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THE STUDIO MAGAZINE. An extensive collection in a mix of full and half leather bound, and original card wraps;133-134, 135-136, 141-142, 143-144, 149-50, 159-160, 165-166 (half-years bound together).1913, 1915, 1917, 1919;Vol 12, Vol 17;Special Birthday Number April 1933July 19321914 Part II, 1916 Part III,1917 Parts I, III, 1918 Parts I. III 1900 Modern British Watercolours1906, Mansions of Olden Times; 1906, Mansions of Olden Times1907-1908 Summer numbers1907 Art in England1911 Northern GardensApril 1897; July 1897; September 1897; December 1897March 1898; April 1898;April 1899;March 1900; July 1900; September 1900; December 1900March 1901; August 1901; September 1901September 1902; December 1902February 1903;September 1906; November 1906;February 1907;February 1909; October 1909 (2 copies with Whistler chromolithograph)August 1912;plus 1898-9 Modern British Book Plates; Includes European and US.

ART INTEREST. 'Edward Bawden and His Circle: The Inward Laugh,' by Malcome Yorke, unclipped dj, Antique Collectors' Club; 'Painting The Modern Garden: Monet to Matisse,' Royal Academy of Arts, London, 2015; plus one other Bawden and seven other books. (10)

ART INTEREST. A full run of 24 'Modern Masterpieces', published by Newnes Publication, 1935, issue number missing cover picture.

'The Observer's Book of....' The first 50 of which nineteen are first editions, including 'British Wild Flowers,' 'Butterflies,' 'Dogs,' 'Geology,' 'British Insects,' 'Mosses and Liverworts,' 'Flags,' 'Lichens,' 'Modern Art,' 'Furniture,' 'Sculpture,' 'Basic Aircraft,' 'Postage Stamps,' 'Cathedrals,' 'Zoo Animals,' 'House Plants,' 'Association Football,' 'Cricket,' and 'London'. (56)

ART INTEREST. 'Lovis Corinth,' edited by Peter-Klaus Shuster et al, card wraps, The Saint Louise Art Museum, Tate Gallery, London; 'Oil Paintings in Public Ownership in Cornwall & the Isles of Scilly,' slight tear to spine, The Public Catalogue Foundation, 2007; 'F. Leger,' by Gilles Neret, original cloth, unclipped dj, Cromwell Editions, London; 'Mondrian: The Art of Destruction,' by Carel Blotkamp, original cloth, unclipped dj, Reaktion Books, London, 1994; 'Picasso and Portraiture: Representation and Transformation,' edited by William Rubin, original cloth, unclipped dj, The Museum of Modern Art, New York, 1997; With ten other books including Edward Hopper, Kandinsky and Lucien Freud. (15)

INUIT ART INTEREST. 'Tuvaq: Inuit Art and the Modern World,' signed and inscribed by editor Ken Mantel, colour illustrations throughout, card wraps, Sansom & Company, 2010.

Modern French bronze sculpture of an Art Deco dancer, her arms outstretched, on a stepped base, J.B. Paris foundry mark, total height: 41cm.

A RARE LIAO DYNASTY LACQUERED WOOD SADDLE WITH GILT COPPER APPLICATIONSNorthwestern China, 916-1125. The gilt copper appliques shaped as dragons chasing the flaming jewel on the pommel as well as the cantle and as lotus flowers on the ledgers, on one side with blossoms in the form of pierced mythical beast masks.Published: Dr. Koos de Jong, Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond, Amsterdam - Hong Kong 2013, ill. 3.02, p. 35. Condition: Original, unrestored condition and very impressive considering the age of this saddle! Extensive losses to the lacquer only, along with cracks, scratches and other traces of use. The wood with age cracks and some small chips as well as a fine dark patina. The copper applications have lost much of the gilt and show small dents, dings, and a fine malachite green and copper red patina.Provenance: Formerly in an American private collection. Collection of Dr. Koos de Jong, acquired from the above in 2007. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in "Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond". Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch. Weight: 2.6 kg Dimensions: Length 49 cmIt is extremely rare to find surviving Liao dynasty lacquered horse saddles, and the present example appears to be unique. The use of lacquer and copper decorations suggest it was made for a member of the elite, who enjoyed sophisticated tastes as well as high rank. With an associated metal stand. (2) 罕見遼代木胎髹黑漆馬鞍，鎏金銅配件中國西北，916-1125。鞍橋上鎏金铜配件形状像巨龍戲珠，還可見蓮花以及瑞獸面具紋飾。品相：考慮到馬鞍的年代，其原始且未還原的狀態令人印象深刻！漆面有大量磨損及裂紋、划痕和其他使用痕跡。木胎具有年代裂縫和一些小碎屑以及細膩的深色包漿。銅配件鍍金磨損嚴重，有小凹痕和綠色銅紅包漿。來源：美國私人收藏。Drs. Koos de Jong收藏，2007年購於上述收藏（發票已遺失）。Drs. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。出版：Dr. Koos de Jong著書《Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond》, 阿姆斯特丹 - 香港，2013年，圖3.02，頁35。 重量：2.6公斤尺寸：長49釐米

A STRAW-GLAZED AND INCISED 'TEA LEAVES' EWER, SONG DYNASTYChina, 960-1279. The pear-shaped body rising from a short straight foot, the sides decorated with incised tea leaves, the shoulder with two scroll-shaped appliques, covered overall with a straw glaze with a fine crackle just short of the foot revealing the buff ware.Condition: Minor wear, firing flaws, intentional crackling. Tiny losses around mouth of the spout and a small chip around the foot rim.Provenance: Fai Kei Ferros Velhos, Macao. Dr. Koos de Jong, acquired from the above in 1998 (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in "Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond". Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Weight: 646.7 gDimensions: Height 14.5 cm草葉紋水注，宋代中國，960-1279。梨形器皿，圈足，外壁茶葉紋，肩部上有兩個渦旋形的貼花，水注覆蓋著稻草色釉，足部附近有細小的裂紋，露出了淺黃色的胎體。品相：輕微磨損，燒製瑕疵，刻意開片。壺嘴部周圍有材料缺失，足部周圍有小磕損。來源：澳門Fai Kei Ferros Velhos古玩。Drs. Koos de Jong 1998年購於上述收藏(發票已遺失)。. Koos de Jong是一位荷蘭藝術史學家，幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。重量：646.7 克尺寸：高14.5 厘米

MORIMITSU: A VERY RARE COCONUT SHELL THREE-CASE SAYA INRO WITH IMMORTALSBy Morimitsu, signed Morimitsu 盛光Japan, 18th/19th century, Edo period (1615-1868)Published: Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 1, p. 799.Carved from coconut shell, a material more frequently encountered in Chinese art and rarely used in Japan, the outer sheath carved on each side with a diapered, shaped panel, one side showing an immortal holding a peach, a deer by his side, and striding on clouds, and the other with a Shoriken crossing the sea on his sword. The sheath has lines imitating individual cases, however does not open. The inner three-case inro carved in low relief with a continuous mountainous lake scene, the interior lacquered black with gold fundame edges. Signed underneath MORIMITSU. With a coral ojime and attractive wood manju netsuke featuring concentric rings.HEIGHT 7.3 cmCoondition: Very good condition, minor wear, and few fine natural age cracks.Provenance: Ex-collection Raymond Bushell. Sold at Sotheby's London in 1966, purchased by D. J. K. Wright. Ex-collection Edward A. 'Ted' Wrangham (1928-2009), collection no. 644 (old label inside the top case), who formed one of the most important collections of Japanese Art in modern times. His reference book 'The Index of Inro Artists' (1995) is considered one of the most important English-language studies on Japanese lacquer ever published.

