouzo, Irish Mist and Harvest Fruits Mulled Wine (FOR SALE TO OVER 18s ONLY), etc (sd) (7 BOXES + LOOSE)

TWO ART DECO TWO TONE WALL MIRRORS, largest mirror width 72cm x 90cm (condition:-later painted backboard) along with two folding brass top tables, another wall mirror, painted metal fire screen, and a modern framed picture (7)

Two gentleman's wristwatches, comprising an Art Deco 18ct gold cushion cased wristwatch, a/f damaged upper lug and part strap, the circular silvered dial with raised silvered Arabic numerals, minute track, subsidiary seconds dial at 6 o'clock, blued steel hands, unsigned movement, case back including 'crystal' approximately 7.8g, dial 22mm, case 29mm, on a part brown leather strap, and a Centaur Automatic gold plated gentleman's wristwatch, circa 1970, circular silvered dial with gold baton markers and Arabic numerals at 6, 9, and 12, gold pointed hands, centre seconds, date aperture at 3 o'clock, Automatic Incabloc movement, dial 27mm, case 34mm, on a modern black leather strap. (2)Notes: Centaur in good working condition, winds well and hands set well, runs across 1hr test, however Batemans cannot guarantee its continued operation, the Art Deco gold cased watch is not in working condition - suspect overwound.

Bruce Onobrakpeya,, geb. 1932, zeitgenössischer nigerianischer Künstler, europäisch-britisch geprägtes Studium am Nigerian College of Arts, zahlreiche internationale Sammlungsvertretungen u. Ausstellungen, u.a. Tate Modern (2001); Vertreter einer dekolonisierten u. unabhängigen afrikanischen Kunst, verhandelt in westlicher Prägung traditionell westafrikanische Themen, hier: 'Erhu Ivie', Darstellung verschiedener Yoruba-Könige und deren Herrscher-Insignien v.a. deren reicher Kopfschmuck, aus einer Phase der Verarbeitung v.a. historischer Persönlichkeiten, Metal FoilDeep Etching: durch den Künstler entwickeltes plastographisches Verfahren gravierter u. bronzierter Metallfolie, Ed. 11/30, betitelt, signiert u. datiert 1981, ca. 69x50 cm, aus Privatbesitz nach Ankauf vom KünstlerBruce Onobrakpeya, born 1932, contemporary Nigerian artist, studied at the Nigerian College of Arts with a European-British influence, numerous international collections and exhibitions, including Tate Modern (2001);Representative of a decolonized and independent African art, negotiates traditional West African themes in a western style, here: # 'Erhu Ivie #', representation of various Yoruba kings and their rulers' insignia, especially their rich headdresses, from a phase of processing especially historical personalities, Metal Foil Deep Etching: a plastographic process of engraved and bronzed metal foil developed by the artist, Ed. 11/30, titled, signed and dated 1981, approx. 69x50 cm, from private ownershipafter purchase from the artist

Bruce Onobrakpeya,, geb. 1932, zeitgenössischer nigerianischer Künstler, europäisch-britisch geprägtes Studium am Nigerian College of Arts; zahlreiche internationale Sammlungsvertretungen u. Ausstellungen, u.a. Tate Modern (2001); Vertreter einer dekolonisierten u. unabhängigen afrikanischen Kunst, verhandelt in westlicher Prägung traditionell westafrikanische Themen, hier: 'Oba Akai' Darstellung des Yoruba-Königs Aka, Metal Foil Deep Etching: durch den Künstler entwickeltes plastographisches Verfahren gravierter u. bronzierter Metallfolie, Ed. 9/30, betitelt, signiert u. datiert 1980, ca. 69x50 cm, aus Privatbesitz nach Ankauf vom KünstlerBruce Onobrakpeya, born 1932, contemporary Nigerian artist, studied at the Nigerian College of Arts with a European-British influence; numerous international collections and exhibitions, including Tate Modern (2001);Representative of a decolonized and independent African art, negotiates traditional West African themes in a western style, here: # 'Oba Akai #' Representation of the Yoruba king Aka, Metal Foil Deep Etching: the artist developed a plastographic process of engraved and bronzed metal foil, Ed . 9/30,titled, signed and dated 1980, approx. 69x50 cm, from private ownership after purchase fromthe artist

Sohn-Rethel, Carl Ernst (1882 - 1966, Genremaler),"Sienesische Ochsen", Mischtechnik auf Karton, verso altes Ausstellungsetikett der Scottish National Gallery of Modern Art (1964), auf diesem datiert 1944, 37 x 52 cm

Television Téléavia Panoramic III; Philippe Charbonneaux, 1957.Metal, polychrome wood and glass.Retains original structure (interior and exterior).Rust stains and marks on the metal.Needs restoration.Measurements: 136 x 58 x 62.Television designed by Philippe Charbonneux and launched by the Italian television brand Téléavia. The Panoramic III model was one of the most popular, defined as a television set designed to work with the French high definition system of the 819 line, with a 54 cm cathode tube and panoramic screen, the piece stands out for its industrial design that faithfully reflects the aesthetics of the 1960s. The television is supported on legs in the shape of a cross, which end in castors, to allow it to be moved around. The upper part of the legs is anchored to the television box, where the volume controls and a plaque with the name of the Televisores firm are located. Finally, the piece ends with the square screen.Philippe Charbonneaux (1917-1998) was a French industrial designer, known especially for designing automobiles. Although he also made other products such as televisions. In fact, one of his most famous designs is his creation of the Téléavia Panoramic III television. Many of his works are now exhibited in places such as the Centre Georges Pompidou in Paris and the Museum of Modern Art in New York.

"The Studio".- Modern Masters in Etching, a broken run from 1924-33, 15 vol., introductions by Malcolm C. Salaman, etched plates with captioned paper guards, bookplates to front pastedowns, library stamps, original boards with mounted printed label, some toning, spines with manuscript numbering, extremities rubbed, 1924-33; Decorative Art, 1928. "The Studio" Year-Book, black and white illustrations, library stamps to numerous pages, cloth, slightly sunned, [1928]; and another, v.s. (17) ⁂ Volumes Modern Masters of Etching present are: Frank Brangwyn (1); James McBey (2); Anders Zorn (3); J.L. Forain (4); Sir Frank Short (5); Frank W. Benson (6); Sir D.Y. Cameron (7); E.S. Lumsden (17); G.L. Brockhurst (19); L.C. Rosenberg (22); Arthur Briscoe (23); Levon West (24); William Russel Flint (27); Frank Brangwyn (30); Sir D.Y. Cameron (33)

NO RESERVE French Art.- Adriani (Gotz) Toulouse-Lautrec: The Complete Graphic Works. A Catalogue Raisonné, 1988 § Rosenberg (P.) & others. Chardin, 1999 § House (J.) Monet: Nature into Art, New Haven, 1986 § Groom (G.) Eduard Vuillard Painter-Decorator: Patrons and Projects, 1892-1912, New Haven & London, 1993 § Damase (J.) Sonia Delaunay: Fashion and Fabrics, 1991 § Néret (G.) F.Leger, 1990 § Rewald (John) Post-Impressionism from van Gogh to Gauguin, third edition, Boston, 1978, illustrations, some colour, all but the first original cloth or boards with dust-jackets; and c.80 others on French art, mostly modern, v.s. (c.85)

A large modern art print on canvas, depicting a floral bloom

A modern ring bound album containing a collection of sleeve mounted late Victorian and Edwardian clip art including animals, flowers, children, clowns and other examples

A modern ring bound album containing a collection of sleeve mounted late Victorian and Edwardian military subject clip art, including mounted and figure groups, etc., also sports examples

A Mixed Lot of Modern Collectibles, including Studio Art, Royal Copenhagen cabinet plates and dishes, Spode cabinet plate, Spode tea canister, etc.

