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A modern album of approximately 184 real photographic and printed postcards (including art cards), nearly all standard-size but around a half-dozen moderns, from the Channel Islands. This lot is unusual for the high proportion of postcards of Sark. There are more than 11Estimate: £35-£50.0 cards of Jersey and Guernsey, including four photos of the Battle of Flowers (which are smaller than the postcards), around 20 of Alderney and approximately 50 of Sark. One of two cards have interesting postmarks, which the vendor has identified with catalogue numbers. Around a dozen of the cards feature some of the passenger ferries which plied their trade between the Channel Islands and mainland.Various publishers, both from the Channel Islands, as well as national names, including notably the Guernsey Press Co; but also Norman Grut of Guernsey; there are five drawings by H Sandwith published by W&S Studio of Guernsey; the Commercial Art Co of Jersey, Southern Series (Alderney), Louis Levy of France, Valentine, BB of London and Judges. The condition of the cards is mainly good or better, but some have creasing or other faults.MW

Eight silver brooches, a Charles Horner 30mm silver closed crescent brooch, hallmarked Chester 1897, a Victorian silver double crescent and swallow brooch, Birmingham 1889, a 40mm bow brooch with turquoise, Chester 1915, two modern brooches of Art Nouveau style ladies, Scottish tree of life brooch by Ola Gorie, Edinburgh mark and another brooch by the same maker..

Modern Continental silver Greek Icon Byzantine art with box

Original vintage advertising poster for Shell Oil. Fantastic image of Boadicea holding a spear, standing in her chariot led by two horses, ordering a foot soldier to oil the wheels. The caption reads: "For modern lubrication - Shell Oil..." Boadicea (or Boudica / Boudicca / Buddug in Welsh) was queen of the British Celtic Iceni tribe, leader of the uprisings in AD60-61 against the occupying forces of the Roman Empire. Artwork by the notable English Surrealist artist, John Banting (1902-1972), who was introduced to the Paris art world by Cedric Morris and was involved with the Bloomsbury set, working on many book jackets for the Hogarth Press and designing ballet sets. He exhibited at Surrealist exhibitions in 1930 and 1936 and took part in Fantastic Art, DaDa and Surrealism in New York. In 1947 he contributed to the International Surrealist exhibition in Paris and signed the declaration of the English artists; the Surrealist movement in England then began to wane and he exhibited little afterwards. Horizontal. Acceptable condition, stains on the bottom margin, pinholes, light folds and minor paper losses, print transfer in the image. Country of issue: UK, designer: John Banting, size (cm): 76.5x150, year of printing: 1928

Modern Moorcroft vase and cover in Art Nouveau shape, decorated with tube lined flowers, the base indistinctly signed and dated 2007, 21cm high

KLAUS MOSETTIG (B. 1975)Pradovit N24 2009 signed, titled and dated October 2009 on the backing boardpencil on paper153 by 154 cm.60 1/4 by 60 5/8 in. Footnotes:ProvenanceModern Art, LondonAcquired directly from the above by the present owner in 2011ExhibitedLondon, Modern Art, Klaus Mosettig, 2011London, Saatchi Gallery, Paper, 2013, p. 28, illustrated in colourLot to be sold without reserve.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A beech stool, retailed by Liberty & Co., in Syrian style, 41cm high, the top 38cm squareThis model of stool is illustrated in 'Liberty's furniture 1875-1915, the birth of modern interior design' it is also included in a sketch by Raffles Davidson for the art journal of the Pownall bedroom, Pownall Hall , Cheshire, p99.  

CECIL STEPHENSON [1889-1965]. Abstract, 1939. oil crayon on card; signed and dated in ink on the reverse + studio stamp signature. Provenance: Annely Juda Fine Art [1980 ?]; Private collection, UK; Modern Art Auctions, 7.12.2016, lot 81 [£2400 hammer price]; private collection, UK. 34 x 24 cm [overall including frame 50 x 40 cm]. See lot 63 for more info. on the artist. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable. ARR 4%.

Camera Manufacturer's Calendars, Asahi Pentax - Helmut Newton, 1976, Sam Haskins, 1973, 1975, Sam Haskins/Art Kane/Jeanloup Sieff/Sarah Moon, 1974, with Liberty, 1982, and modern Norman Rockwell (2)

An Art Deco-style pressed glass bowl,the rim with raised flowers, each quarter panel on the bowl with mermaids and seaweed, on four lug feet, 31.5cm diameter14.5cm highCondition report: Looks good overall. Modern.

Quantity of volumes on Modern Art to include Robert Rauschenberg "What  is the Art Book, La Biennale di Venezia", after all Art Magazine Nos. 17, 15 and 16 and others (2  boxes)

Quantity of books relating to modern art to include Helen Chadwick, Barbara Hepworth, Shark Infested Waters, The Saatchi Collection of British Art in the 90's, Apocalypse, Gravity and Grace,The Changing Condition of Sculpture 1965-75, the Contingent Object of Contemporary Art, etc. (2 boxes)

Various books on modern art to include Doris Salcedo, Gina Pane, Italics Italian Art between tradition and revolution 1968-2008, etc (2 boxes)

Assorted volumes relating to art and modern art to include Martin Creed Works, Eva Hesse Studio Work, Veronese, Giotto, Caravaggio, young German artists and assorted paperbacks (3 boxes)

* HERBERT WHONE (BRITISH 1925 - 2011), FACTORIES IN THE SNOW oil on board, signed and dated '73 83cm x 102cm (approximately 33 x 40 inches, image size) Framed (original) Note: In our opinion, one of the finest examples of the work of Herbert Whone to be offered at auction. Herbert Whone was born in Bingley, West Yorkshire, where his parents were both employed in the cloth mills. He was encouraged by his mother to ''improve'' himself culturally, and from an early age took photographs and practised the violin. After education at the Royal Manchester College of Music (now the Royal Northern College of Music) and Manchester University, he secured positions in the Royal Opera House Orchestra and the BBC Symphony Orchestra, before moving to Glasgow in 1955, where he took up the position of deputy leader of the Scottish National Orchestra. He was inspired by Glasgow's changing fortunes and painted a series of notable canvases featuring the beauty of a city and surrounding areas in transition. His paintings of trams and shipbuilding on and around the Clyde, to pick two of his fondest subjects, were presented with warmth and beauty, almost impressionistic in their depiction of glowing sunsets and use of rich colour. Herbert Whone (often incorrectly catalogued as Herbert Bannister Whone, his father's name) continued to paint long after his departure from Glasgow in 1964 and made several trips back to Scotland to paint. but It's the relatively small body of work produced in and around the city that stand testament to his exceptional talent. Whone's paintings, while highly collected and critically acclaimed, are still to attain the full recognition and commercial value they deserve and will surely eventually achieve. Known collectors of Herbert Whone's paintings include Joan Eardley, Margot Sandeman, Cyril Gerber, Johnny Beattie and Magnus Magnusson. Growing collector interest in Herbert Whone has seen his auction record price being beaten on an almost annual basis in recent years and his current "high" is £11,000 (hammer). This is even more impressive as auction appearances of his larger paintings are becoming ever rarer. Public collections include: Glasgow Museums & Galleries, The Scottish National Gallery of Modern Art, The Hepworth, Kirklees Museums & Galleries, Salford Museums & Galleries and The Mercer Gallery (Harrogate). A copy of "Hertbert Whone, Glasgow - A City In Transition" (a 112 page illustrated hardback book) accompanies this lot.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), WHITE VILLAGE, ANDALUCIA oil on canvas board 50cm x 40cm Framed and under glass Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career.