A YAOZHOU CELADON CARVED 'PEONY' SHALLOW BOWL, NOTHERN SONG DYNASTYChina, 960-1127. The interior deftly and deeply carved with two large peony blossoms among foliage, all with delicately combed details below a line border, the exterior carved with a band of simplified petals that ends below the rim and above the neat foot ring, covered inside and out and on the base with a deep olive-green glaze. Condition: Good condition with minor wear and firing flaws. One hairline across the rim, approx. 3.5 cm in length.Provenance: The Tree Friends Studio Ltd, Chicago. Dr. Koos de Jong, acquired from the above in 2000 (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era and published an extensive study of saddle rugs in Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was director of the European Ceramic Work Center in Den Bosch.Weight: 320.0 g Dimensions: Diameter 19.4 cmThis beautiful bowl represents the peak of celadon production at the Yaozhou kilns. Both the elegance of its potting and the artistry of its decoration mark it as one of the finest Yaozhou wares. The outlines of the peony design on the interior of the bowl has been deeply cut with a slanting blade. This ensures that the edge of each element of the decoration has a considerable depth of clear green glaze next to it, shading to shallower glaze further from the motif. The effect is to give the overall design a bold, dichromatic, appearance. In contrast, the texture of both petals and leaves has been depicted using an especially fine combing device, to produce very delicately incised parallel lines.Literature comparison: Yutaka Mino, Ice and Green Clouds, Indianapolis Museum of Art, Indianapolis 1987, no. 61, p. 158. Rose Kerr, Song Ceramics, Victoria and Albert Museum, London 2004, no. 57 right, p. 60. G. Hasebe, Sekai toji zenshu 12 Song, Tokyo, 1977, p. 204, no. 196. McCord, Song Ceramics, 2003, p. 52, fig. 7.Auction result comparison: Compare with a very similar and only slightly larger bowl sold by Christie's New York in Fine Chinese Ceramics and Works of Art on 30 March 2005, lot 273, for USD $38,400.耀州窯青釉印牡丹紋碗，北宋中國，960-1127。碗內葉間巧妙暗印兩朵大牡丹花，細節精緻，碗外壁簡化帶狀紋路，青釉覆蓋至足部，足底露胎。品相：品相良好，輕微磨損與燒製瑕疵。邊沿一道髮絲綫裂縫，長約3.5 厘米。來源：芝加哥The Tree Friends Studio Ltd古玩。Drs. Koos de Jong 2000年購於上述古玩店 (無發票)。Drs. Koos de Jong是一位荷蘭藝術史學家，幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。重量：320.0 克尺寸：直徑19.4 厘米拍賣結果比較：一件極其相似的碗可見2005年3月30日紐約佳士得《中國陶瓷與工藝品》，拍號273，成交價USD $38,400。

A LACQUERED WOOD SADDLE, QING DYNASTYSouth China, Yunnan Province, 19th century. The wood lacquered black, crimson red and ochre yellow with stylized floral ornaments, various emblems, as well as dotted and linear designs, tied to a leather base. This saddle is from the Yi ethnic minority in Yunnan Province.Condition: The wood with extensive wear, age cracks, chips and small losses. Some losses and wear to the lacquer with weathering in some areas. Some losses and minor cracks to the mother-of-pearl. The leather with extensive wear, creasing, and stains.Provenance: Michel Paciello, Venice. Collection of Dr. Koos de Jong, acquired from the above in 2013. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era and published an extensive study of saddle rugs in Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was director of the European Ceramic Work Center in Den Bosch. Weight: 1.8 kg Dimensions: Length 41 cm The Yi or Nuosuo people (historically known as Lolo) are an ethnic group in China, Vietnam, and Thailand. Numbering nine million people, they are the seventh largest of the 55 ethnic minority groups officially recognized by the People's Republic of China. They live primarily in rural areas of Sichuan, Yunnan, Guizhou, and Guangxi, usually in mountainous regions. With an associated metal stand. (2)彩繪漆木馬鞍，清代雲南，十九世紀。木胎黑漆底上用深红色和黄色彩繪花卉紋飾装饰品，配件均绑在皮革底座上。 這只馬鞍來自云南省的彝族。品相：木胎廣泛磨損，老化裂紋，碎片和小缺損。在某些區域由於風化，漆面有所損失和磨損。螺鈿有一些損失和輕微裂縫。皮革大量磨損，有壓痕和污漬。來源：威尼斯Michel Paciello藝廊。Drs. Koos de Jong收藏，2013年購於上述藝廊（發票已遺失）。Drs. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。重量：1.8 公斤尺寸：長41 厘米

A MELON-SHAPED, WHITE-GLAZED CERAMIC JARLETChina, Northern Song dynasty, 11th-12th century. The lobed body raised on a short ring foot and with a thick-lipped neck applied with two lug handles, covered with a creamy white glaze, the underside left unglazed revealing the buff.Condition: Excellent condition with old wear and minor firing flaws. Provenance: Fai Kei Ferros Velhos, Macao, 1998. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in "Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond". Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch.Weight: 229 g Dimensions: Height 9.5 cmLiterature comparison: Compare to a similar jarlet in R. Krahl, Chinese Ceramics from the Meiyingtang Collection, London 1994, Vol. 1, no. 328, p. 190 [C.30 doc. a].

A PAINTED POTTERY FIGURE OF A HORSE WITH OXFORD TESTChina, Han Dynasty (202 BC-220 AD). Standing foursquare, the face with the mouth ajar, ears pricked alertly, the body painted in a brownish gray color with a bridle in red and white pigment. Two seal marks on the lower chest and a hole on the underside.Condition: Some repair and touchups as generally expected from Han dynasty excavations. Losses, fissures, and encrustations. Extensive wear to pigments. Drilled holes from sample-taking have been covered and retouched. The front right leg was reattached. Provenance: Private Dorset Collection, acquired in Hong Kong in 1997 from Art Treasures Gallery. British private collection, according to the current owner acquired in the British auction market. Scientific analysis report: A thermoluminescence report issued by Oxford Authentication on 10 December 2019, based on sample no. C119t38, sets the firing date of both samples taken at 1500 - 2400 years ago. A scan of the report, issued by Oxford Authentication, accompanies this lot.Weight: 1797 gDimensions: Height 33.4cm (incl. stand), 32 cm (horse)With an associated modern plastic stand (2).