A heavy Art Deco style silver plated two-handled ice bucket; the cover above two black plastic handles and conical shaped body with horizontal reading on circular foot (modern) (25.5cm high including black plastic finial)

A parcel lot of assorted gentleman's modern stainless steel and other wrist watches to include Genoa and other boxed and unboxed examples, with a boxed Art Deco boudoir clock. (19)

Beuys, Joseph: (1921 Kleve - Düsseldorf 1986). Sammlung von 56 Fotografien, Graphiken und Plakaten von Joseph Beuys aus den Jahren 1964-2002. - Nahezu sämtlich von Joseph Beuys signiert. Darunter: Fotografie: Joseph Beuys Porträt, eigh. signiert und numeriert 48/100 in Silberstift. 30 : 24 cm. - Joseph Beuys mit Stock hinter Arbeitstisch sitzend, verso Stempel "Rechte an der Installation Honigpumpe" VG Bildkunst Bonn 2002, Griffelkunst. 64 : 47,5 cm. - In Ilverich roch es damals noch nach Gras . Foto von Wolfgang Paul. Expl. 282/500. 42 : 59 cm. - Joseph Beuys Porträt nach einem Foto von Sven Simon, eigh. in Rotstift von Beuys signiert. 60 : 60 cm. - Graphiken: Gespräch über Bäume . Farboffset mit Stempel "Die reine Vernunft ist grün" und Signatur von Blume. Um 1982. 60 : 42 cm. 2 Exemplare vorhanden. - Bonifanten . "Wer nicht denken will fliegt raus". Postkartendruck. 1977. Offset. 33 : 23 cm. - Ein-Stein-Zeit. 1984. Offsetserigraphie. 30 : 42 cm. 2 Exemplare, rückseitig gestempelt 25/50 und 36/50. - Tramstop . 1977, Serigraphie, numeriert 71/150. 99 : 63 cm. - Aus dem Eurasienstab . Siebdruck 1973. Expl. 167/180. 90 : 63 cm. - Der Spiegel. Der Größte. Weltruhm für einen Scharlatan?, Titelblatt zu Jg. 33, Nr. 45, 5. Nov. 1979. 82 : 44 cm (unter Doppelglas gerahmt). - Plakate: Sammlung v. d. Grinten Kranenburg. Galerie im Taxis Palais Innsbruck 1970 und St. Stephan, Wien 1971. 80 : 62 cm. - Joseph Beuys, Art Intermedia Köln . 05.-30.10.1971. 57,5 : 84 cm. - The secret block for a secret person in Ireland . Modern Art Oxford 1974. 60 : 38 cm. - The secret block for a secret person in Ireland . Municipal Gallery of Modern Art, 25.9.-27.10.1974. 48 : 63 cm. - Art d'aujourd'hui. Musee d'Ixelles/Brüssel, 23.5.-13.7.1975. 44 : 55 cm. - Tramstop Galleria Terruccio in Bologna. 1977. 99 : 70 cm. - Rückenstütze. Multiples Sammlung Ulbricht. 9. Nov. bis 3. Dez. 1978. 60 : 42 cm. - Fiu Discussion . Pescara Italien. 12. Febr. 1978. 64 : 93 cm. - Bei dieser Wahl: die Grünen. 1979. 88 : 62 cm (nicht signiert). - Joseph Beuys, Multiplizierte Kunst . Ausstellung im Hause Püschel, Sennestadt. 27.04.-31.05.1979. 42 : 58 cm. - Joseph Beuys at Dino Tafuri . Galerie Delata, Salerno 28.06.1980. 70 : 47 cm. - Das Kapital . Halle für Internat. Neue Kunst Zürich, 15.2.-22.3.1981. 60 : 48 cm. - Joseph Beuys. Multiples. Galerie Ilverich. 1. Mai - 14. Juni 1981. 55 : 42 cm (unter Doppelglas gerahmt). - Joseph Beuys dessins 1941-1983 . Musée de Calais 24.03. - 04.06.1984. 55 : 38 cm. - Volksentscheid. Podiumsdiskussion 24.2.84. Handzettel. 30 : 21 cm. - Joseph Beuys in Ilverich . Galerie Ilverich. 1. Mai- 11. Juni 1984. 60 : 43 cm. - Joseph Beuys Grafik Objekte Plakate. Künstlerhaus Eisenturm, Mainz 27.10.-15.11.1984. 84 : 59 cm. - Aufbrüche. Manifeste Manifestationen . Kunsthalle Düsseldorf 13.10.-25.11.1984. 83 : 60 cm. - Tag X. Verhindert die Atommülltransporte ins Wendland . 1985. 59 : 42 cm. - Kommer : Joseph Beuys, Hovikodden Henie-Onsted Kunstsenter. 25.09.-31.10. 50 : 32 cm. - Zeitungsseite der Frankfurter Rundschau vom 23.12.1978 mit Beuys Artikel Aufruf zur Alternative , eigh. in grün von Beuys signiert. Rückseitig mit Stempel der Free international University Argental. - 23 weitere. - Nur mit sehr wenigen minim. Randeinrissen, wenige Bll. mit Montierunsspruen verso, vereinz. leicht Griffknicke, sonst in sehr guter Erhaltung. - PROVENIENZ: Aus der Sammlung Rolf Niederkrome. ╔Collection of 56 photographs, graphics and posters by Joseph Beuys╗ from 1964-2002. Almost all signed by Joseph Beuys. - Only with a very few minim. tears in the edge, few plates with traces of mounting verso, isolated slight handling creases, otherwise in very good condition. From the collection of Rolf Niederkrome.(R) R

JOAN ROIG SOLER (Barcelona, 1852-1909)."Sitges".Oil on canvas.Signed in the lower left corner.Measurements: 68 x 120 cm; 97 x 147 cm (frame).The church of San Bartolomé is outlined in the distance, under the wide horizon of cerulean colour and mottled with subtle mauves, in this painting by Roig Soler. The Sitges coastline, as it was at the end of the 19th century, with low, tile-roofed houses lining the beach, is portrayed with magnificent atmospheric capture and bold panoramic perspective. The whitewashed walls absorb the morning light, which reverberates on the golden sand. The fishermen's boats are waiting to set sail.Joan Roig Soler began his training with Modest Urgell and later completed his apprenticeship by travelling to the great art capitals of Paris and Rome. Closely linked to Sitges, in this town he initiated, together with Arcadi Mas i Fondevila, the informal Catalan Luminist School. Devoted to landscape, he cultivated the coastal environments of Blanes, Tossa, Cadaqués, Mallorca, etc., but also the urban landscape (Barcelona, etc.) and the Pyrenees. His work clearly shows his preoccupation with light and his desire to break with the pictorial lyricism of the time. He practised a style close to impressionism which preceded the modernism of Santiago Rusiñol and Ramón Casas, who came into contact with Sitges thanks to him. He exhibited in Barcelona, Madrid, Paris, etc. He was awarded the third medal at the National Fine Arts Exhibition of 1887, and won prizes at the Paris (1895), Barcelona (1896) and Saragossa Exhibitions. He is represented in the collections of the Museums of Modern Art in Barcelona and Madrid.