A GANDHARA STUCCO HEAD OF A BODHISATTVA Ancient Kingdom of Gandhara, Kushan period, 4th - 5th century. Stucco with remnants of polychrome painted details. The curly hair on the side and headdress mark this delicately modeled portrayal as a Bodhisattva. Mounted on a modern base. Condition: Losses, wear and weathering as visible on the images in the catalogue and at www.zacke.at online. Provenance: English private collection. Weight: Head only 3740 g. Dimensions: Size with base 35.5 cm. For a related Bodhisattva head see Christies New York in ‘Indian and South East Asian Art’, September 14th, 2010, lot 2 (sold for 6,250 USD).

A MASSIVE AND HEAVY INDIAN BLACK STONE HEAD OF VISHNU India, Rajasthan, 16th-17th century. The face shows a serene expression with gently arched eyebrows, almond-shaped eyes, a broad nose, and full lips forming a subtle smile, flanked by long ears with large circular earrings, the fine locks of hair in tight curls along the hairline, surmounted by an elaborate headdress finely incised with floral and geometric designs. Mounted to an associated modern wood base. Condition: Good condition commensurate with age, some cracks and losses, extensive wear. Provenance: Belgian private collection. Weight: 36.1 kg (incl. base) Dimensions: Height 71.5 cm (incl. base), 52 cm (excl. base) Auction result comparison: A similar head, from the 12th century and of considerably smaller size, was sold by Christie’s New York in Indian, Himalayan and Southeast Asian Works of Art on 15 March 2016, lot 315, for USD $25,000.

AN ORDOS GILT BRONZE ‘CROUCHING BEAR’ HORSE TACK ORNAMENT, WARRING STATES China, Inner Mongolia, Ordos, 4th-3rd century BC. Of circular shape, cast in the form of a crouching bear with distinctive ears and finely incised claws. Condition: Extensive wear, losses on the back, minor dents. Fine dark patina with small areas of malachite green patina as well as encrustations on the interior. Provenance: Grays Antique Center, London. 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 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. Published: Dr. Koos de Jong, Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond, Amsterdam - Hong Kong 2013, ill. 1.10 (left), p. 23. Weight: 17.8 g Dimensions: Diameter 3 cm Auction result comparison: Compare with a closely related scroll weight sold by Christie’s Los Angeles in Myth and Reality: Animals in Chinese Art on 7 May 1999, lot 31, for USD $23,000 incl. buyer’s premium. 鄂爾多斯銅鎏金熊形馬具，戰國 中國，内蒙古，鄂爾多斯，公元前四至三世紀。圓形，鑄成蹲伏熊的形狀，有獨特的耳朵和爪。 品相：廣汎磨損，背部有缺損，輕微凹痕。深色包漿，局部有銅綠，内部有結殼。 來源：Grays Antique Center, London. Drs. Koos de Jong收藏，2007年購於上述收藏。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1.10左側，頁23。 重量：17.8 克 尺寸：直徑 3 厘米

A GILT BRONZE AND WHITE JADE ‘DRAGON’ BELT PLAQUE, TANG DYNASTY China, 618-907. The rectangular white jade belt plaque is encased in a gilt bronze shell, the closed side with a dragon in high relief on an incised dotted ground and the other side decorated in openwork with scrolling vines and flowers, the open areas revealing the cased white jade. The opaque stone of a greyish white color with russet inclusions. The use of such precious materials as jade and gilt bronze indicates this plaque was crafted for a person of high status.Four small piercings, two on each end, for attachment. Condition: Good, original condition, remarkable considering the age of this plaque! Some wear, miniscule nicks and scratches, minor dents and tiny losses. The gilt bronze with dark and copper red patina as well as few spots of verdigris. Provenance: Grays Antique Center, London. Dr. Koos de Jong, acquired from the above in 1999 (invoice not available). Dr. de Jong is a Dutch art his - torian 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: 36.3 g Dimensions: Size 3.6 x 5 cm Literature comparison: Orientations, Vol. 33, no. 7, p. 19. 銅鎏金白玉龍袋扣，唐代 中國，618-907。方形白玉牌被包裹在鎏金銅框中，銅牌一面高高地浮雕著一條龍，另一面在白玉用鏤空的纏枝花卉紋裝飾，露出了白玉。 品相：原始良好品相，考慮到玉牌的年齡，這很了不起！一些磨損，微小的划痕，輕微的凹痕和微小的損失。 鎏金銅帶有深色和銅紅色包漿，以及少量的銅綠斑點。 來源：倫敦Grays 古玩中心。Drs. Koos de Jong 1999年購於上述收藏。 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：36.3 克 尺寸：3.6 x 5 厘米

A HEAVILY CAST BRONZE TRIPOD CENSER, MING DYNASTY China, 1368-1644. The censer with a compressed globular body raised on three legs issuing from the mouths of horned mythical beasts and a pair of pierced s-shaped handles that flank the neck and flat, everted rim. The neck is finely incised with a circumferential leiwen pattern. Condition: Fair condition with minor wear, casting flaws, a ding to the body, the feet with recesses revealing slag from the casting procedure. Verdigris on the interior and the underside. Minimal losses, some nicks to edges. A piercing to the base has been closed with a metal plate. The handles are detachable and fixed with small modern wood pegs. Provenance: English private collection. Weight: 5.4 kg Dimensions: Diameter 30 cm handle to handle The base is incised with a Chinese inscription which is partly illegible. Auction result comparison: Compare with a related censer sold at Sotheby’s New York in Important Chinese Art on 12 September 2018, lot 300, for USD $25,000 incl. buyer’s premium. 銅獸面紋朝冠耳三足爐，明代 中國，1368-1644。香爐鼓腹，獸面三足，一對朝冠耳位於頸部。頸部雷紋裝飾帶。 品相：品相良好，輕微磨損，鑄造缺陷。腳掌上有凹槽，露出了鑄造過程中產生的爐渣。 內部和底下有銅綠。 輕微缺損，邊緣有些划痕。 底座的穿孔已用金屬板封閉。手柄是可拆卸的，並用小型現代木釘固定。 來源：英國私人收藏 重量：5.4 公斤 尺寸：耳至耳直徑 30 厘米 拍賣成果比較：一件相似三足爐2018年9月12日于紐約蘇富比《重要中國藝術》，拍號300，成交價USD $25,000 含買家佣金。