A PAINTED POTTERY FIGURE OF A BACTRIAN CAMEL, TANG DYNASTYChina, 618-907. Standing foursquare atop the shaped base, the baying camel with an elegantly curved neck and raised head, the bulging pack in the form of two monster heads fitted between the humps, the tail swept to one side.Provenance: Galerie Zacke, Vienna, 1 October 1996. Dr. Mons Fischer, acquired from the above, sold for ATS 68,000 (approx. EUR 7,774 today after inflation). A copy of the invoice, dated 1 October 1996 and stating the aforementioned purchase price, accompanies this lot. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Some old repair as generally expected from Han dynasty excavations. Extensive wear, soiling, losses, chips, holes, cracks and encrustations.Weight: 3,744 gDimensions: Height 40.3 cm, Length 33.5 cmAuction result comparison: Compare a closely related painted pottery figure of a camel, also dated to the Tang dynasty and with a similar monster-head pack, at Sotheby's New York in Asian Art on 14 September 2019, lot 1627, sold for USD 13,750. 唐代彩繪駱駝俑 中國, 618-907年。駱駝俑站在四方基座上，它引頸張口，後肢直立，前腿略彎，彷彿剛從臥姿直身而起，仰天長嘶。 來源：維也納Zacke藝廊，1996年10月1日。Dr. Mons Fischer購於上述藝廊，ATS 68,000 (通貨膨脹后換成今日歐元大約 EUR 7,774)。隨附一份1996年10月1日出具的發票 顯示了當時的價格。Mons Fischer 博士是一位經驗豐富的現代及當代藝術私人收藏家，自 1980 年代以來，他還收藏了衆多精美的中國藝術品，建立了奧地利最重要的一個藝術品收藏。 品相：一些從漢代考古發掘中普遍預期的舊修復。磨損嚴重，污跡，缺損，缺口、小孔、裂紋和結垢。 重量：3,744 克 尺寸：高40.3 厘米, 長 33.5 厘米 拍賣結果比較：一件唐代相近駱駝陶俑見紐約蘇富比Asian Art 2019年9月14日 lot 1627, 售價USD 13,750。

A BLACK LACQUER SQUARE TRAYJapan, 19th century, Edo period (1615-1868)Of square form, supported on four bracket feet, the everted rim with indented corners. The roiro ground finely decorated in gold and iro-e hiramaki-e, togidashi-e, and kirigane with bamboo, leaves, thread, and tanzaku papers on a bamboo fence - alluding to the Tanabata Festival. The underside with a leafy branch with two flowerheads and the rim with a continuous band of scroll.LENGTH 21.5 cmCondition: Good condition, some minor wear and soiling to lacquer. Provenance: Ex-collection Edward A. 'Ted' Wrangham (1928-2009), who formed one of the most important collections of Japanese Art in modern times. His reference book 'The Index of Inro Artists' (1995) is considered one of the most important English-language studies on Japanese lacquer ever published.Tanabata (meaning 'Evening of the seventh'), also known as the Star Festival, is a Japanese festival originating from the Chinese Qixi Festival. It celebrates the meeting of the deities Orihime and Hikoboshi (represented by the stars Vega and Altair respectively). According to legend, the Milky Way separates these lovers, and they are allowed to meet only once a year on the seventh day of the seventh lunar month of the lunisolar calendar.

KAJIKAWA AND MASAYOSHI: A SUPERB AND VERY RARE GOLD LACQUER AND METAL-INLAID SEVEN-CASE INRO DEPICTING THE KACHI-KACHI YAMA STORYBy a member of the Kajikawa family (for the lacquerwork) and by Ishiguro Masayoshi (for the metalwork), signed Kajikawa 梶川 saku 作 with red 'tsubo' seal Ei 榮 and Masayoshi 政美 with kakihanJapan, 19th century, Edo period (1615-1868) Published: Eskenazi (1984) Japanese Netsuke, Ojime, Inro, Lacquer-ware, pp. 54-55, no. 114. The seven-case inro of upright form with rounded edges, featuring a gold kinji and mura nashiji ground, beautifully lacquered in gold and silver takamaki-e and hiramaki-e, as well as masterfully inlaid in shakudo, silver, and gold, depicting the Kachi-Kachi yama legend. The front shows the rabbit standing triumphantly towards the prow of his metal-lined boat, raising its oar about to striking down the tanuki, who clings on to the barge of his mud-boat, which is inlaid in pewter. The reverse with the full moon inlaid in silver, rising above the turbulent sea and the interior of rich gyobu; signed for the lacquer KAJIKAWA saku with a red 'tsubo' (pot) seal Ei and for the metalwork, MASAYOHI with a kakihan within a rectangular gold reserve. With a black horn ojime.HEIGHT 8.8 cmCondition: Excellent condition with hardly any wear.Provenance: Ex-collection Gretchen Kroch Kelsch. Then Ex-collection Ted Wrangham, collection no.1839, purchased from Eskenazi Ltd., London, in 1987. Edward A. 'Ted' Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book 'The Index of Inro Artists' (1995) is considered one of the most important English-language studies on Japanese lacquer ever published.A masterfully lacquered and metal-inlaid inro, not only featuring a very rare design but also with seven compartments (!). The Kachi-Kachi yama story, also known as the Farmer and the Badger, is one of the few Japanese folktales in which a badger (tanuki) is a murderous villain rather than the boisterous, corpulent alcoholic. The episode depicted here is when the tanuki challenged the rabbit to a life and death contest to prove who was the better creature. They were each to build a boat and race across a lake in them. The rabbit carved its boat out of a fallen tree trunk, but the foolish tanuki made a boat of mud. At first, the two competitors were evenly matched, but the badger's mud boat began to dissolve in the middle of the lake and instead of saving the badger, the rabbit strikes him with an oar, and proclaimed his friendship with the innocent human couple whom the wicked badger had earlier inflicted its horrible deeds - thus revealing his revenge.The name Kachi-Kachi yama (meaning fire-crackle mountain) comes from the especially painful trick that the rabbit played, prior to the scene depicted on the inro. While the tanuki was carrying a heavy load of kindling on his back to make a campfire for the night, he was so burdened that he did not immediately notice when the rabbit set fire to the kindling. Soon, the crackling sound reached its ears and it asked the rabbit what the sound was. "It is Kachi-Kachi Yama" the rabbit replied. "We are not far from it, so it is no surprise that you can hear it!". Eventually, the fire reached the tanuki's back, burning it badly, but without killing it.