SEGUNDO MATILLA MARINA (Madrid, 1862 - Teià, Barcelona, 1937)."Marina".Oil on cardboard.Signed in the lower right corner.Size: 33 x 40 cm; 54 x 61 cm (frame).In this work Segundo Matilla offers us an evocative landscape, a sample of the poetry hidden in what is closest to us. He develops a composition of great simplicity, based on a promontory behind which the bright strip of sea and the dawn sky open up. A landscape worked with exquisite sensitivity based on very slight tonal variations and points of light.Although he was born in Madrid, Matilla trained and developed his career in Barcelona. He studied at the Barcelona School of Fine Arts under the direction of Antonio Caba. An outstanding representative of Spanish Impressionism, he took part in numerous exhibitions and official competitions held in Barcelona, such as the group exhibitions organised by the Círculo Artístico (1895), the International Exhibitions of 1891, 1894, 1896 and 1898 (honourable mention in 1891) and the Art Exhibitions of 1918 and 1919. In 1897 he received an honourable mention at the National Exhibition of Fine Arts in Madrid for his painting "Lavanderas de Galicia" ("Washerwomen of Galicia"). He also showed his work in Paris, taking part in exhibitions such as the Salon des Artistes Français in 1897. His solo exhibitions included those held at the Salón Vilches in Madrid and, in Barcelona, at the Sala Parés (from 1907) and the Pallarés Galleries (1942), the latter a posthumous tribute. Several of his works exhibited there were bought by the Museum of Modern Art in Madrid, and many others were exported to America. Particularly successful was his very large exhibition (150 works) held at the Sala Parés in 1914, which was unanimously praised by the critics of the time. The following year he was shown in Madrid at the Salón Vilches, where all the works exhibited were sold. His landscapes of the Empordà, Camprodón, Port de la Selva and Cadaqués were a great success with the public and critics. A painter endowed with astonishing skill, a marked personality full of sensitivity, a mastery of drawing and painting technique and an overflowing capacity for work, Segundo Matilla was an excellent painter who cultivated absolutely all genres, being a great landscape and marine painter, painting portraits of great quality, especially of people from the world of show business, and his vases and still lifes were also highly appreciated. His paintings of bullfighting themes, painted with great spontaneity and full of movement, demonstrate his great fondness for the art of Cúchares. Within the landscape genre, Matilla showed a predilection for the evening hours, in the manner of Eliseo Meifrèn. He always painted in a totally intelligible manner and without any kind of reflective complications, ignoring absolutely all the artistic trends of his time. Segundo Matilla was also the teacher of outstanding painters of the following generation, including his nephew, Joaquim Terruella, and Antoni Rosell Altamira. His work is currently exhibited in various museums, such as the aforementioned Museum of Contemporary Art in Madrid, the Prado Museum (works on deposit at the Economic Court of the Central Administration and the Municipal Museum of Malaga), the Pablo Gargallo Museum in Zaragoza and the National Art Museum of Catalonia, as well as in important international private collections.

VALENTÍN DE ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963)."Basque characters".Oil on canvas.Signed in the lower right corner.Size: 70 x 60 cm; 90 x 80 cm (frame).We see in this painting a magnificent double portrait that shows the mastery and modernity of its author, a Valentín de Zubiaurre who knew how to represent the people of his time, especially Basques and Castilians. Here he shows us a young couple, two villagers with smooth complexions and expectant eyes who watch in amazement at what is happening before them. The male figure, wearing a txapela, rests his hands on a stick while she offers him a bowl of pears and other fruit. This is a type of folkloristic representation in which Valentín de Zubiaurre was particularly outstanding, extolling popular types and Basque corners that were about to disappear. His art fits into the framework of the rise of regionalism in fin-de-siècle Spain and the beginning of the 21st century. Realistic and meticulous, Zubiaurre developed his own style within this trend, which can be seen in the attenuated palette, the pre-eminence of the line and the expressiveness of the physiognomic features.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and dumb, as was his younger brother Ramón, also a painter. Of Basque origin although he settled in Madrid with his family, the young painter began his training with the painter Daniel Perea, who was also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a disciple of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time completed his solid training by visiting the Prado Museum, where he made copies of the great masters. After their time in San Fernando, in 1898 the two Zubiaurre brothers set out on a study trip that took them to France, Italy and the Netherlands. On their return to Spain, they were awarded a grant by the Diputación de Vizcaya in 1902, which enabled them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not receptive to its influence, owing mainly to the weight of their academic training and their admiration both for the Flemish and Italian primitives and for contemporary Spanish painters such as Darío de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts and was awarded several prizes; in 1908 he won the second medal and in 1917 the first. He was also distinguished with prizes from foreign institutions, and won prizes in important international competitions held in the first decade of the 20th century, including those of Munich, Buenos Aires, Brussels, San Francisco, San Diego and the University of Panama. From the 1920s until the Civil War, the Zubiaurre brothers experienced their period of greatest success and recognition, both in Spain and internationally. By then, both were clearly differentiated stylistically: Ramón was more colourist and Valentín more classicist, although without falling into academic rigidities. After the war, the elder brother remained in Madrid, while Ramón moved to America, where he remained until 1951. Valentín resumed his career in Spain, and his recognition became official with his appointment as a full member of the San Fernando Royal Academy of Fine Arts in 1945, culminating in the medal of honour awarded to him at the 1957 National Exhibition of Fine Arts, six years before his death. Valentín de Zubiaurre cultivated genre painting, focusing mainly on Basque and Castilian themes, and also dealt with landscapes. His masterly, intellectual painting is dominated by a certain melancholy that distinguishes his language from that of his brother Ramón. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Centre, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.

DARÍO DE REGOYOS Y VALDÉS (Ribadesella, Asturias, 1857 - Barcelona, 1913)."Sant Genís dels Agudells".Oil on panel.Signed in the lower right corner.Size: 22 x 30 cm; 30 x 37 cm (frame).Darío de Regoyos is considered one of the great representatives of Spanish Impressionism. Within his themes, landscape painting was the most worked and explored field, feeling attracted by the luminous treatment inherited from the impressionists. This landscape, which depicts the parish church of Sant Genís dels Agudells in Barcelona, reveals a scene of great stillness enveloped in a warm, vitalistic aura.The son of a prominent architect then active in Asturias, Darío de Regoyos trained in Madrid at the San Fernando Academy (1878). Soon, induced by his teacher Carlos de Haes and his musician friends, Enrique F. Arbós and Isaac Albéniz, he settled in Brussels (1879), where he became a pupil of Josep Quinaux. In the Belgian capital he came into contact with E. Verhaeren, G. Rodenbach and M. Maeterlinck, a group of young creators who were forging the main Belgian cultural movement of the end of the century, a movement in which he himself would play an eminent role. He was a member of the groups L'Essor (1881-83) and Les XX (1883-93). However, he never settled anywhere; even during his Belgian period he frequently returned to Spain. During the 1980s he lived in the Basque Country, where he revitalised the already important local modern art school. In 1888 he accompanied the writer Verhaeren on a trip around Spain (he had already done so before with other Belgian companions), which was to be the seed of his famous "España negra" series, published in Barcelona in 1899. With this work, Regoyos was a pioneer in Spain of the so-called neoxylography or creative woodcut. While in the 1880s he only took part in exhibitions in Belgium and Holland, in the 1890s he also exhibited in Paris, taking part regularly in the Salon des Indépendants. From these years onwards he also exhibited his work in Madrid, Munich and Barcelona, the latter being the city where his painting was honoured in 1894 by the leading figures of Art Nouveau. However, his work, marked by an Impressionism of which he himself was one of the main proponents, was not well accepted in the more conventional circles. In Belgium, Regoyos was also linked to the society La Libre Esthétique from its beginnings (1894), an association that gathered in this country the heritage of artistic modernism. In 1897 he held his first solo exhibition at the prominent Durand-Ruel gallery in Paris. The second, the following year, was held at Els Quatre Gats in Barcelona, where he was artistic director of the magazine "Luz". From 1900 onwards the range of his exhibitions expanded, and his work was shown in Bilbao, Frankfurt, Berlin, The Hague, Venice, Bayonne, San Sebastián, London, Mexico City, Bordeaux and Buenos Aires, among other cities. At the beginning of the 20th century Regoyos intensified his travels, living between Granada and Bilbao. In 1911 he settled in Barcelona, where he died two years later. He is represented in the Museo del Prado, the Thyssen-Bornemisza, the Museo Nacional de Arte de Cataluña in Barcelona, the Museo de Bellas Artes in Bilbao and the Gerstenmaier Collection, among many other museums and institutions, as well as in leading private collections all over the world.