A SUPERB BRONZE FIGURE OF A BULL, LATE WARRING STATES TO EARLY HAN DYNASTY China, probably Kingdom of Dian, 3rd-2nd century BC. Hollow cast, the stocky, muscular bull standing four square on distinct hoofs, its head held high, with rounded bulging eyes, flaring nostrils, closed mouth, the spoon-shaped ears flanking a broad bull neck, its tail curled, with a partially encrusted olive-grey patina and some malachite encrustation. Condition: Losses, fissures and naturally grown patina as visible on the images at www.zacke.at. One small and original piece is visibly reattached. No touch-ups or any kind of overpainting whatsoever. Overall good condition especially when considering the high age of this bronze. Provenance: The Reinhold Hofstätter collection, Vienna, and thence by decent. By repute acquired ca. 1960-1970. Weight: 494 g Dimensions: Length 18.5 cm Dian was an ancient kingdom situated in modern Yunnan, southwestern China. According to Han historian, Sima Qian, it was established in 279 BC when King Qingxiang of Chu sent a military force to the southwest. Zhuang Qiao, a general of Chu, reached the Dian Lake as part of the Chu military campaign. When the Chu homeland was invaded by the Qin, Zhuang Qiao decided to stay in Yunnan and adopt the native ways, establishing the Dian kingdom. The Qin dynasty was subsequently overthrown by the Han, and the commanderies of the new dynasty, Ba and Shu, bordered Dian. Literature comparison: For stylistic comparison, see a Warring States bronze horse in the M. H. de Young Memorial Museum, San Francisco, from the Avery Brundage Collection, published in René-Yvon Lefebvre d’Argencé, Ancient Chinese Bronzes in the Avery Brundage Collection, Berkeley, 1966, pl. XLVIII, no. C. See also a related Ordos bronze horse from the collection of Mrs. E. Bennett, exhibited in the Exhibition of Chinese Art, Berlin, 1929, cat. no. 89, sold at Sotheby’s London, 24th May 1955, lot 26. Also compare with a Pair of Standing Bovines from the Western Han Dynasty, on loan from the Guangxi Institute of Cultural Properties Preservation and Archaeology, Excavated from Tomb no. 26 at Fengmenling, Hepu county, Guangxi, 2003, exhibited in New York, The Metropolitan Museum of Art in Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.–A.D. 200), April 3, 2017–July 16, 2017. Auction result comparison: Compare with a bronze horse at Sotheby’s New York in Junkunc: Arts of Ancient China, 19 March 2019, lot 139, sold for USD $50,000. Also compare with a Western Han ox-form oil lamp at Christies New York in The Sze Yuan Tang Archaic Bronzes from the Anthony Hardy Collection, 16 September 2010, lot 892, sold for USD $25,000. 青銅牛，戰國晚期至漢代初 中國，可能爲滇國，公元前三至二世紀。空心，矮胖、肌肉發達的公牛四蹄著地，擡頭，眼睛圓鼓，鼻孔和嘴巴張開，兩側湯匙形的耳朵，尾巴彎曲，局部著橄欖灰色銅綠和一些孔雀石綠色結殼。 品相：裂縫、缺損和自然生長的包漿，細圖可見www.zacke.at。小修補明顯可見，無任何形式的黏貼和修飾。 總體而言，品相良好，尤其是考慮到青銅牛的年代。 來源：維也納Reinhold Hofstätter收藏，家族保存至今。據説大約購於1960-1970年。 重量：494 克 尺寸：長 18.5 厘米 拍賣結果比較：一件相近的青銅馬2019年3月19日于紐約蘇富比《中國古文物》拍號 139， 成交價USD $50.000。另外一件西漢牛形油燈于紐約佳士得《The Sze Yuan Tang Archaic Bronzes from the Anthony Hardy Collection》拍號892，成交價USD $25.000。

A SMALL RUSSET-SPLASHED ‘HARE’S FUR’ BOWL, SONG DYNASTY China, 960-1279. The bowl is covered with a thick and lustrous blackish-brown glaze suffused with russet ‘hare’s fur’ streaks and accented with russet splashes, stopping neatly above the lower body and exposing the body of greyish-brown color with one thick glaze drop ending at the short foot ring. Condition: Excellent condition with some old wear and minor firing flaws. Provenance: E. W. Hendriks Oriental Art, Amsterdam. Dr. Koos de Jong, acquired from the above in 1996 (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: 103. 8 g Dimensions: Diameter 8 cm The bowl has rounded sides rising to a slightly incurved rim and is supported on a short ring foot. The superior quality of this remarkable bowl consists of the fascinating shades of the colors black, red, brown and green on the inside and the, entirely coincidental, symmetrical fan-shaped streamlining of the stripes on the outside. The bold russet splashes accenting the blackish-brown glaze on this piece are often referred to as zhegu ban, or ‘partridge-feather mottles’. ‘Hare’s fur’ tea bowls, much beloved by tea connoisseurs, were first made at the Jian kilns in Fujian in southern China. Following the Jin conquest of the north in 1127, such bowls became virtually unattainable as trade between northern and southern China diminished. Trying to tap into the lucrative market for these specialized dark-glazed wares, the Cizhou potters began to produce wares exhibiting their own version of this highly desirable glaze. Literature comparison: Priestley & Ferraro, London 2008, p. 4. R. Mowry, Hare’s Fur, Tortoiseshell, and Partridge Feathers. Chinese brown- and blackglaze ceramics, 400-1400, Harvard University Art Museums, Cambridge (MA) 1996, no. 38 a-b, p. 143. Fire & Earth, Chinesische Frühkeramik, Museum für Ostasiatische Kunst, Köln 2008, no. 166, p. 207. 小褐色釉兔毫盞，宋代 中國，960-1279。小盞覆厚重黑色釉层，透出均匀细密的丝状筋脉条纹，圈足露出灰褐色胎體，一層厚厚的釉滴聚集在圈足上方。 品相：品相極好，一些老磨損，輕微燒製瑕疵。 來源：阿姆斯特丹E. W. Hendriks Oriental Art收藏。Drs. Koos de Jong 1996年購於上述收藏 (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：103. 8 克 尺寸：直徑8 厘米

A SMALL 'OIL SPOT' BLACK-GLAZED CONICAL BOWL, SONG DYNASTY China, 960-1279. The deep conical sides rising from a short straight foot to a slightly everted rim, covered inside and out with a lustrous black glaze suffused with iridescent bluish silver and russet ‘oil spots’ of varying sizes, the glaze stopping above the foot, the unglazed section revealing the buff ware. Condition: Excellent condition with minor wear and firing flaws. Provenance: Collection of Michel Paciello, Venice. Dr. Koos de Jong, acquired from the above in 1999. 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: 110.4 g Dimensions: Diameter 10.5 cm The present piece boasts a highly lustrous glaze with iridescent ‘oil spot’ markings that shift from silvery-metallic tones to russet-brown when light shines through them. Bowls of this form and covered in this ‘oil spot’ glaze are quite unusual and extremely rare. The only other known, yet slightly earlier example (to this author) is in the Roy Hu collection in Taipei. Conical bowls were intended primarily for the drinking of tea. The choice of tea during the Song and Jin periods was a white tea that was whisked to produce a white froth on top. Black-glazed bowls such as the present example became increasingly popular as they showed off the frothy white tea to great advantage. Literature comparison: Rose Kerr, Song Ceramics, Victoria and Albert Museum, London 2004, no. 109, p. 108. The Multiplicity of Simplicity, University Museum & Art Gallery of the University of Hong Kong, 2012, no. 103, p. 255. Song Ceramics, Tobu Museum of Art, Tokyo 1999, no. 81, p. 119. 小黑釉油滴斑盞，宋代 中國，960-1279。深圓錐形，短足，向上擴延，邊緣稍稍傾斜，內側和外側覆蓋著一層發亮的黑色釉，上面覆蓋著虹彩的藍銀色和不同大小的紅褐色“油斑”，釉面停在腳上，無釉部分露出内胎。 品相：品相極好，輕微磨損與燒製缺陷 來源：威内斯Michel Paciello收藏。Dr. Koos de Jong 1999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。 重量：110.4 克 尺寸：直徑10.5 厘米