A 'TROMPE L'OEIL' PORCELAIN DOUBLE-GOURD VASE WITH A CICADA, BY MIDDLE KINGDOM PORCELAINChina. Thinly potted and covered entirely with a white glaze except for the foot ring, a cicada neatly painted in shades of black and yellow enamel, crawling up the lower lobe. The recessed circular base is inscribed in underglaze blue, Zhong Wangguo Jia Bo Shi ('Contemporary art porcelain, designed by Bo Jia').Provenance: A private collection from Los Angeles, California. Condition: Excellent condition with minor wear and firing irregularities.Weight: 150.6 gDimensions: Height 11.5 cmThe Qianlong Emperor had a unique approach to ceramic production: He favored antiquity-inspired designs, enjoyed objects that were simulations of other materials and he challenged craftsmen to create pieces that were technically pioneering and unconventional in their aesthetics. During his reign and often under his personal supervision, trompe-l'oeil ceramic simulations that were near-impossible to distinguish from the 'real' were produced at the Imperial kilns of Jingdezhen.The present lot is a creation that continues this ancient tradition: Looking like a plain white Hulu, the appearing Cicada will startle anyone when the vase is quickly turned around in an unobserved moment.Middle Kingdom Porcelain is a Studio in Jingdezhen founded by Bo Jia and Alison Alten in 1998 near the old imperial kilns, specializing in modern interpretations of classic designs and glazes. Widely acclaimed for their elegant silhouettes and innovative use of color, Middle Kingdom's wares have been curated by many museums and boutiques across the globe, including the Victoria & Albert Museum in London, the MOMA in San Francisco, and the National Gallery of Art in Washington D.C.當代"中王國賈泊氏"白釉蟬紋葫蘆中國。薄胎，除圈足外，整個葫蘆都覆蓋著白釉。蟬身上黑色和黃色琺瑯，從下往上爬。底足青花款"中王國賈泊氏"。 來源：洛杉磯私人收藏 品相：狀況極好，輕微磨損和燒製缺陷 重量：150.6 克 尺寸：高11.5厘米

Circle of JOSEFA DE ÓBIDOS (Seville, 1634 - Óbidos, Portugal, 1684)."Virgin spinner.Oil on canvas. Re-tinted.It presents repainting.Measurements: 65 x 45,5 cm; 79 x 59 cm (frame).In this devotional work Mary girl appears seated, spinning with a distaff and a spindle. The iconography refers on this occasion to the Protoevangelium of James, one of the apocryphal Gospels, in which it is narrated how, as a child, Mary was commissioned by the priests to make the veil of the Temple, which was torn when Jesus died. On the other hand, the Gospel of Pseudo-Matthew recounts the Virgin's mastery of woollen work in her youth.The work has aesthetic similarities with the painting by Josefa de Ayala y Cabrera known as Josefa de Óbidos, an artist from the second half of the 17th century, who developed her career in Portugal. Her father, Baltasar Gómez Figueira, went to Seville around 1626, at a time when Portugal and Spain were unified. He began working in the workshop of Francisco Herrera the Elder, Josefa's future godfather, with whom he spent the first years of his life before returning to Óbidos, his father's hometown. Josefa decided to devote herself to painting, beginning to work alongside her father. One of the first genres they developed and thanks to which they gained fame and fortune were still lifes, as it was a subject that was not practised in Portugal and proved to be a fantastic commercial success. He had a close relationship with the ecclesiastical sphere, which facilitated the commissioning of numerous works in churches and convents. His fame continued to grow after he was commissioned to paint the famous portraits of the royal family. His painting, as can be seen in this work, shows the influence of the tenebrist naturalism that characterised his father's style, but he developed his own personality as a reflection of a particular poetic intuition, with a loose palette and free of academic impositions, focusing on the detail of the decorative elements that populate his canvases. In 2015 the Museum of Ancient Art in Lisbon held an exhibition dedicated to this great artist as the architect of the invention of the Portuguese Baroque, emphasising her importance as one of the few outstanding painters in the history of modern art.

An early 20th century chrome art deco standard lamp with later modern shade 187cm high Condition report: Available upon request

A 9ct white gold five stone diamond ring set with estimated approx 0.50cts of brilliant cut diamonds, finger size N, weight 3.3gms Condition report:Condition report: Modern 9ct gold import marks, no date letter. In the style of Art Deco, wear to the rhodium plating on extremities will need to be re rhodiumed at some point, by eye diamonds bright clean and white, with a loope some clear feather type inclusions

A bisque Yellow Peril Geisha nude figure, 13cm wide and a modern bronze type Art Deco figure style of a semi clad female. (2)

Gruner (Lewis). Specimens of Ornamental Art, selected from the best models of the classical epochs, Atlas volume only, London: Thomas M'Lean, 1850, 80 plates including 49 chromolithograph and 7 tinted lithographs, title and dedication laid down, library stamp at foot of each plate, some tears, repairs, marginal fraying and occasional spotting and light soiling, modern faux morocco, atlas folio, 640 x 515 mmQty: (1)

Cork (Richard). Vorticism and Abstract Art in the First Machine Age, 2 volumes, 1st edition, Gordon Fraser, 1976, colour and black & white illustrations including some tipped in, a few scattered pencil annotations [by Charles Tomlinson], original cloth in dust jackets, a little rubbed, folio, together with: Broude (Norma), The Macchiaioli: The Italian Painters of the Nineteenth Century, 1st edition, Yale University Press, 1987, illustrated throughout, original cloth in dust jacket, spine slightly faded, oblong 4to, plus Wittkower (Rudolf), Jian Lorenzo Bernini, The Sculptor of the Roman Baroque, 1st edition, Phaidon Press, 1955, monochrome illustrations throughout, original cloth in slightly frayed dust jacket, small folio, plus other mostly modern art publications including some exhibition catalogues, occasional inscriptions and pencil annotations of Charles Tomlinson, original cloth and wrappers, some in dust jackets, mostly 4toQty: (6 shelves)

Tuchman (Maurice & others). Chaim Soutine (1893-1943): Catalogue Raisonné, Taschen reprint, 2001, colour and monochrome illustrations throughout, original cloth in dust jacket, folio, together with: Laird (Mark), The Flowering of the Landscape Garden: English Pleasure Grounds 1720-1800, 1st edition, Philadelphia: University of Pennsylvania Press, 1999, illustrations throughout, original cloth in dust jacket, 4to, plus Powers (Alan), Eric Ravilious: Imagined Realities, reprint, Imperial War Museum, 2004, colour illustrations throughout, original cloth in dust jacket, 4to, plus other assorted mostly modern art reference publications including some paperbacks, some with inscriptions and pencil annotations by Charles Tomlinson, 4to/8voQty: (6 shelves)

Barr, Jr (Alfred H.). Picasso: Fifty Years of his Art, 1st edition, New York: Museum of Modern Art, 1946, colour and black & white illustrations throughout, ownership signature of Charles Tomlinson to front free endpaper, original decorative cloth, together with: Eluard (Paul), A Pablo Picasso, 1st edition, Geneva - Paris: Editions des Trois Collines, 1944, monochrome plates and illustrations, uncut and largely unopened, contemporary presentation inscription from Charles [Tomlinson] to his wife Brenda to front free endpaper, original printed wrappers, slightly rubbed and remains of sellotape repair at foot of spine, plus Preston (Kerrison), The Blake Collection of W. Graham Robertson, published for the William Blake Trust by Faber and Faber, 1952, monochrome plates at rear, presentation inscription from Brenda to Charles, original cloth in dust jacket, slightly rubbed and browned, all 4to, plus other assorted art reference and related, some with inscriptions and annotations by Charles Tomlinson, 4to/8voQty: (6 shelves)