ANTONIO FILLOL GRANELL (Valencia, 1870 - Castellón, 1930)"Valencian Costumbrista Scene".Oil on panel.Signed in the lower left corner.It has a Barrachina & Ramoneda label on the back.Measurements: 19 x 32 cm, 34,5 x 47,5 cm (frame).Antonio Fillol trained as a disciple of Ignacio Pinazo Camarlench and at the San Carlos School of Fine Arts, where he was also a full professor and promoter of educational reforms. As president of the Círculo de Bellas Artes de Valencia he contributed to revitalising cultural life and improving the situation of Valencian artists. He was one of the most awarded artists of his time, winning first medals and numerous awards in the competitions and exhibitions he took part in, both in Spain and abroad, despite the controversy that arose with some of his works, which deprived him of greater official consideration. His awards include those obtained at the National Exhibition of Fine Arts (first medal in 1901, decorations in 1904, 1908 and 1912), a single medal at the Chicago Universal Exhibition of 1893, first medal at the Panama Exhibition of 1916 and a gold medal at the San Diego International Exhibition of 1916. He was also made a knight of the Royal Order of Isabella the Catholic and had exhibitions of his work in New York, Paris, Bordeaux and Berlin. Fillol is represented in the Museum of Modern Art in Madrid, the Fine Arts Museums of Valencia and Chicago, the Provincial Museum of Jaén and the Museum of the City of Valencia, among others.

JOAN ROIG SOLER (Barcelona, 1852-1909).Vista de pueblo" ("Village View").Oil on canvas.Signed in the lower right corner.Size: 70 x 50 cm; 95 x 75 cm (frame).Roig Soler displays his virtuoso technique in a work characterised by the absence of an excessively detailed drawing, an aspect accentuated by the presence of some human figures that shelter from the burning sun under the shade of the façades. The soft, balanced palette of the colours used, as well as the uncluttered, concise brushstrokes, make up a work full of beautiful nuances, faithful to the technique of the Barcelona artist.Joan Roig Soler began his training with Modest Urgell and later completed his apprenticeship by travelling to the great art capitals of Paris and Rome. Closely linked to Sitges, in this town he started, together with Arcadi Mas i Fondevila, the informal Catalan Luminist School. Devoted to landscape, he cultivated the coastal environments of Blanes, Tossa, Cadaqués, Mallorca, etc., but also the urban landscape (Barcelona, etc.) and the Pyrenees. His work clearly shows his preoccupation with light and his desire to break with the pictorial lyricism of the time. He practised a style close to impressionism which preceded the modernism of Santiago Rusiñol and Ramón Casas, who came into contact with Sitges thanks to him. He exhibited in Barcelona, Madrid, Paris, etc. He was awarded the third medal at the National Fine Arts Exhibition of 1887, and won prizes at the Paris (1895), Barcelona (1896) and Saragossa Exhibitions. He is represented in the collections of the Museums of Modern Art in Barcelona and Madrid.

ISMAEL DE LA SERNA GONZÁLEZ (Guadix, Granada, 1898 - Paris, 1968)."Saint George slaying the dragon". Oil on serge.It has holes in the canvas and restorations.Signed in the lower left corner.Measurements: 237 x 193 cm.This work reproduces the painting by Rubens "Fight between St. George and the dragon", painted between 1606-1608, which currently belongs to the collection of the Prado Museum. According to the specialist H. Vlieghe, Rubens' painting appears to be based on a work by Titian in the Graphische Sammlung in Munich. In the foreground we see the figure of Saint George on his horse, striking the dragon with his lance, while in the background on the left, the princess can be seen still holding the lamb that was to feed the beast.Ismael González de la Serna began his art studies in Granada and completed them in Madrid, at the San Fernando School of Fine Arts. In his early years he developed an eclectic pictorial style, drawing on impressionist, symbolist and modernist sources. One of the first examples of his youthful language can be found in the illustrations he made for his childhood friend Federico García Lorca, in what was to be his first book, "Impresiones y paisajes" (1918). That same year, Ismael de la Serna held his first exhibition in Granada, and shortly afterwards he presented his works at the Ateneo in Madrid. In 1921 he moved to Paris in order to broaden his artistic horizons, joining the circles of the School of Paris. Among his Parisian friends was Pablo Picasso, who influenced his work but was, above all, the Granada painter's protector. During this period De la Serna's style was permeable to the influences of the avant-garde, particularly Cubism and Expressionism, which he worked in a highly personal manner. Likewise, the initial influence of Impressionism was always evident in his work. The year 1927 marked the beginning of a period of strong influence on his work, which began with the painter's solo exhibition at the influential Paris gallery of Paul Guillaume. This exhibition was followed by many others, both in Paris and in Berlin, Brussels, Copenhagen, Granada and Mexico. In 1928 he was commissioned by the director of "Cahiers d'Art", Christian Zervos, to illustrate a special edition of twenty sonnets by Góngora. The key to his recognition lies in his sensual interpretation of the forms of Cubism, based on the relevance of a drawing with a sinuous and highly decorative line, combined with strong chromatic contrasts. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly depicted still lifes, in which he emphasised the sensory aspect of his painting with metaphorical sensory references such as music, fruit or open windows. He also worked on landscapes and portraits. After inaugurating the activities of the Asociación de Artistas Ibéricos in Madrid with a solo exhibition in 1932, the painter embarked on new avenues of artistic experimentation which, after the Second World War, led to a more schematic and simplified style of painting, close to contemporary abstract solutions. Ismael de la Serna is represented in the Patio Herreriano Museum in Valladolid, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Granada and Seville, the ARTIUM in Vitoria, the Popular Museum of Contemporary Art in Vilafamés and the Museum of Modern Art in Paris, among many others.