A YAOZHOU CELADON CARVED ‘PEONY’ SHALLOW BOWL, NOTHERN SONG DYNASTY China, 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 cm This 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 PAINTED CIZHOU ‘SLEEPING LADY’ PILLOW, JIN DYNASTY China, 1115-1234. Modeled in the form of a sleeping girl, covered with a white slip, her realistically rendered dress painted pale orange with the details in white slip and painted black under a transparent glaze, the base left unglazed revealing the buff ware. Condition: Good condition with some old wear, few hairlines on one side, small chips and losses. Provenance: D. Blitz, Amsterdam (label to base). Dr. Koos de Jong, acquired from the above at TEFAF Maastricht in 2011 (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: 1,980 g Dimensions: Length 36.2 cm Literature comparison: Kaikodo Journal, New York, 1997, no. 79. Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong 1994, no. 162, p. 361. Chinese Ceramic Pillows. The Mr. & Mrs. Yeung Wing Tak Gift, Museum of the Western Han Tomb of the Nanyue King, Guangzhou 1993, no. 126. Auction result comparison: Compare with a closely related though slightly larger pillow sold by Christie’s Hong Kong in The Pavilion Sale - Chinese Ceramics and Works of Art Including the Quek Kiok Lee Collection on 9 October 2019, lot 221, for HKD $225,000. 磁州窯彩繪美人枕，金代 中國，1115-1234。以一個橫臥美人為原型，逼真地描繪了衣服等細節。底部未上釉，露出了淺黃色的胎體。 品相：品相良好，一些老磨損，一面有輕微髮絲綫裂縫、小開片與缺失。 來源：阿姆斯特丹D. Blitz (底座標簽)。 Drs. Koos de Jong 2011年購於TEFAF Maastricht (發票已遺失)。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：1,980 克 尺寸：長 36.2 厘米 拍賣結果比較：意見相似但大一些的美人枕于2019年10月9日香港佳士得《中國陶瓷與工藝品》拍場拍號221，成交價HKD $225,000。

A SHAGREEN AND WOOD SADDLE WITH SILVER-INLAID IRON FITTINGS, QING Sino-Tibetan, late 18th to early 19th century. Constructed from hardwood tied together with leather strips and covered with shagreen from ray skin. The stuffed cotton and brocade saddle cover is made from 18th century silk fragments showing a design of flying cranes. Published: Dr. Koos de Jong, Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond, Amsterdam/Hong Kong 2013, ill. 6.03, p. 74, and illustrated on the cover of this book! Condition: Overall in good condition. The wood with age cracks, chips and small losses on the underside. Some losses to the shagreen, particularly on the ledgers. Some loss to the silver, the iron applications with small dents, dings and small areas of copper red patina. The textile with wear, small tears, and creases, possibly a later addition made from period textiles. Provenance: Ashoka Arts, Brighton, England. Collection of Dr. Koos de Jong, acquired from the above in 2011 (no invoice 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: 3.5 kg Dimensions: Length 45.5 cm With an associated metal stand. (2) 鮫魚皮錯銀鐵木質馬鞍，清代 漢藏，十八世紀末至十九世紀初。硬木和皮革條綁在一起製成，覆蓋著鮫魚皮。填充著棉花錦緞馬鞍蓋由18世紀絲綢碎片製成，可見飛鶴紋樣。 品相：總體狀況良好。 木料因爲時間流逝出現開裂和碎裂，底部小缺損。 鮫魚皮有些缺損。 錯銀鐵初有小凹痕和小面積的銅紅色包漿。錦緞部分帶有磨損，小水漬和摺痕，可能是後期紡織品製成的。 來源：英國佈瑞登Ashoka Arts藝廊。Dr. Koos de Jong收藏，2011年購於上述藝廊(原始發票遺失)。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6.03，頁74，同時也展示在本書的封面！ 重量：3.5 公斤 尺寸：長45.5 厘米

A LACQUERED WOOD SADDLE, QING DYNASTY South 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 WOOD SADDLE WITH GILT IRON FITTINGS AND SILK BROCADE COVER, 17TH-18TH CENTURY Sino-Tibetan, late Ming to early Qing dynasty. Constructed from wood tied together with strips of leather, the pommel and cantle plates made of chiseled iron highlighted in gilt to form the design of dragons chasing the flaming pearl against a pierced scrolled ground on a layer of crimson red cloth. Published: Dr. Koos de Jong, Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond, Amsterdam - Hong Kong 2013, illustrated on the back cover. Condition: Overall in good, original condition. The wood with age cracks and some small chips as well as a fine dark patina. Some loss to the gilt, the iron applications with small dents, dings and small areas of malachite green and copper red patina. The silk with faded colors, stains, small tears, and creases. Provenance: Theresa Coleman, Tibetan Gallery, Hong Kong. Collection of Dr. Koos de Jong, acquired from the above in 2013 (no invoice 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: 5.0 kg Dimensions: Length 60 cm The saddle cover, which like the saddle itself represents dragons chasing the flaming pearl, is made of brocaded silk fragments, the originally red (now faded into peach) silk dates to the Kangxi period (1661-1722) and is secured with pierced circular gilt-iron fittings in the form of flowers. With an associated metal stand. (2) Literature comparison: The technique used to decorate the pommel and cantle plates on this saddle are similar to a saddle in the Metropolitan Museum of Art, dated to the 17th or 18th century, accession number 1997.214.1. Auction result comparison: Compare with a similar but considerably larger saddle without a cover, dated to the 18th or 19th century, sold by Sotheby’s New York in Important Chinese Works of Art on 17-18 March 2015, lot 364, for USD $60,000 incl. buyer’s premium. 鐵鎏金鏤空木胎馬鞍，十七至十八世紀 漢藏，明末清初。馬鞍木胎以皮帶綁緊。前後鞍橋用錾铁鎏金镂空制成雙龍戲珠紋飾，鞍板上覆蓋刺綉鞍布。 品相：總體而言處於良好的原始狀態。木胎有年代裂縫和一些小碎屑以及細膩的深色包漿。鍍金有些損失，鐵的部分有小凹痕和局部有孔雀石綠和銅紅色包漿。織物有褪色、污漬、小水痕和摺痕。 來源：香港Theresa Coleman西藏文物藝廊。Drs. Koos de Jong收藏，2013年購于上述藝廊（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。 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，書背圖。 重量：5.0 公斤 尺寸：長60 厘米 文獻比較：相似技術和紋飾的馬鞍可見Metropolitan Museum of Art，時間爲十七或十八世紀，編號 1997.214.1. 拍賣結果比較：一件相似但大些卻沒有鞍佈的十八至十九世紀馬鞍2015年3月17-18日于紐約蘇富比《重要中國工藝品》拍號364，成交價USD $60,000含買家佣金。

Buchan (John). A Lost Lady of Old Years, 1st edition, London & New York: John Lane, 1899, advertisement leaf at end, original green cloth, upper cover with art nouveau decoration, spine faded to brown (tiny tear at head repaired), modern cloth slipcase, 8vo, presentation copy, inscribed to front endpaper 'Charles Hill Dick, from John Buchan, Jan. 1900', also with John Buchan's bookplate to rear pastedown, together with The Northern Muse. An Anthology of Scots Vernacular Poetry, arranged by John Buchan, London: Thomas Nelson and Sons, [1924], slight marginal toning, original cloth-backed boards (some toning and spotting to boards), large 8vo, large paper copy 53/150, signed, with others by John Buchan including The Thirty-Nine Steps, 2nd impression, 1915 (2 copies), The Causal and the Casual in History, CUP, 1929, The Massacre of Glencoe, 1933, the King's Grace 1910-1935, 1935, The Long Traverse, 1941 and Sick Heart River, 1941Qty: (33)

§ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) PORTRAIT OF PETER FULLER Signed and inscribed verso, oil on canvas(172cm x 172cm (67.75in x 67.75in), unframed)Footnote: Exhibited: Beaux-Arts, London - 1990; The Alma Gallery, Bristol. Note: Peter Fuller was an editor and journalist, writing and publishing on art and politics. He acted as art critic for The Daily Telegraph and was the founding editor of the art magazine Modern Painters. A keen supporter of Bellany's work, he published an essay on his painting and provided an introductory note to Bellany's 1990 exhibiton at the Compass Gallery. Fuller died tragically young in a car accident, his archive is retained by the Tate and Bellany was involved in the arranging of an art exhibition in his memory.