Biederman (Charles). Art as the Evolution of Visual Knowledge, 1st edition, Minnesota, 1948, black & white illustrations from photographs, author's signed presentation inscription to Charles Tomlinson to front free endpaper, dated 1967, original cloth in frayed and worn dust jacket, 4to, together with: Nicolson (Benedict), Joseph Wright of Derby, 2 volumes, Paul Mellon Foundation for British Art, 1968, tipped-in frontispiece to both volumes, black & white illustrations throughout, original cloth in dust jackets, card slipcase, 4to, plus Eaton (Charles Edward & Isabel Patterson), Karl Knaths: Five Decades of Painting, A Lone Exhibition, Circulated by the International Exhibitions Foundation, 1973-1974, colour and black & white illustrations, signed presentation inscription from Charles [Eaton] to Charles and Brenda [Tomlinson], original cloth in glassine dust jacket, 4to, plus other assorted art history interest, mostly modern publications including paperbacks, various sizesQty: (6 shelves)

Davidson (John). Plays, limited edition, London: Elkin Mathews and John Lane, 1894, black & white illustrations by Aubrey Beardsley, Tor Hedberg ex-libris bookplate to the front endpaper, pp.25 to the end uncut, some marginal toning, publishers original gilt decorated brown cloth, 8vo, un-numbered copy of 500 U.K. copies, together with; Wilder (Thornton), The Woman of Andros, limited edition, London: Longman, Greens and Co., 1930, signed by the author to the limitation page, monochrome tipped-in frontispiece, bookplate to the front pastedown, top edge gilt, publishers original blue cloth, spine slightly faded & rubbed, 4to, 120/250, plus Graves (Robert), The Future of Swearing and Improper Language, re-written, London: Kegan Paul..., 1936, original cloth in dust jacket, covers slightly toned & rubbed, small tears to the head of the spine, 8vo, and other modern miscellaneous literature, including Playboy magazine, history, art, natural history & literary reference, mostly original cloth, many in dust jackets, G/VG, 8vo/4toQty: (6 shelves)

Schaaf (Larry J.). The Photographic Art of William Henry Fox Talbot, 1st edition, Princeton: University Press, 2000, signed & inscribed by the author to the half-title, numerous & monochrome illustrations, original cloth in dust jacket, large 4to, together with; Everard (John), Judgement Of Paris, 1st edition, London: George Routledge & Sons, 1941, numerous monochrome nudes, front gutters cracked, some minor toning, publishers original cloth, boards & spine light toned & rubbed, large 4to, plus Bignell (John), Chelsea Photographer, 1st edition, London: Studio B, 1983, signed & inscribed by the author to the front endpaper, numerous monochrome illustrations, original cloth in dust jacket, covers slightly rubbed to head & foot, square 4to, and other modern photography reference, mostly original cloth in dust jackets, some paperback editions, G/VG, 8vo/4toQty: (3 shelves )

A BOX OF ART RELATED ITEMS TOGETHER WITH A MODERN ENAMEL GOLF SIGN

A MODERN REPRODUCTION ART DECO STYLE TABLE LAMP, OVERALL HEIGHT 48 CM

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Bananas, n.4".1980.Mixed media on paper.Signed, dated and titled in the lower left margin.Size: 41 x 61 cm.Sculptor, painter, engraver and writer, his training was basically self-taught. At the age of eighteen he held his first individual exhibition at the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. After spending some time between Madrid and Germany, he moved to Barcelona in 1977. In 1979 he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 2003, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition dedicated to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid.

JOSEP GUINOVART BERTRAN (Barcelona, 1927 - 2007)."Ephemeral sculpture project", 1994.Mixed media on paper.Signed, dated and titled. With dedication "A (Giovanni) Papini".Measurements: 73 x 50 cm; 61 x 58 cm (frame).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 that time. Around 1957, he began an informal and abstract tendency, with a strong material presence, both through various elements and objects (burnt wood, boxes, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s 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; 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 he would continue after his return to Spain.e 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.

MIGUEL BERROCAL (Villanueva de Algaidas, Málaga, 1933 - Antequera, Málaga, 2006)."Suite Almogávares", 1988.Folder composed of 6 engravings, copy 30/100.Hand signed and numbered.Measurements: 56 x 76 cm.Berrocal began his training at the School of Arts and Crafts in Madrid, as a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to various architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His first works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and from 1968 he alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicétera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.

ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005)."Le guettur", 1962.Patinated bronze, copy E.A.Signed and justified on the right side.Wooden base.Bibliography: Pierre Seghers "Clavé" Ed. Polígrafa, Barcelona 1971, reprod pg 173. Lluis Permanyer, "Clavé escultor", Ed. Polígrafa, Barcelona 1989, reprod pg 76-77.Size: 15,5 x 7,5 x 8 cm. + 8 cm. base.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 first devoted himself to advertising graphics, illustration and 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. He already enjoyed great international prestige at the time when he began to be recognised in Spain, with his exhibition at the Sala Gaspar in Barcelona in 1956. At the same time he produced illustrations for the work "Gargantua and Pantagruel", which led him to become familiar with medieval iconography. It was in the 1950s that he began his intense work in the world of ballet and theatre, achieving great fame in the world of international stage design. In 1952 he made the sets for the film "Hans Christian Andersen", by Charles Vidor, and was nominated for an Oscar award. In 1954 he abandoned set design to devote himself to painting. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennale in 1954 and at the Tokyo International Biennale in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Museum of Modern Art in Paris, the British Museum in London, the Museum of Modern Art in Tokyo and the Reina Sofía Museum in Madrid.

ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012)."Benichou", 1987.Etching with aquatint on Arches paper, P.T. copy.Signed and justified by hand.Artist's proof for an edition of 125 copies.Size: 31 x 47 cm.(print); 50 x 66 cm.(paper); 86 x 102 cm.(frame).Co-founder of "Dau al Set", Tàpies has been awarded prizes all over the world, and has held solo exhibitions in such prominent centres as the Guggenheim Museum in New York and the Museum of Modern Art in Paris. He is represented in major national and international museums, 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.

JOSEP GUINOVART BERTRAN (Barcelona, 1927 - 2007)."Untitled." 1977.Mixed technique and material on board.Signed and dated.Measurements: 42 x 60 cm.Josep Guinovart studied 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 that time.Around 1957, he began an informal and abstract tendency, with a strong material presence, both through various elements and objects (burnt wood, boxes, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s 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; 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 he would continue after his return to Spain.e 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.