AN ASSORTMENT OF ITEMS TO INCLUDE A SEIKO 30 DAY CLOCK, MODERN WALL ART AND A BAROMETER ETC

A PAIR OF MODERN ART DECO STYLE EASY CHAIRS

FOUR MODERN WALL ART PICTURES

Stark (Freya). Letters From Syria, reprinted, London: John Murray, March 1943, black & white portrait frontispiece, sketch map & 24 monochrome plates to the rear, previous owner inscription to the front endpaper, some light toning & spotting, original cloth in dust jacket, covers rubbed with minor tears to head & foot, 8vo, The Valley of the Assassins, and Other Persian Travels, reprinted, London: John Murray, June 1934, 31 monochrome illustrations plus 5 maps, bookplate & previous owner inkstamp to the front endpaper, some liht spotting throughout, publishers original green cloth, boards slightly rubbed & faded, 8vo, together with; Coulson James (Edith E.). Bologna, it's history, antiquities and art, 1st edition, London: Henry Frowde, 1909, 79 monochrome illustrations plus 2 maps, some spotting & toning throughout, all edges gilt, publishers original gilt decorated blue cloth in book box, 8vo, plus Tuohy (Thomas), Herculean Ferrara, Ercole d'Este (1471-1505) and the invention of a ducal capital [Cambridge Studies in Italian History and Culture], 1st edition, Cambridge: University Press, 1996, black & white illustrations, original cloth in dust jacket, large 8vo, and Chambers (D.S.), Individuals and Institutions in Renaissance Italy [Variorum Collected Studies Series], 1st edition, Aldershot: Ashgate Publishing, 1998, publishers original blue cloth, 8vo, plus other early 20th-century & modern Italian & European travel reference & British topography interest, including Buildings of England series, by Nikolaus Pevsner, mostly original cloth, many in dust jackets, some paperbacks, G/VG, 8vo/4toQty: (5 shelves)

Alberti (Rafael). A Year of Picasso paintings: 1969, 1st English edition, New York: Harry N. Abrams, 1971, numerous colour and some monochrome plates and illustrations, original cloth gilt in dustwrapper, square 4to, together with Cleveland Museum of Art etc. Picasso & les choses, Les natures mortes, Paris: Editions de la Reunion des musées, nationaux, 1992, numerous colour and monochrome illusutraions, original black cloth gilt in dustwrapper, sqaure 4to, vg, plus Rose (Barbara). Frankenthaler, 1st edition, New York: Harry N. Abrams, 1970, numerous colour and monochrome illustrations, original pictorial cloth in clear glassine dustwrapper, square 4to, and others on modern art, including Ambroise Vollard Editeur, Les Beintres-Graveurs, 1895-1913, 1991, Samuel Beckett and others, Arikha, 1985, Michael R. Taylor, Arshile Gorky, A Retrospective, 2010, Barnes and De Mazia, The Art of Henri-Matisse, 1963, Sven Berlin, Alfred Wallis, Primitive, 1st edition, 1949, André Malraux, The Psychology of Art, 2 volumes (museum without walls - the creative act), translated by Stuart Gilbert, Bollingen Series, XXIV, 1949, etc., original cloth/printed wrappers, 4to/8voQty: (3 shelves)

Lewis (Wyndham). Wyndham Lewis the artist, from Blast to Burlington House, 1st edition, London: Laidlaw & Laidlaw, 1939, several colour plates, monochrome plates, a few minor spots, original green cloth gilt, lightly soiled (generally a good copy), 8vo, together with Men without Art, 1st edition, London: Cassell & Co., 1934, original gilt green cloth, a little rubbed and spine faded, 8vo, plus Bouvet (Francis). Bonnard, the complete graphic work, 1st English edition, London: Thames & Hudson, 1981, numerous colour and monochrome illustrations, original green cloth gilt in dustwrapper, 4to, vg, and Read (Herbert). Ben Nicholson, paintings, reliefs and drawings, with an introduction by Herbert Read, 1st edition, London: Lund Humphries, 1948, colour and monochrome plates, original cloth, a little marked, 4to, plus other modern art interest, including Roger Bouillot, Cassigneul Peintures 1950-1990, Editions Michele Trinckvel, 1991, Hans Hess, George Grosz, Studio vista, 1974, The new coterie, numbers 2, 3, 4 & 5, Spring 1926-Spring 1927 (cover design to each by William Roberts), and others, including exhibition catalogues, original cloth/printed wrappers, mainly 4to/8voQty: (6 shelves)

Art nouveau design stain and leaded glass panel in modern frame. 77 x 52cm approx.(B.P. 21% + VAT)

JULIAN OPIE (London, 1958)."Modern towers, 2018.Set of five screen-printed sculptures on cardboard.Very limited edition sculptures, created expressly for the artist's exhibition at the National Gallery of Victoria, Melbourne Australia.Sizes: 146 x 27 x 27 cm; 139 x 30 x 23 cm; 124 x 26 x 26 cm; 121 x 33 x 25 cm; 111 x 33 x 26 x 26 cm.Installation consisting of five screen-printed sculptures in the shape of five skyscrapers. The pieces made of cardboard present an aesthetic of simple lines, based to a certain extent on graphic design. These pieces, which appear to be serial, although they are not the same, go beyond simple sculpture, as they allow the spectator to enter a new space created by the artist. It is possible to inhabit the group of sculptures that manage to delimit an artistic space, offering an aesthetic and experiential experience.Opie began his artistic training at Goldsmiths, University of London, where he graduated in 1982. It is one of the most important art centres, the birthplace of the Ybas, where Opie trained under the teachings of the renowned painter and conceptual artist Craig-Martin. Opie has exhibited nationally and internationally in important institutions and galleries. Highlights include solo shows at the National Gallery of Victoria (2018/19), Sakshi Gallery in Mumbai (2012), Lisson Gallery in Milan (2011); Institut Valencià d 'Art Modern in Valencia (2010), Museum of Applied Arts, Vienna (2008), City Hall Park (Public Art Fund), New York (2004) and Städtische Galerie im Lenbachhaus, Munich (1999).His themes have been described as "engagement with art history, use of new technologies, obsession with the human body" and "working with one idea in different media". The artist has reflected on his views on his work "I often feel that trying to make something realistic is the only criterion I can be quite sure of. Another criterion I sometimes use is, would I like to have it in my room? And occasionally I use the idea, if God allowed you to show him a portrait to judge you, would this really be it?" Today his work is in important collections both privately and publicly. His work can be found in the Portrait Gallery in London, the Tate, the Museum of Modern Art in New York (MoMA), the Victoria and Albert Museum, the Arts Council, the British Council in London; ICA Boston, the Essl Collection in Vienna, the IVAM in Spain; the Israel Museum in Jerusalem and the Takamatsu City Art Museum in Japan.