WILLIAM CROZIER A.R.S.A. (SCOTTISH 1897-1930) WOMAN IN A RED SHAWL - 1919 Signed and dated, oil on canvas laid on board(39.5cm x 32cm (15.5in x 12.5in))Footnote: Provenance: Bourne Fine Art, Edinburgh. Exhibited: Scottish National Gallery of Modern Art, Edinburgh 'William Crozier,' 11 May- 9 July 1995.

§ ROGER HILTON C.B.E. (BRITISH 1911-1975) FIGURE - 1972 Signed and dated verso, oil on canvas(91.5cm x 76cm (36in x 30in))Footnote: Provenance: The New Art Centre, London. Note: Roger Hilton is considered an important pioneer of abstraction in the post-Second World War era of British art, as well as one of its most successful proponents. Marked out as a great talent from an early stage, Hilton studied at the Slade under Henry Tonks between 1929 and 1931 and was the recipient of the Orpen Prize and Slade Scholarship. He went to the Academia Ranson, under Roger Bissière, then to Atelier Colarossi, Paris. On returning to London in 1933, he continued his studies at the prestigious Academy Schools. Very shortly after, he was welcomed to exhibit with the London Group, continuing to do so until 1951. He had a significant retrospective at the ICA in 1958 and in 1963 he won the prestigious first prize at John Moores Exhibition in Liverpool. A year later, he represented Britain at the Venice Biennale, and by 1968 he had been appointed a C.B.E. In all, a stellar trajectory which marks him as one of the most significant Modern British artists of the 20th century. Hilton’s career is famously closely associated with the St Ives School, the coastal seat of Britain’s abstract art movement and answer to the American Abstract Expressionists. Indeed, it was during his first visit to Cornwall in 1950 that he produced his first truly abstract painting; the successful reception of which led to his inclusion in the seminal book Nine Abstract Artists, published in 1954. By 1957 he had moved to Cornwall permanently. Key motifs in his work included abstracted explorations of the landscape and the human form. A larger than life character: quick-tongued, egotistical and a lover of women and alcohol, Hilton’s semi-abstracted/semi-figurative works from the mid-1960s to early-70s, like the example offered here, burst with character. Vital, sexually charged and darkly humorous, it is easy to grasp why this body of works are among the best loved of his career. ‘Figure – 1972’ is one of the last oils the artist painted, before turning to gouache works on a smaller scale; a change incited in the main by his declining health due to the alcoholism that would eventually kill him in 1975. Subsequently recognised as an important work in his oeuvre, ‘Figure – 1972’ has been exhibited at the Tate, and was held for some years in the important Harriman Judd Collection; a pair of Californian connoisseurs who are perhaps best recognised for championing British pottery, including the studio pottery of the St Ives School.

λ JOHN SWANNELL (BRITISH B. 1946)LADY WITH BLACK BALLOONS (AYNHOE PARK)Colour photographSigned in black ink and inscribed A/PSheet 60 x 50cm (23½ x 19½ in.)Inc. frame 83 x 73cm (32 3/4 x 28 3/4in.)John Swannell is one of the most important names in British photography. Over the last four decades he has created iconic images of fashion models, celebrities, actors, musicians, politicians and royalty. After beginning his career at Vogue Studios, Swannell went on to work as an assistant to David Bailey for four years before setting up on his own. Over the next ten years his work appeared regularly in publications such as Vogue, Tatler, Harpers & Queen and The Sunday Times. His distinctive style coupled with unrelenting hard work garnered him international recognition and further success followed in the form of a one-man show at the Royal Academy in Edinburgh in 1989 and, in 1990, with an exhibition at the National Portrait Gallery in Edinburgh and a retrospective of his fashion work at the Royal Photographic Society. In 1993, he was awarded the Fellowship of the Royal Photographic Society, at the time, one of the youngest members to have received this accolade.Swannell has since gone on to have numerous further exhibitions as well as publishing a number of books. His work is held in the permanent collections of some of the most important galleries in the work including The National Portrait Gallery, London, The National Portrait Gallery, Edinburgh and The Museum of Modern Art, New York. Condition Report: It is unexamined out of its frame. There are no visible signs of damage or restoration. Regarding the print of the girl with the black Balloon It's a digital print Photographed about 6 years agoPrinted the same year  Condition Report Disclaimer

STUDIO OF ROBERT WALKER (BRITISH 1599-1658)PORTRAIT OF WILLIAM SEYMOUR, 2ND DUKE OF SOMERSET, 1ST MARQUESS OF HERTFORD (1587-1660), FULL-LENGTH, IN ARMOUR, HOLDING A MARSHAL'S BATONInscribed marqvis of hertford lower right Oil on canvas 86 ¼ x 51 in. (219.1 x 129.5 cm.)In a seventeenth century carved giltwood auricular frameProvenance:Probably commissioned by Edward Hyde, 1st Earl of Clarendon (1609-1674), Clarendon House, London, and by descent to his sonHenry Hyde, 2nd Earl of Clarendon (1638-1709), Cornbury Park, Oxfordshire, and by inheritance at Cornbury, and later The Grove, Hertfordshire, to his nephew,Henry Hyde, 2nd Earl of Rochester and later 4th Earl of Clarendon (1672-1753), and by descent to his son,Henry Hyde, 5th Baron Hyde and Viscount Cornbury (1710-1753), in 1749, and by inheritance to his niece,Charlotte (d.1790), eldest daughter of William Capel, 3rd Earl of Essex (1697-1743), who married Thomas Villiers, 1st Earl of Clarendon (1709-1786), and by descent to,The 7th Earl Clarendon's Will TrustSale, Christie's, London, 9th December 2015, lot 144.Purchased at the above sale by the present ownerLiterature:Clarendon State Papers, Bodleian MS Clarendon 92, ff 253-254, no. 31.G. P. Harding, List of Portraits, Pictures in Various Mansions in the United Kingdom, unpublished MS, 1804, II, p. 209.J. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters, London, 1831, III, p. 165, no. 574, as Van Dyck.E. Lodge, Portraits of illustrious personages of Great Britain, London, 1835, VII, no. 131.Lady T. Lewis, Lives of the Friends and Contemporaries of Lord Chancellor Clarendon, London, 1852, III, pp. 253, 335-338.G. F. Waagen, Treasures of Art in Great Britain, London, 1854, II, p. 455.R. Gibson, Catalogue of Portraits in the Collection of the Earl of Clarendon, Wallop, 1977, p. 113-4, no. 126.Exhibited:Plymouth, City Art Gallery, Paintings from the Clarendon Collection, 1954, no. 28.William Seymour was a moderate Royalist who had opposed the King in the House of Lords in the early years of his reign, He became an important commander in the Royalist army during the Civil War and led numerous decisive battles. He negotiated the surrender of Oxford, Charles I's headquarters during the wars between 1644 and 1646, and attended the King during his impeachment. The prototype for this picture is most probably a half-length portrait, signed and dated 1656, in the collection of the Duke of Northumberland at Syon House. While other versions exist, this is the only one that includes the pike-men in the background and it has been suggested that it could have been painted by a member of Walker's studio shortly after the artist's death in 1658 (Gibson, op.cit.). The portrait certainly postdates 1660 since, although Seymour was created knight of the Garter in 1650, he was not in fact installed until 1660, and no other portrait shows him wearing the Badge of the Order.This picture formed part of Clarendon's collection of portraits that decorated his celebrated picture gallery at Clarendon House, Piccadilly, built between 1664 and 1667 to designs by Roger Pratt. These portraits included notable figures from the reigns of Elizabeth I and James I, but also of men and women he had known and written about in his famous History of the Great Rebellion and Life. After dining with Clarendon's eldest son, Henry Hyde, Viscount Cornbury, John Evelyn wrote the following entry in his diary for 20th December 1668: 'I dined with my Lord Cornbury at Clarendon House now bravely furnished, especially with the pictures of most of our ancient and modern wits, poets, philosophers, famous and learned Englishmen' (J. Evelyn, The Diary of John Evelyn, II, W. Bray (ed.), New York and London, 1901, p. 45).Condition Report: Canvas has been relined and re-varnished. Unexamined under UV light.Looks like it has no holes or patches. In good clean condition. The frame has some gesso lossesThe dimensions are for the canvas frame are 258x 158 approx  Condition Report Disclaimer