FRANCISCO BORES LÓPEZ (Madrid, 1898 - Paris, 1972)."Femme au citron", 1947.Gouache on paper.Signed and dated in the lower right corner.Preserves the Sala Dalmau label.It has a small tear on the left side.Measurements: 49 x 65.5 cm; 52 x 68.5 cm (frame).In spite of the evident avant-garde language of this work, Bores offers us an image that comes from the pictorial tradition. Both in the subject matter and in the composition of the scene. In the case of the theme, the author resorts to the classic still life structured around a table. The figure of a woman in profile can be seen in the right-hand corner, with her face turned towards the viewer. With regard to the above-mentioned composition, it is worth noting the frontalism with which the artist configures the scene, as well as the fact that the woman seems to be sticking out one of her legs through a frame delimited by the artist's painting. A device that creates a trompe l'oeil, typical of Baroque aesthetics.A contemporary Spanish painter belonging to the so-called New School of Paris, Francisco Bores trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid associated with ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended Julio Moisés's Academia Libre, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists, but the Madrid public's lack of interest in young art prompted him to leave for Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927, contracted by the Percier gallery. During these years, and through his friendship with Picasso, he began his relationship with the art critic Tériade, who devoted an extensive article to him in "Cahiers d'Art". It was at this point that his artistic career began to take off. In 1929 he took part in the exhibition "Pintores y escultores españoles residentes en París" (Spanish Painters and Sculptors Resident in Paris), held at the Botanical Gardens in Madrid. Around this time he also contributed to avant-garde magazines such as "Litoral", "La Bête Noire", "Martín Fierro", etc. In 1931 he had a solo exhibition at the Georges Bernheim gallery in Paris, and at the same time he signed a contract with the Swiss gallery owner Max Esiherberger. In 1932 and 1933 he exhibited at the Vavin-Raspail gallery in Paris, coinciding with the appearance of the first monograph on his painting. In the mid-1930s he was contracted by the Zwemmer gallery in London, where he held a solo exhibition. His work is influenced by Picasso's Cubism and, on occasions, by Surrealism and abstraction. Francisco Bores became a master in the use of colour, the application of which sometimes follows abstract criteria, to such an extent that it replaces drawing or line in defining objects, figures and the space in which they are inserted. There is also a clear tendency in his language towards experimentation with colour, which led him to pamper the chromatic semitones. In the 1930s, Bores himself defined his painting as "lyricism and sensuality (...) within a composition organised in pursuit of a synthesis analogous to the impression produced by a single visual instant". After the Second World War Bores resumed his exhibition activity, and in 1947 the French state acquired a work by Bores for the first time. In 1949 the Museum of Modern Art in New York bought his paintings. In the 1950s he continued to exhibit his works in many European galleries.

FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972)."Le cafe du commerce", Paris, 1929.Oil on canvas.Signed and dated in the lower left corner. Signed, dated and titled on the back.Measurements: 46,5 x 55 cm; 66 x 75 cm (frame).In this work, dated 1929, Bores offers us a view of the interior of the Parisian Café du Commerce made up of a synthetic aesthetic in its forms and, at the same time, of great expressive intensity, established through broad brushstrokes with an energetic stroke.Francisco Borés trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid associated with ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended Julio Moisés's Academia Libre, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists, but the Madrid public's lack of interest in young art prompted him to leave for Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he held his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group show at the Museum of Modern Art in New York. During the following years he continued to hold solo exhibitions at leading galleries in Paris and London, including the Georges Petit and Zwemmer galleries. After the Second World War he resumed his exhibition activity, and in 1947 the French state acquired a work by Borés for the first time. In 1949 his paintings were bought by the Museum of Modern Art in New York. In 1969 he exhibited at the Galería Theo in Madrid, which brought him closer to the Spanish public, who were practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Galería Theo, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés's production: renewed classicism (1923-25), neo-cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in the most important museums all over the world, including the Centre Georges Pompidou in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gothenburg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and 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.

ANTONI TÀPIES PUIG (Barcelona, 1923-2012)."Portail", 1983.Etching with resins and carborundum in several inks on Arches paper, copy P.A.Watermark Arches.Signed and justified by hand.Galerie Lelong, Paris.Imp. J. Barbará.Measurements: 107 x 78 cm.Co-founder of "Dau al Set" in 1948, Tàpies begins 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.

Koloman Moser (1868-1918), a highback chair, c.1902, produced by Prag-Rudniker Korbwarenfabrik, Austria, elm, with woven wicker back sections and seat,43cm wide42cm deep125cm high, seat 45cm highThe design of this chair is a prime example of the artistic achievements of the Vienna Secession movement. Designed in 1902 by one of its leading founding members, the painter Koloman Moser, it stands for the Secession’s quest to create - and its postulation of - a modern, Austrian style fitting to the needs of a self-conscious bourgeoisie. Central to achieving this goal for modern needs, was doing away with the reuse of all historic styles, as well as reforming the negative impact of ersatz materials and techniques on industrial production. All of these were seen as dishonest and therefore responsible for a general decline in taste.In the course of their teachings at the Vienna School of Applied Arts, Moser and Josef Hoffmann busied their students, among other things, in providing modern designs for the wickerwork factory of Prag-Rudniker. In 1903, Das Interieur published a whole series of those designs, among them Moser’s chair and the accompanying armchair model. By 1904, their products were internationally renowned and 'The Studio' devoted a whole article to modern Austrian wicker furniture.In accordance with the Secessionists’ belief that the development of a modern style is not the result of a complete break with the past, but instead a necessary need to reconnect with a sense of quality that had gone missing during the industrial revolution, Moser’s design is basically a modern reinterpretation of a traditional 18th century ladder-back chair. He eliminates any decorative detailing (such as, for example, turned elements) in favour of simple geometric forms. Thus the cross sections of the stiles are square, and those of the cross stretchers on the back of the chair, are round. The lone decorative element is introduced via the chequerboard-like grid of the webbing on the seat and the back of the chair. While the horizontal webbing on the seat produces a solid surface, the chequerboard pattern of the back is achieved through a staggering of solid and empty rectangles. This allows for a transparency necessary to balance the extreme height of the back of the chair with its seat. By playing off extremes against each other, the painter, Moser, makes a departure from the security of established norms to embrace the realm of individual creativity. In its simplicity, therefore, this chair speaks with a strong voice.Very few examples of this model survive. What makes it even more rare is the dignity of its original condition.Our thanks to Christian Witt-Dörring for helping us with the catalogue entry for this lot.Literature: Das Interieur (4), 1903, pp. 201 and 204;Das Interieur (5), 1904, p.26;A S Levetus, 'Modern Austrian Wicker Furniture'. In: The Studio, vol. 3, no. 130 (January 1904), pp. 323-328;'The Studio Yearbook of Decorative Art' (1907), p. 212;'The Art Revival in Austria (The Studio Special Issue)' ed. by Charles Holme, London, 1906, p. DV;Christian Witt-Dörring, 'Chair', in 'New Worlds: German and Austrian Art 1890-1940', Neue Galerie, New York, 2001, pp. 449 and 467;Christian Witt-Dörring, 'Koloman Moser. Designing Modern Vienna 1897-1907', Munich-London-New York, 2013, p. 118;'Deutsche Kunst und Dekoration, yr. VIII', Darmstadt 1904, pp. 117 fol.;'Deutsche Kunst und Dekoration, yr. XII', Darmstadt 1908, p. 37;Eva B Ottillinger, 'Korbmöbel', Salzburg and Vienna, 1990, pp. 107 and 110 fol. Condition report: Further images have been uploaded. The legs are not replaced. There is a split to one of the stretchers - this has loosened the frame. The back woven backs are worn and with losses. There is a slight chip to the left upright and the top of one of the legs - at the terminal near the seat. Images added to show these areas.