JOSEP GUINOVART BERTRAN (Barcelona, 1927 - 2007)."Cairo", desert series, 1984.Oil on canvas.Signed, dated and titled on the back.Size: 61,5 x 50 cm; 75 x 57 cm (frame).Josep Guinovart's work has always shown a strong link with the earth and with the harmony and relationship between the human being and his environment. In this piece the artist proposes an aesthetic that starts from the aridity of the desert, rescuing through brown and orange tones the atmosphere of the desert understood from an aesthetic lyricism.Josep Guinovart trained at the Escuela de Maestros Pintores, at the Escuela de Artes y Oficios and in the classes of the FAD. He had his first solo exhibition at the Syra galleries in Barcelona in 1948. He soon acquired solid prestige, collaborated with Dau al Set and took part in the October, Jazz and Eleven Salons. In the 1950s, thanks to a grant, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, were to be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Around 1957 he began an informalist and abstract tendency, with a strong material presence both through the incorporation of various elements and objects (burnt wood, boxes, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s onwards he moved away from the poetics of Informalism and began to produce works full of signs and gestures, which contain a strong expressive charge in the lines and colours. During the 1970s he systematically used materials such as sand, earth, mud, straw and fibre cement, and in the following decade he focused on experimenting with the three-dimensional projection of his works, which took the form of the creation of environments or spatial settings such as the one entitled Contorn-extorn (1978). He took part in the Biennials of Sao Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his prizes include the City of Barcelona, the National Plastic Arts Prize and the Generalitat's Plastic Arts Prize. In 1994, the Espai Guinovart, a private foundation with a permanent exhibition of the artist's work, was opened in Agramunt, Lérida. Interaction with the natural environment, incorporation of organic matter, abstraction and informalism... all this makes up one of the most original artistic personalities on the Spanish avant-garde scene. Although Guinovart was initially inclined towards a social type of figuration, his time in Paris led him to change direction, leading him to embark on a frenetic activity which he would continue after his return to Spain. In the late 1950s he was a member of Informalism and always eager to surprise, experimenting with textures, objects and colours to give realistic impressions to essentially abstract compositions. His work is forceful, even aggressive in terms of colour, light and density of matter. He is represented in the Museums of Modern Art in Barcelona, Madrid and Mexico City, the Museum of Open Air Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.

MATTEO BASILÉ (Rome, 1974)."Trans- Avanguardía Series", 2004-2005.Mixed media print on aluminium.Work referenced on the artist's website.Signed on the back.Sizes: 150 x 100 cm; 154,5 x 104,5 cm (frame).Matteo Basilé began his career in the early 1990s, establishing himself as one of the first artists in Europe to fuse art and technology. Reconciling opposing ideas such as beauty and the grotesque, the real and the surreal, natural and artificial. Exploring the nature of humanity, the artist developed his own narrative, which crystallised in artistic serias such as transavanguarde (2006), los santos vienen (2007), este orientado (2009), thishumanity (2010), aterrizaje (2012), invisible (2014), pietra santa (2016), viaje al centro de la tierra (2017), stardust (2018), memento (2019), and mnemosyne (2021). Basilé's research can be seen as an interface between East and West (in fact, he lived and worked for almost 8 years in Southeast Asia), a dialectic that works in collision between tradition and modernity, between the professional and sacrifice. Only based on multicultural and timeless (timeless and multicultural) signs or values, because it instead includes visually a more global language where the connubial between dream, fantasy and real, is no longer the predominant real character. His anti-eroes stand out as meticulous, realistic portraits, recalling classical history yet always incorporating the spirit of the present time. Basilé's poetics is an iconographic universe, the result of a combination of technological mannerism and surrealism.Matteo Basilé's (Rome 1974) solo exhibitions include: Matteo Basilé-Utopia, Vittoria Colonna Museum of Modern Art, Pescara, 2006; No Man's Land, Guidi & Schoen, Genoa, 2006; Alchemical Primordiality, Galleria Pack, Milan, 2005; Lord of the Flies, Galerie Beukers, Rotterdam, 2004. He has also participated in numerous group exhibitions, including On the edge of vision - New idioms in contemporary Indian and Italian art, Victoria Memorial Hall, Kolkata / National Gallery of Modern Art, New Delhi / National Gallery of Modern Art, Mumbai; Arterritory. Art, Territory, Memory, Centrale Montemartini, Rome, 2006; Nature and Metamorphosis, Urban Planning Exhibition Centre, Shanghai / Creative Art Centre, Beijing, 2006; Sound & Vision, City Museum / Palazzo della Penna, Perugia; Evil. Exercises in Cruel Painting, Palazzina di Caccia di Stupinigi, Turin, 2005; Italian Six, Barbara Davis Gallery, Houston, 2003. Basilé was the winner of the New York Price, Columbia University, 2002/2003.

JOSEP GUINOVART BERTRAN (Barcelona, 1927 - 2007)."Un cap", 1990.Oil and material on canvas.Signed and dated in the lower right corner and on the frame.Size; 100 x 81 cm; 104 x 85 cm (frame).Josep Guinovart trained at the School of Master Painters, at the School of Arts and Crafts and in the classes of the FAD. He had his first solo exhibition at the Syra galleries in Barcelona in 1948. He soon acquired solid prestige, collaborated with Dau al Set and took part in the October, Jazz and Eleven Salons. In the 1950s, thanks to a grant, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, were to be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Around 1957 he began an informalist and abstract tendency, with a strong material presence both through the incorporation of various elements and objects (burnt wood, boxes, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s onwards he moved away from the poetics of Informalism and began to produce works full of signs and gestures, which contain a strong expressive charge in the lines and colours. During the 1970s he systematically used materials such as sand, earth, mud, straw and fibre cement, and in the following decade he focused on experimenting with the three-dimensional projection of his works, which took the form of the creation of environments or spatial settings such as the one entitled Contorn-extorn (1978). He took part in the Biennials of Sao Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his prizes include the City of Barcelona, the National Plastic Arts Prize and the Generalitat's Plastic Arts Prize. In 1994, the Espai Guinovart, a private foundation with a permanent exhibition of the artist's work, was opened in Agramunt, Lérida. Interaction with the natural environment, incorporation of organic matter, abstraction and informalism... all this makes up one of the most original artistic personalities on the Spanish avant-garde scene. Although Guinovart was initially inclined towards a social type of figuration, his time in Paris led him to change direction, leading him to initiate a frenetic activity which he would continue after his return to Spain. In the late 1950s he became part of Informalism and was always eager to surprise, experimenting with textures, objects and colours to give realistic impressions to essentially abstract compositions. His work is forceful, even aggressive in terms of colour, light and density of matter. He is represented in the Museums of Modern Art in Barcelona, Madrid and Mexico City, the Museum of Open Air Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.

TONY CRAGG (Liverpool, UK, 1949).Hand-signed invitation card from the Residens Academy Gallery in Salzburg, Austria.Hand signed.Size: 21,5 x 14,5 cm, 25 x 19 cm. (frame)Tony Craggse trained at Gloucestershire College of Art and Design, and then furthered his studies at Wimbledon School of Art (1969-73). He finally completed his training at the Royal College of Art (1973-77). In 1977 he left his native country and settled in Wuppertal, Germany, where he has lived and worked ever since. In 1988 he won the Turner Prize, in 2001 the CBE, in 2002 the Piepenbrock Prize for sculpture and in 2007 the Praemium Imperiale. In 2008 he opened a sculpture park in Wuppertal. He has exhibited in galleries and museums all over the world, and is represented at the Tate Gallery and the Royal Academy in London, the Hirshhorn Museum and Sculpture Garden in Washington D.C., the MoMA in New York, the Museum of Fine Arts in Houston, the National Galleries of Scotland in Edinburgh, the Cass Sculpture Foundation in Goodwood (UK), the Castello di Rivoli Museum of Contemporary Art in Turin, the Courtauld Institute of Art in London, the Harvard University Museum, the Kunstmuseum Wolfsburg in Germany, the Los Angeles County Museum of Art, the Fort Worth Museum of Art in Texas, the Ludwig Museum in Budapest, the Museum of Contemporary Art in Chicago, the Museum of Modern and Contemporary Art in Trento, the Palazzo del Stelline in Milan and the National Museum of Art, Architecture and Design in Oslo, among others.