λ  RYAN CALLANAN AKA. RYCA (BRITISH B. 1981)ABSOFUCKINGLUTELY, 2016 Wood, glass, resin and gold leafSigned, dated and inscribed verso 64 x 456cm (25 x 179½ in.)Ryan Callanan, also known as RYCA, is a world renowned artist who has exhibited across the globe including exhibitions in Miami, Hong Kong and Tokyo. Callanan has worked on numerous collaborative projects with the much-admired artists Stik, Ben Eine, David Walker and music artists DJ Fatboy Slim and Sick Boy. While Callanan's career began in print making his early studies in 3D design and modelmaking at barking College in Dagenham helped him to become one of the modern day forerunners in 3D art. The artist draws on imagery from popular culture, taking symbols ingrained in society and appropriating them, usually with a humorous or rude twist. Ben Eine, recently referred to Callanan as a 'chemist-like artist' who continues to experiment with new materials keeping his work fresh and exciting. Condition Report: It appears to be in excellent original condition with only some very minor scuffs and chips to the edges of the frame. Condition Report Disclaimer

A LARGE AND IMPRESSIVE PLASTER MODEL OF PALLAS VELLETRI MODERN, AFTER THE ANTIQUE The goddess portrayed fully draped and with coiled necklace, partial cast lacking arms and head275cm high Catalogue Note: Likely derived from a cast acquired at Sotheby's New York, Historic Casts from the Metropolitan Museum of Art, 28 February 2006, lot 139 'an over life size classical statue of Athena'. The circa 1st AD Roman marble original, in turn a copy after a Greek bronze prototype, was unearthed in 1797 and has been on display at the Louvre, Paris, since 1803. Plaster casts of the statue were made soon after its discovery, some are noted in F. Haskell and N. Penny, Taste and the Antique, Yale University Press, first published 1981, pp. 284-5Condition Report: This cast is lacking arms and head. There are 'slots' present where these could be slotted in and perhaps were in the original cast. There are some very minor surface marks and scuffs to the surface including the toga, with small losses to the simulated stone finish. There is an area of slightly, subtly darker colour to the rear of the toga which is possibly an area of repair. The measurements: 275 cm highThe base dimensions (which is part of the statue) are 75cm x 95cm x 20cm Condition Report Disclaimer

CASSETTONE RINOCERONTO, A UNIQUE RHINOCEROS CHEST OF DRAWERS FROM THE ZOO MOBILI SERIES BY ICO PARISI (1916-1996) FOR SPARTACO BRUGNOLI, 1992Bleached maple wood, maple veneered laminated wood80cm high, 160cm wide, 70cm deep  Catalogue Note: Ico Parisi was an Italian architect and designer. Born Domenico Parisi in 1916 in Palermo, Italy, he was involved in building construction and architecture in Como during his early adulthood. By the 1940s, Parisi took up filmmaking and began designing furniture in 1945, for which he would become most renowned. His designs are characterized by their Italian mid-century Modern aesthetic, constructed using soft woods often cut into boomerang-like shapes, augmented by metal slats and boldly coloured upholstery. The late 1960s marked a precise turning point in Ico Parisi's design research. With Contenitoriumani, created in collaboration with the sculptor Francesco Somaini and presented for the first time at the Milan Furniture Fair in 1968, Parisi embarked on a new path of investigation aimed at defining a utopian-existential idea of living.The culmination of his design and existential research came between 1974 and 1976 with "Operazione Arcevia", addressed in a collective and interdisciplinary manner and aimed at designing an entire community. The work was presented at the 76th Biennale of Venice and subsequently exhibited at the National Gallery of Modern Art in Rome (1979). This strongly utopian socio-urban experience gave rise to his subsequent graphic research, which became the theme of innumerable collective and personal exhibitions." This "Rhinoceros" dresser is from the Zoo furniture series. The present lot is a piece executed by Spartaco Brugnoli in 1992.Featured Exhibitions: Zoo Mobili e precedenti, Galleria Lietti Arte Contemporanea, Como, 1992; Arte del quotidiano un percorso tra arte e design, Lucca, Fondazione Ragghianti, 2009. Reference: For a similar cassettone see Della Rocca sale 19th April 2016, lot 194.Condition Report: Minor shakes, splits and blisters throughout, shakes to shoulder bends, blisters and splits to head and front. See photos. Minor chips to feet Condition Report Disclaimer

λ  GEORGES CSATÓ (HUNGARIAN 1910-1983)UNTITLED (NO. 67)Oil and acrylic on canvas, in six partsThree signed, each with atelier stamps and variously inscribedEach 120 x 60cm (47 x 23½ in.)Overall 120 x 360cm (47 x 142 in.) (6)Provenance:Direct from the artist's estate Georges Csató was born in Budapest in 1910. After completing classical art studies in Vienna, in the 1930s he headed to Berlin to continue his training and was fortunate to have met and studied with a number of the most influential artists of the day, including Alexander Archipenko, Käthe Kollwitz, Karl Hofer, Paul Klee and Lionel Feininger.The artist later wrote of this time 'I was a realist painter to begin with because in Berlin in 1932 abstract art was very, very rare, though I received some lessons in abstract composition from Klee. And then the war came and disrupted everything.'With the rise of Nazism, Csató escaped Germany to Prague where he studied under Oskar Kokoschka and Otto Thiele. But the onset of war, saw him captured by the Russians and put into a labour camp. Whilst there he painted portraits of his captors. A particularly compelling diary entry of the period tells of an extraordinary encounter: 'A commanding officer told me that I had to paint the most important portrait that I had ever done in my life. They blindfolded me and put me in an army car. We drove at high speed for about an hour until we arrived at a little peasant house where I was searched. They took me into a room where an old man was sitting behind a huge table. It was Stalin! While I was sketching him he never spoke a single word, he just sat there chain smoking. The only movement he made was to push a bottle of Vodka and a packet of cigarettes across the table to me.'After the war, Csató retuned to Budapest but Hungary fell under Stalinist rule with abstract painting strictly prohibited and he fled to Paris as a refugee where he remained for the rest of his life.Csató's bold expressive style was well received in Paris and Jean Cocteau organised his first exhibition at Librairie Paul Morihien in 1948. He became a popular figure in the Parisian avant-garde scene and went on to participate in a number of the radical salons such as the Salon des Réalités Nouvelles and the Salon des Comparaisons. He exhibited widely in Paris and by the 1970's he had also achieved international acclaim, exhibiting successfully in London, New York, Sydney, Melbourne, Amsterdam, Bonn, and Canada. Notable exhibitions include Galerie Silvagni, Paris, 1951; Hanover Gallery, London 1953; Gallerie de Berri, Paris 1954; Galerie Furstenberg, Paris 1956; Galerie Mariac, Paris 1959; Gallerie di Meo, Paris 1959; Santes Landweer, Amsterdam 1967; Walton Gallery, London 1970; Chastenet Gallery, London 1979; Salon D'Automme, Paris 1979; Arcadia Gallery, Paris 1981 & 1982; Gallerie L'Obsidienne, Paris 1986.The artist's work is now represented in several major public collections including Musée d'Art Moderne de la Ville de Paris; Bibliotheque Nationale, Marseille; Museum of Modern Art, Bogota, Columbia; Mendel Art Gallery, Canada.During his lifetime Csato painted many well known figures from life including Bela Bartok, Karen Blixen, Winston Churchill, Colette, Albert Einstein, Sigmund Freud, Charles de Gaulle, David Ben-Gurion, Ernest Hemingway, J F Kennedy, Pablo Picasso, Bertrand Russell, Albert Schweitzer as well as Joseph Stalin.Condition Report: Three of the canvases are slightly uneven on the stretchers. They all appear to be in good original condition. Condition Report Disclaimer