An Art Deco-style chrome table lamp,with three fittings, raised on an angular plinth, 58.5cm high, with a modern shadeCondition report: No bulbs - bayonet fitting not tested as to working order. Tapered trumpet mount with bent areas. Some wear to the chrome finish. Shade with creases an some staining.

*Wilhelmina Geddes (1887-1955),Faith, Hope and Charity,a stained glass window, from St Paul's Church, St John's Hill Battersea, and made by Charles F Blakeman (1907-1989), with three two-part tracery panels, a quatrefoil panel and four spandrels, inscribed 'This window was designed by the late W. M. Geddes and made by C. F. Blakeman, 1956', also with cleaning instructions,lower panels 52cm wide, 42cm highcentral panel 52cm wide, 80cm highside panels 52cm wide, 95cm highcentral roundel 32cm wide, 33cm hightwo triangular larger 26 x 19cm two triangular smaller 21 x 11.5cm (11)Wilhelmina Geddes (1887-1955)Ulster-born Wilhelmina Geddes is widely regarded as one of the outstanding designers and makers of stained glass working in the first half of the twentieth century. Trained at Belfast Art School and the Metropolitan College of Art in Dublin, Geddes absorbed the expressive and technical principles of the Arts & Crafts Movement, translating these into a uniquely powerful personal idiom.Some of her earliest work was shown at the important Exhibition of British and Irish Decorative Arts at the Louvre, Paris, in 1914. Subsequently she was given the prestigious commission for a war memorial window (1919) in the Governor-General’s Church (St Bartholomew’s) in Ottawa. Made at the ‘Tower of Glass’ studio in Dublin, it was exhibited to great acclaim in London before its installation in Canada. Moving to London in 1925, she thereafter worked at the renowned ‘Glass House’ studios (Messrs Lowndes & Drury) in Fulham, London. Amongst the commissions she completed in the inter-war period, were windows for churches at Laleham in Middlesex (1926), Northchapel in Sussex (1930), Otterden in Kent (1933) and for St Martin’s Cathedral at Ypres, Belgium (1938). These and other works profoundly impressed younger artists such as Evie Hone and John Piper.The 3-light window depicting Virtues (Faith, Hope and Charity) was commissioned by the Rev. Chad Varah, a radical Anglican priest (and future founder of the Samaritans) who had been appointed rector of St Paul’s Church, St John’s Hill, Battersea (near Clapham Junction) in 1949. Intent on restoring and embellishing the church after war damage, Varah had contacted John Piper, seeking a recommendation for a modern stained glass artist. He was advised to contact Geddes who, despite poor health and struggling with work on two other commissions for London suburban churches – All Hallows, Greenford (1951-2) and St Mildred’s, Lee (1953-4) – agreed to make a design.By now, Geddes’ style had evolved into a remarkably distilled form of monumental expressionism, which was quite unique in British stained glass and which entailed subtle choices of coloured glass and intricate craft processes in the glass-painting. With the assistance of two young craftsmen, Donald Drury and Charles Blakeman, Geddes was able to finish the windows for Greenford and Lee, but her deteriorating eyesight and other ailments made it impossible for her to complete the full-size working cartoons for Battersea. After collapsing in the street and being admitted to St Pancras Hospital, Wilhelmina Geddes died, aged 68, on 10 August 1955.It was decided that the Battersea window, Geddes’ final commission, should be completed from the artist’s designs by Charles Blakeman, who was also working at the Fulham Glass House. Blakeman admired Geddes’ work immensely, having closely observed her design and craft techniques as she carried out her Greenford and Lee projects, and he was determined to do justice to her ideas for the window. The artist’s biographer, the late Dr Nicola Gordon Bowe, recorded that by ‘using Geddes’s sketches and cartoons, however illegible, Blakeman was able to adhere to her designs relatively faithfully while still producing a window clearly his own’. The window was finally unveiled in 1956, when it was seen by Rev. Chad Varah, who was ‘highly impressed’ by it.The window depicts Faith, Hope and Charity as three female angelic figures, whose seated forms fill each lancet. At the base of the window are two of the Evangelists and, in the centre, a scene of the Annunciation. Above the figure of Faith is a vignette of St Thomas and Christ, while Hope holds a miniature scene of Noah’s Ark and above Charity is a figure of St Mary Magdalene. The upper tracery lights contain depictions of the Moon and Sun with, in the centre, the Christ Child. An inscription in the right-hand light records that ‘THIS WINDOW WAS DESIGNED BY THE LATE W. M. GEDDES AND MADE BY C. BLAKEMAN 1956'.When St Paul’s church was amalgamated with another parish in the 1970s, the Geddes-Blakeman window was obscured by internal alterations to the building and was effectively inaccessible. The church was finally declared redundant in recent years and later converted to housing. As part of the structural alterations, the stained glass window was removed. Literature: Nicola Gordon Bowe, David Caron and Michael Wynne, 'Gazetteer of Irish Stained Glass', Irish Academic Press, Dublin, 1988;Nicola Gordon Bowe, 'Wilhelmina Geddes, Life and Work', Four Courts Press, Dublin, 2015;Peter Cormack, 'Arts & Crafts Stained Glass', Yale University Press, New Haven & London, 2015. We are very grateful to Peter Cormack for his assistance in the cataloguing of this lot.*Artist's Resale Right may apply to this lot. Condition report: All the panels have been kept in plastic boards, taped both sides. Three lowest panels - structurally sound in the lead frames. No visible defects or cracks. Faith - two cracks to panels. Fourth panel from the bottom on the left - crack to the base of the wing. Fourth panel from the right on the bottom (knee) this panel has a crack.Hope and Charity - both appear without cracks. Both are structurally sound in the lead. All three slightly bowed. Left hand top - yellow crescent moon - cracked panel. The other top panels again appear to be OK. Lead work good on all others.

A pair of Louisiana Museum of Modern Art Posters, each 41 x 101 cm

A collection of ten silver reference books, comprising: Krekel-Aalberse, A., Art Nouveau and Art Deco Silver, 1989, hardbound, Bouilhet, H., Christofle: Silversmith Since 1830, Cantz, H., Viennese Silver Modern Design 1780-1918, and seven other volumes. (10)

A mixed lot, comprising silver items, a modern silver oil and vinegar frame, by The Harrow School of Art, London 1977, tapering form, textured decoration, with two later oil bottles, (and a spare bottle), a pair of Victorian dwarf candlesticks, Sheffield 1889, fluted columns, drip pans a.f, a cased pair of salt and pepper pots, a mustard pot, a salt cellar and spoon and a pepper pot, and a pair of Polish electroplated Sabbath candlesticks, the underside stamped Iszekman, Galw, Warsawa, and a butter dish, approx. weighable 12oz. (qty)

JAZZ - LPs/ 10" (BOP/ COOL). A quality collection of around 65 LPs. Artists/ titles include John Coltrane - Blue Trane (S11-56987), Thelonious Monk - Alone In Sanfrancisco (OJC-231), Charles Mingus - Presents Charles Mingus (Candid 9005). Miles Davis inc Kind Of Blue (62066), Porgy And Bess, The Birth Of Cool (CAPS 1024), Sketches Of Spain, Miles Ahead. Bill Evans inc Trio (2632 054), The Village Vanguard Sessions. Johnny Griffin/ Eddie Lockjaw Davis - Lookin AT Monk (JLP 39), Hampton Hawes Trio (LAC 12056), Billie Holiday inc The Lady Sings Vols 1 & 3. Al Haig Trio (LDE092, 10"), Bud Powell Trio (LDE010, 10"), Modern Jazz Quartet inc S/T (20-038), MJQ, The Modern Jazz Quartet (LTZ-K 15136), Plays One Never Knows, Pyramid. Duke Ellington, Art Blakey, Clifford Brown, The Dave Brubeck Quartet, Sal Nistico/ Stan Tracey Quintet, Zoot Sims, Charlie Parker. Condition is generally VG to Ex.