RENÉ PORTOCARRERO (El Cerro, Cuba, 1912 - Havana, Cuba, 1985)."Portrait of a woman", 1963.Ink on Arches paper.Signed and dated in the lower left corner.Size: 50 x 33 cm; 60 x 43 cm (frame).Ink on paper, in which the artist represents one of his famous female silhouettes. The woman is dressed with large floral headdresses, which gives rise to the interpretation of the same as representations of Flora, a theme that was recurrent in the life and work of the author.René Portocarrero is best known for his colourful abstract paintings, although he was also a sculptor, ceramist, scenic designer, muralist and book illustrator. He began painting at a very young age, and at the age of fourteen he entered the San Alejandro Academy of Fine Arts. However, he soon dropped out of his studies, as his strong temperament did not fit in with the rules of the institution. His training thereafter was self-taught. He exhibited his work for the first time at the Salón de Bellas Artes in Havana, and in 1934 he held his first personal exhibition at the Lyceum in the same city. The success of this exhibition was a great boost to his career, which enabled him to work at the Estudio Libre para Pintores y Escultores de La Habana (Free Studio for Painters and Sculptors of Havana), together with Mariano Rodríguez. Linked to the generation of poets of the so-called "Grupo de Orígenes", he published drawings in several literary magazines of the time, as well as two books. In 1943 he became a teacher of free drawing at the Havana Prison, and during these years he began several cycles of paintings. The following year he exhibited his work in New York at the Julian Levy Gallery and the Museum of Modern Art. He also began several trips that took him to paint in Haiti, Europe and the United States. Around 1950 he began to work on the decoration of ceramic pieces at the Taller Experimental de Santiago de Las Vegas, alongside other artists such as Wifredo Lam, Amelia Peláez and Mariano Martínez. In 1951 he received the National Painting Prize for the first of his so-called "Havana Landscapes". He participated in the São Paulo Biennial in 1957 and 1963, and in the Venice Biennial in 1952 and 1966. Throughout his career, Portocarrero received numerous prizes and distinctions, including the International Sambra Prize (São Paulo Biennial, 1963), etc. In 1985, the year of his death, he held a travelling exhibition with a large part of his work, which toured several European countries and definitively consolidated his already internationally recognised artistic legacy. René Portocarrero is currently represented in major centres of artistic relevance, including the MoMA in New York, the National Museums of Fine Arts in Havana, Santiago de Chile and Argentina, the Spanish Museum of Contemporary Art, the Museum of Modern Art in São Paulo, the Museum of Contemporary Art in Santiago de Chile and many others, as well as in important private collections.

RENÉ PORTOCARRERO (El Cerro, Cuba, 1912 - Havana, Cuba, 1985)."Portrait of a woman", 1963.Ink on Arches paper.Signed and dated in the lower left corner.Size: 50 x 33 cm; 60 x 43 cm (frame).René Portocarrero is known for his colourful abstract paintings, although he was also a sculptor, ceramist, scenic designer, muralist and book illustrator. He began painting at a very young age, and at the age of fourteen he entered the San Alejandro Academy of Fine Arts. However, he soon dropped out of his studies, as his strong temperament did not fit in with the rules of the institution. His training thereafter was self-taught. He exhibited his work for the first time at the Salón de Bellas Artes in Havana, and in 1934 he held his first personal exhibition at the Lyceum in the same city. The success of this exhibition was a great boost to his career, which enabled him to work at the Estudio Libre para Pintores y Escultores de La Habana (Free Studio for Painters and Sculptors of Havana), together with Mariano Rodríguez. Linked to the generation of poets of the so-called "Grupo de Orígenes", he published drawings in several literary magazines of the time, as well as two books. In 1943 he became a teacher of free drawing at the Havana Prison, and during these years he began several cycles of paintings. The following year he exhibited his work in New York at the Julian Levy Gallery and the Museum of Modern Art. He also began several trips that took him to paint in Haiti, Europe and the United States. Around 1950 he began to work on the decoration of ceramic pieces at the Taller Experimental de Santiago de Las Vegas, alongside other artists such as Wifredo Lam, Amelia Peláez and Mariano Martínez. In 1951 he received the National Painting Prize for the first of his so-called "Havana Landscapes". He participated in the São Paulo Biennial in 1957 and 1963, and in the Venice Biennial in 1952 and 1966. Throughout his career, Portocarrero received numerous prizes and distinctions, including the Sambra International Prize (São Paulo Biennial, 1963), etc. In 1985, the year of his death, he held a travelling exhibition with a large part of his work, which toured several European countries and definitively consolidated his already internationally recognised artistic legacy. René Portocarrero is currently represented in major centres of artistic relevance, including the MoMA in New York, the National Museums of Fine Arts in Havana, Santiago de Chile and Argentina, the Spanish Museum of Contemporary Art, the Museum of Modern Art in São Paulo, the Museum of Contemporary Art in Santiago de Chile and many others, as well as in important private collections.

ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005)."Tête au Fond Blanc", 1972.Mixed media on marbled paper on canvas.Signed in the lower right corner.Enclosed certificates of authenticity issued by the artist and by Nathalie Clavé.Measurements: 54 x 76 cm; 80,5 x 103,5 cm (frame).Work catalogued in the Antoni Clavé Archives with the number 72 TMCMT 7.In this work Antoni Clavé proposes an autonomous scenography in itself, which transcends painting, confusing the eye, to construct a dialogue between reality and what is painted by means of the union of colour, stain and stroke with a real object, clearly recognisable as such, which, however, is only present in the form of a trace: a crochet handkerchief. The play of illusions is reinforced by the treatment of this handkerchief print; Clavé respects its outlines, the smallest detail of its design, works it in white and highlights it over black stains that emphasise its three-dimensionality much more effectively than if it had been painted directly on the neutral tone, of a disturbing flesh colour, which occupies the background of the work.Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop a work marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He was already enjoying great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In 1952 he made the sets for the film "Hans Christian Andersen", by Charles Vidor, and was nominated for an Oscar. In 1954 he gave up decorating to devote himself to painting. In the 1960s he painted a tribute to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. Of particular relevance is the theme of the knight with his hand on his chest, a reference that would be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage, and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. In the 1980s he dedicated a series of works to Picasso under the title "To Don Pablo". His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the Tokyo International Biennial in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.

ANTONÍ TÀPIES PUIG (Barcelona, 1923 - 2012).Untitled, 1970.Paint and pencil on cardboard.Attached certificate of authenticity issued by the Comissió Tàpies.Work registered in the Archive of the artist's complete works, no. T-9836.Signed in the lower right-hand corner.Measurements: 42 x 29.5 cm; 77 x 65 cm (frame).In this sober painting Tapies emphasises in the composition two elements which he arranges on an ochre background with a complex tonal gradation. They are an expressive red line that denotes the artist's passion and a cross, an iconographic element that Tapies made his own. A cross that is not religious, but spiritual, as the artist described in the article Cruces, equis y otras contradicciones, included in the book El arte y sus lugares (1999): "The interest in the cross is a consequence of the great variety of meanings, often partial and apparently different, that have been given to it: crosses (and also Xs), as coordinates of space, as an image of the unknown, as a symbol of mystery, as a sign of a territory, as a mark to sacralise different places, objects, people or fragments of the body, as a stimulus to inspire mystical feelings, to remember death and, specifically, the death of Christ, as an expression of a concept, paradoxical, as a mathematical sign, to erase another image, to manifest a disagreement, to deny something."Co-founder of "Dau al Set" in 1948, Tàpies began to exhibit at the Salones de Octubre in Barcelona, as well as at the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Galerías Layetanas, he travels to Paris in 1950, with a grant from the Institut Français. In 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, he exhibited his work, both in group and solo shows, all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the 1970s, anthologies have been devoted to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style full of symbolism, giving great importance to the material substratum of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous prizes and distinctions, including the Praemium Imperiale of Japan, the National Prize for Culture, the Grand Prix for Painting in France, the Wolf Foundation for the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Prize for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums all over the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