λ  RYAN CALLANAN AKA. RYCA (BRITISH B.1981)BIG MONEY (DOLLAR SIGN) 2017Wood, glass, fibre glass and resin Signed in pen, numbered 1/1, dated in roman numerals and inscribed Dollar Patina verso 112 x 120cm (44 x 47 in.)Ryan Callanan, also known as RYCA, is a world renowned artist who has exhibited across the globe including exhibitions in Miami, Hong Kong and Tokyo. Callanan has worked on numerous collaborative projects with the much-admired artists Stik, Ben Eine, David Walker and music artists DJ Fatboy Slim and Sick Boy. While Callanan's career began in print making his early studies in 3D design and modelmaking at barking College in Dagenham helped him to become one of the modern day forerunners in 3D art. The artist draws on imagery from popular culture, taking symbols ingrained in society and appropriating them, usually with a humorous or rude twist. Ben Eine, recently referred to Callanan as a 'chemist-like artist' who continues to experiment with new materials keeping his work fresh and exciting. Condition Report: It appears to be in excellent original condition. There are no visible signs of damage or restoration. Condition Report Disclaimer

λ  JOHN SWANNELL (BRITISH B. 1946)HM QUEEN ELIZABETH II'S DIAMOND JUBILEE, 2012Chromogenic print, flush-mounted on formcore boardSigned in pen and dated 2012 Sheet 136 x 94cm (53½ x 37 in.)Inc. frame151 x 109cm (59 1/2 x 43in.)John Swannell is one of the most important names in British photography. Over the last four decades he has created iconic images of fashion models, celebrities, actors, musicians, politicians and royalty. After beginning his career at Vogue Studios, Swannell went on to work as an assistant to David Bailey for four years before setting up on his own. Over the next ten years his work appeared regularly in publications such as Vogue, Tatler, Harpers & Queen and The Sunday Times. His distinctive style coupled with unrelenting hard work garnered him international recognition and further success followed in the form of a one-man show at the Royal Academy in Edinburgh in 1989 and, in 1990, with an exhibition at the National Portrait Gallery in Edinburgh and a retrospective of his fashion work at the Royal Photographic Society. In 1993, he was awarded the Fellowship of the Royal Photographic Society, at the time, one of the youngest members to have received this accolade.Swannell has since gone on to have numerous further exhibitions as well as publishing a number of books. His work is held in the permanent collections of some of the most important galleries in the work including The National Portrait Gallery, London, The National Portrait Gallery, Edinburgh and The Museum of Modern Art, New York. Condition Report: It is unexamined out of its frame. There are some very minor creases at the edges of the board, but generally it appears to be in excellent original condition. There are some minor abrasions to the frame. Condition Report Disclaimer

[Worlidge, John]. Dictionarium Rusticum & Urbanicum: or, a Dictionary of all Sorts of Country Affairs, Handicraft, Trading, and Merchandizing. Containing more particularly the Whole Art of Gardening, viz. Sowing, Setting, Grafting, Transplanting, Salleting, &c. with the Names, Descriptions, and Uses, of all kinds of Plants, Flowers, and Fruits. The Raising and Ordering of all manner of Forest and Fruit-Trees, and Dwarfs. Agriculture in the various parts of it, and the modern Improvements made therein. The Gentleman’s Recreation; or the Arts of Hunting, Hawking, Fishing, Fowling, Ferreting, Cock-Fighting, &c. including (besides the several Animals) the Tackling, Nets, and different Instruments used therein. The Breeding, Feeding, and Managing of all sorts of Cattle, as also of Bees, Poultry, and Singing-Birds; with all their respective Diseases, and Cures. The preparing of all Sorts of English Liquors, common Eatables and Drinkables; with the several parts of Country Housewifry. The Digging, Refining, &c. of Minerals; Salt, and Sugar-Works; and the Arts of making Brick, Birdlime, Gunpowder, Shot, &c. Merchandizing, Trading, and Handicraft Terms and Instruments. The Produce, Manufactory, &c. of the Counties of England, and of Foreign Parts. The Ancient Customs, and natural Rarities of England. Illustrated with Cuts of all sorts of Nets, Traps, Engines, &c., London: J. Nicholson, 1704, few woodcut illustrations, first leaf of preface with early ownership signature of Adam Drummond, printing fault to E2 & 3A8 (without loss of text), occasional toning, spotting & few marks, contemporary half calf, 8voQty: (1)NOTESESTC T138447. Variously attributed to John Worlidge and Nathan Bailey.

Studio (publisher). Studio Special Numbers, 9 volumes, 1908-1929, comprising the Specials for Spring 1908, 1917, 1919-1922 (1920 2 volumes), 1928-1929, titles include: Londoners Then and Now (1920), Peasant Art in Roumania (1929), Spanish Painting (1921), The Art Collections of the Nation (1920), etc., some colour and numerous monochrome illustrations to each volume, editions for 1921, 1928 & 1929 with top edges gilt, and in original cloth with dust jackets (some spotting and dust-soiling, 1921 with loss at foot of front joint), the remainder in original printed wrappers, occasional edge-chipping and toning, a few minor marks, some with booksellers ticket to front cover, 1 with loss to rear corner, but generally in very good condition, 4to, together with: Modern Masters of Etching, 14 volumes (including 2 duplicates), 1925-1931, comprising numbers 3-4, 7-9, 16, 20-21, 23-25, 27, with numbers 4 & 24 duplicated, artists include: W. Russell Flint, Rembrandt, Alphonse Legros, etc., occasional spotting (mainly to edges), original boards (some spotted or mottled), each with printed paper label to front cover (1 with surface loss), 5 with dust jackets, some fading or toning to spines, 1 mottled, 1 with 3.5cm tear to front panel, some edge-fraying in places, oblong 4to, plus: Wheatley (Francis, illustrator), Cries of London, with an introduction by Stanford Rayner, London: Art Publishing Co., [1929], 16 tipped-in plates, most in colour, original cloth-backed boards, minor fraying to spine cloth at head, slim folioQty: (24)