THELONIOUS MONK AND RELATED - LP PACK. A splendid pack of 14 LPs by Thelonious Monk and LPs he features on. Titles include Genius Of Modern Music Vols 1 (BST 81510, French reissue), Vol 2 (BST 81511, French reissue), TM & Milt Jackson (BNJ 61012), More Genius Of (BNJ 61011), Milt Jackson And The Thelonious Monk Quintet (BLP 1509, Japanese), Criss-Cross (BPG 62173), Misterioso (SBPG 62620), Solo Monk (BPG 62549), Straight No Chaser (BPG 63009), Monk (CL 2291), It's Monk's Time (CL 2184), 1963: In Japan (UPS-2172-B), Straight No Chaser (SC 45358), Art Blakey's Jazz Messengers With Thelonious Monk (SD 1278). Condition is generally VG+ to Ex+.

ART PEPPER - LP COLLECTION. A quality collection of 50 LPs by jazz saxophonist Art Pepper. Titles include S/T (68.141/43, 3 LP box-set), Shorty Rogers & Art Pepper, The Collection, The Early Show, The Late Show, Discoveries: The Savoy Sessions. Rediscoveries, Pacific Jazz, The Return Of Art Pepper, Early Art, Thursday Night at The Village Vanguard (x4), Among Friends, Art Pepper Today, Ballads By Four, New York Album, So In Love, Blues For The Fisherman, True Blues, One September Afternoon, Road Game, Art Lives, APQ, Tete-A-Tete, Goin Home, Straight Ahead Jazz Vol 2, The Art Pepper Quartet, Playboys, Marty Paich Quartet Feat Art Pepper, The Way It Was, Modern Art, Collections, Omega Alpha, Meets The Rhythm Section, The Omega Man, Some Like It Hot, Eleven. Condition is generally VG+ to Ex+.

COOL POP - LPs. A smashing selection of 14 pop LPs/ 12". Mostly modern issue/ reissue pressings. Artists/ titles include Goldfrapp inc Black Cherry (Stumm196, purple vinyl with art print), Felt Mountain (Stumm188x, white vinyl). Elton John - Jewel Box: Rarities & B-Sides (0060250731406, sealed). Grace Jones inc Warm Leatherette (202 163-320), Night Clubbing (042284236812), Pet Shop Boys inc Monkey Business, Being Boring, Behaviour, Introspective, Actually, Please. John Grant inc Queen Of Denmark, Pale Green Ghosts, Grey Tickets Black Pressure & Love Is Music. Condition is generally VG+ to Ex+.

MODERN/ TRAD/ COOL - JAZZ LPs. A timeless selection of around 35 LPs, includes a small number of 10". Artists/ titles include Billy Preston - Greazee Soul, The Charles Lloyd Quartet - Love In, Norman Granz - Jazz At The Philharmonic, Eugene Wright - The Wright Groove, Erroll Garner - Concert By The Sea, The Peddlers - Birthday, Dudley Moore - The Other Side, Les McCann - Oh Brother, The Modern Jaazz Quartet - Odds Against Tomorrow, Herb Geller - Plays, Ken Colyer Jazzmen - One For My Baby, Herb Ellis - Two For The Road, Coleman Hawkins - Hollywood Stampede, Gerry Mulligan - Meets Ben Webster, The Art Tatum Quartet, Mose Allison, The National Jazz Federation, McGuffie Moods, Charlie Parker, Spirit Level, Various - All Jazz, Billy Cobham, Chick Corea, Erroll Garner, Milt Jackson. Condition is generally VG to Ex.

SOUL/JAZZ/FUNK - HIGH QUALITY MODERN TITLE/PRESSING LPs - An eclectic collection of 18 x LPs consisting of contemporary artists and classic reissues. Artists and titles are: Gogo Penguin - A Humdrum Star, Ronin Arkestra, Michael Kiwanuka, Grimace Federation, The Mauskovic Dance Band, Idris Ackamoor & The Pyramids - Shaman, Khurangbin & Leon Bridges - Texas Sun, Robert Glasper - F**k Yo Feelings, Al Kent, No Ordinary Game, Robert Ouimet, Contrepoint, Art Blakey and The Jazz Messengers, Ebo Taylor, Soul Brothers, Syl Johnson - Is It Because I'm Black, Orchestre Poly-Rythmo and Emma Jean-Thackray. All titles appear to be in fantastic condition.

A collection of ceramics modern art vases commemorative China glass 19th century blue and white plates and other oddments including cut glass . (a lot) - NO RESERVE

An interesting and colourful framed print of modern art depicting a bird and signed by the artist. Measuring approximately 54.5cm x 73cm.

MODERN PEWTER CASED MANTEL CLOCK IN THE ART NOUVEAU STYLE

Three boxes containing a collection of miscellaneous books to include poetry and art reference works including; two Centuries of British watercolour paintings, modern pen drawings, European and American, watercolours of the Norwich School by Derek Clifford and many others 

THREE BOXES AND LOOSE ART MATERIALS, CHRISTMAS DECORATIONS, METALWARES AND SUNDRY HOUSEHOLD ITEMS, to include Daler Rowney Georgian oil paint (part used), acrylic, oil and gouache paints, oil pastels and pastel pencils, a wooden shoe cleaning box containing polish, brushes and cloths, vintage and modern Christmas baubles and decorations, slate and stone place mats, a pair of National Audubon Society Bushnell 8x42 binoculars, a wall clock, a jewellery box, cutlery to include Villeroy & Boch salad servers and WMF Cromargen tongs and serving spoons, etc (sd) (3 BOXES + LOOSE)

FOUR BOXES AND LOOSE SUNDRY ITEMS ETC, to include a brass oil lamp with green glass shade, two brass electric table lamps, Art Deco style Westminster chiming clock in need of attention, unbranded coaching horn, approximate length 104cm, boxed Woolworth christmas tree, modern globe showing the world in 1492, approximate height 35cm, vintage technical drawing set, Russian Matryoshka dolls, boxed size 8 walking boots (lightly worn), box of mostly classical LP's (list on request), box of twenty CD's of sixties music, PC games, pair of decorative swords etc

A QUANTITY OF ASSORTED DOLLS, to include several Art Marca dolls, modern collectors dolls including Leonardo Collection and Alberon examples and a quantity of collectors costume and souvenir dolls including a number of Innuit and Eskimo examples (4 boxes)