A large folio group of exhibition posters,:- including , Max Ernst Museum Ludwig Kohl 1990 & 91, The Museum of Modern Art New York, Rene Magritte, Osterweil Art Expo West 80, Paul Klee, Andy Warhol Go West-Go East With a Truck 1986, Stephen Bartlett CCA Galleries, Walter Lindner Verkerke Gallery, Dieter Kimmel Verkerke Gallery, Markus Baumann Musee d'Orsay Paris, Monet, Robert Offord, Matisse, Heinrich Schmid, Lionel Deriaz, etc.* Notes Please refer to websites for further images of this lot - www.the-saleroom.com & www.easyliveAuction.com

OF COLLECTORS' INTEREST: A George I giltwood and gilt gesso girandole or mirrorCirca 1725, the bevelled plate within a rosette-embedded and entwined strapwork moulded surround, surmounted by a shaped shallow-relief carved acanthus and punched pediment carved with foliate wrapped volute scrolls and two opposing eagle busts, centred by an overlapping scallop shell cresting, with a similar shaped apron centred by a scallop shell mounted with two later brass scrolled candle arms, 127cm high x 78cm wide.Footnotes:ProvenanceThe present mirror formerly belonged to Ralph Edwards C.B.E., F.S.A. (1894-1977), grandfather of the current owner and vendor. A charming photograph showing Ralph Edwards with his wife Marjorie inside their London family home is available to view online at www.bonhams.com. Therein they are pictured seated in their elegant drawing room inside Suffolk House on Chiswick Mall, located close to the Thames. Visible among the beautiful antiques and paintings on the wall is the offered mirror, which is located above the chimneypiece. An original of this striking photograph is available for the eventual buyer of this lot. A further image of Edwards whilst he was in Venice is also on our website. This mirror appears illustrated in R. Edwards and P. Macquoid, The Dictionary of English Furniture, Vol. II, the revised and enlarged edition by R. Edwards, 2000, New York, fig. 51, p. 332. The mirror is even noted in 'The Dictionary' as belonging to 'Mr Ralph Edwards' and is dated there to circa 1715, although it is perhaps more realistically circa 1725 in line with more modern analysis of such pieces.Ralph EdwardsAlthough principally renowned for The Dictionary of English Furniture, his most influential book first published in the period 1924-1927, Ralph Edwards was also an art historian, academic, connoisseur, author and collector within various fields of the fine and decorative arts. His genuinely eclectic yet thorough knowledge included, but was not limited to, subjects as diverse as: European paintings, watercolours, Hogarth, Old Master drawings, bronze sculpture, needleworks, porcelain, silver and English miniatures. Nonetheless his foremost area of expertise was undoubtedly in English furniture.Following his involvement in World War I, and despite successfully completing the necessary professional legal examinations, Ralph Edwards joined Country Life magazine as a member of their editorial team, where he remained for five years. The motivations behind this career-defining decision are a mystery, however as Nicholas Goodison writes in his superb 1978 obituary it was clear that on this occasion: '...art history gained what the law lost.' N. Goodison, 'Obituary, Ralph Edwards', The Burlington Magazine, May 1978, Vol. 120, No. 902, 'Special Issue Devoted to the Victoria and Albert Museum', p. 316.Throughout 1924 and 1925, Edwards continued in this capacity at Country Life at the same time as working closely with Percy Macquoid (1852-1925) on compiling and creating what would thereafter become their seminal work, The Dictionary of English Furniture. Only one year later, Edwards took up the position of Assistant in the Department of Woodwork at the Victoria and Albert Museum, eventually being promoted to Keeper of that Department in 1937. In total he would retain this significant role for seventeen years until retiring, albeit apparently somewhat reluctantly, in 1954. During his tenure as Keeper at the Victoria and Albert, Ralph produced a number of books and articles concerning furniture, typically with particular attention to the history of English furniture. Arguably among the most notable of these were; a brief analysis of English chairs in the museum collection; Georgian Cabinet-Makers, which he assembled together with Margaret Jourdain in 1944; and the three volume revised edition of 'The Dictionary', eventually published in 1954. In his obituary on Edwards, Nicholas Goodison brilliantly encapsulated his primary achievement as Keeper in the Department of Woodwork:'In this role he [Edwards] did a great deal to raise the study of furniture from an inconspicuous to an important branch of the decorative arts.'N. Goodison, Ibid, p. 316.In spite of his retirement from the Victoria and Albert, that same year Ralph Edwards started to accept employment - essentially as a kind of senior consultant - with the Historic Buildings Councils of England and Wales. His invaluable aiding of these Councils lasted a staggering twenty-one years. At the same time, Edwards' output of publications persisted and this is exemplified by; the appearance in 1955 of the third version of Georgian Cabinet-Makers; a 1963 condensed single volume edition of his by then widely celebrated 'Dictionary'; and an almost continual provision of furniture-related articles. Added to this, for two years Ralph Edwards assisted in the editing process for the Connoisseur Period Guides (1956-1958). Yet, regardless of this huge workload he was always available to help the Arts Council and other official bodies whenever requested or required to do so.Aside from this specialist study in the realm of furniture, it is incredible to consider that Edwards was additionally responsible for literature on an assortment of other visual arts topics. For example he finished Early Conversation Pieces in 1954 which was a survey of the progression of what are generally referred to as 'conversation paintings', beginning in the medieval period and concluding with examples from the early 18th century.Evidently over the last two decades of his life there was much less focusing on the study of furniture which allowed his wide-ranging proficiency in many of the other decorative arts to flourish. Though it is difficult to know whether this was an intentional move away from his main specialism, it was perhaps inevitable given the nature of his involvement with the Historic Buildings Council and the National Museum of Wales. Edwards' participation with both of these groups led him to investigate virtually all manner of artefacts. Over the course of the twelve years prior to his death in 1977 he also formed a fundamental part of the advisory panel for The Burlington Magazine.Overall, Ralph Edwards' enormous influence on the way in which serious art historical research has been, and continues to be, undertaken is not something that can be easily overstated. Ralph was one of the earliest scholars to confirm factual information pertaining to objects by means of uncovering sources contemporary to them. In this process he was instrumental in bringing to the public consciousness numerous craftsmen, makers and artists, ranging from those who had fallen into complete obscurity to more major and more widely known figures.This was the technique pursued with regards to both The Dictionary of English Furniture and Georgian Cabinet-Makers, despite claims that he later opined that there had become too much emphasis upon the analysis of historical letters and invoices. It is alleged that his subsequent view was that this strict and narrow approach had caused furniture history to become too dry and mundane an affair, possibly more akin to a lifeless regurgitation of old account books than a true labour of love. However it is not clear to what extent he believed this had already happened.An exceptional memory for country houses and their contents meant that Ralph... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A group of Asian art including a carved soapstone figure, two pairs of Japanese Satsuma vases, a modern Tang style horse, three scrolls, a single Satsuma vase and a display stand.