Borella (Mr.). The Court and Country Confectioner: or, the House-Keeper’s Guide..., To which is added, a dissertation on the different species of fruits, and the art of distilling simple waters, cordials, perfumed oils, and essences, by Mr. Borella, now head confectioner to the Spanish Ambassador in England, new edition, London: G. Riley, J. Bell, J. Wheble, York: C. Etherington, 1772, K4 torn to gutter margin, K5 lacking (provided as loosely inserted facsimile), edges untrimmed, original wrappers, worn and lacking spine, 8vo (Bitting p.49-50; Oxford p.102), together with: Caird (John), The Complete Confectioner and Family Cook; including all the late improvements in Confectionary, Preserving, Pickling, Jellies, Creams, Pastry, Baking, Cookery etc., with many valuable receipts..., Leith: Printed by and for Archibald Allardice and the author, 1809, without initial blank/half-title(?) & frontispiece, five engraved plates of table settings on three folding leaves (without plates 6 & 7), wood engraved illustrations, light dust-soiling and few marks, contemporary sheep, worn at head of spine, lacking title label, 12mo in 6s (Cagle 588; Axford p.73; Bitting p.72; Oxford p.137), Jeanes (William), The Modern Confectioner: A Practical Guide to the latest and most improved methods for making the various kinds of confectionary..., 2nd edition, London: John Camden Hotten, 1864, 15 lithograph plates (including frontispiece), occasional spotting, original green cloth, frayed at head & foot of spine, rubbed, 8vo (Cagle 779, for 1st edition), and other confectionery, cake decorating and cake making related, mostly early 20th century publications, including The Book of Cakes by T. Percy Lewis & A.G. Bromley, London: Maclaren & Sons, [1903]; Skuse's Complete Confectioner, A Practical Guide to the Art of Sugar Boiling in all its Branches, London: W.J. Bush & Co., circa 1894; Praktische Konditorei-Kunst, "Pra-ko-ku" das grosse Konditoren-Fachwerk der Welt, by J.M. Erich Weber, Dresden: J.M. Erich Weber, [1923]Qty: (32)

Collingwood (Francis & Woollams, John). The Universal Cook, and City and Country Housekeeper. Containing all the Various Branches of Cookery, 3rd edition, London: J. Scatcherd, 1801, half-title with diagonal crease and slight skinning to two letters, engraved portrait frontispiece (ink stamp to verso), title with ink stamp & label to verso, 11 engraved plates (including 10 plates of bills of fare, one strengthened to verso), light toning and scattered spotting, contemporary marbled sheep, neatly rebacked preserving morocco title label, corners repaired, 8vo, together with: Somerville (Mrs.), Cookery and Domestic Economy, by Mrs. Somerville, (Practical Teacher of the Art), Respectfully Dedicated to the Ladies of Scotland, Glasgow: Printed and published for the authoress, by George Watson, 1862, wood engraved frontispiece and additional title with woodblock colour background (frontispiece with short repaired closed tear to gutter margin), 14 wood engraved plates, errata leaf present with inscription to verso, 8pp. advertisements at rear, browning and fraying to margins, finger-soiling and few marks, modern calf-backed marbled boards, morocco title label to spine, 8vo, Soyer (Alexis), The Gastronomic Regenerator: a simplified and entirely new system of cookery, with nearly two thousand practical receipts suited to the income of all classes, 2nd edition, London: Simpkin, Marshall & Co, 1846, engraved portrait frontispiece annotated to lower margin (margins a little browned and spotted), wood engraved plates and illustrations, near contemporary half calf, blind and gilt decoration to spine, black morocco title label, extremities slightly rubbed, 8vo, and other 19th century cookery books including, The New London Family Cook: or, Town and Country Housekeeper's Guide ..., by Duncan Macdonald, London: Albion Press, for John Cundee, [1812]; The London Art of Cookery, and Housekeeper's Complete Assistant..., by John Farley, Principal Cook at the London Tavern, 11th edition, London: Scatcherd & Letterman, 1807; Modern Cookery, for Private Families, reduced to a system of easy practice..., by Eliza Acton, newly revised & much enlarged edition, London: Longman, Brown, Green & Longmans, 1855; A Family Library, or, Five Thousand Receipts in the useful and Domestic Arts, constituting a Practice Operative Cyclopaedia, by Colin Mackenzie, and others, 15th edition, London: Whittaker & Co., circa 1840, and four othersQty: (11)

Peckham (Ann). The Complete English Cook; or, Prudent Housewife. Being a Collection of the Most General, yet Least Expensive Receipts in Every Branch of Cookery and Good Housewifery..., 4th edition, to which is added, a Supplement, containing Forty-Nine Receipts, never before printed, Leeds: Printed for Thomas Wright, circa 1790, some browning and spotting, contemporary sheep, rebacked and corners repaired, 12mo (Maclean, p.112), together with: Kettilby (Mary), A Collection of above Three Hundred Receipts in Cookery, Physick and Surgery; For the use of all Good Wives, Tender Mothers and Careful Nurses, by Several Hands... To which is Added a Second Part, Containing a great Number of Excellent Receipts, for Preserving and Conserving of Sweet-Meats, etc., 2 parts in one, 3rd & 2nd editions, London: Mary Kettilby, and sold by Richard Wilkin, 1724, dampstaining at head throughout volume, contemporary blind panelled calf, neatly rebacked and corners repaired, 8vo (Bitting p.258; Oxford p.54), Briggs (Richard), The English Art of Cookery, according to the Present Practice; being a Complete Guide to all Housekeepers, on a Pan Entirely New, 1st edition, London: G.G. J. & J. Robinson, 1788, title torn at head with loss of first word of title, 11 bills of fare only (of 12, lacking bill of fare for December), some browning mostly to margins, light fraying, small ink stain at foot of initial leaves, modern roan, 8vo (Cagle 577; Axford p.134; Maclean p.15),Qty: (3)

[Perkins, John]. The Ladies' Library: or, Encyclopedia of Female Knowledge, in every branch of Domestic Economy: comprehending, in alphabetical arrangement, distinct treatises on every practical subject, necessary for Servants and Mistresses of Families. I. A most extensive System of Cookery. II. A complete body of Domestic Medicine. III. The Preservation of Beauty, and Prevention of Deformity. In which is included a vast fund of miscellaneous information, of the highest Importance in Domestic Life, 2 volumes in one, London: J. Ridgway, 1790, engraved portrait frontispiece to each volume, four engraved plates (including two folding bills of fare), occasional light spotting, contemporary half calf, neatly rebacked preserving original spine, board edges worn and showing, 8vo (Bitting p.570-571), together with: Armstrong (John), The Young Woman's Guide to Virtue, Economy, and Happiness ... with a complete and elegant system of Domestic Cookery, formed upon Principals of Economy, 4th edition, Newcastle upon Tyne: Mackenzie & Dent, [1820?], engraved frontispiece (short closed tear, stained, verso with contemporary ownership 'Mary Lowes, June 23 1820'), additional engraved title, 11 engraved plates (one with closed tear and another torn with loss to upper blank margin), toning and spotting, modern half calf, burgundy morocco title label to spine, 8vo, Kelly (Thomas, publisher), The New Female Instructor; or, Young Woman's Guide to Domestic Happiness ... to which are added, Advice to Servants; A Complete Art of Cookery, with Plain Directions for Carving; and a great variety of Medicinal and other useful Receipts..., London: Thomas Kelly, 1836, engraved frontispiece, six engraved plates, browning and spotting, modern half sheep, 8vo, and six othersQty: (9)

Miscellaneous Reference. A large collection of modern miscellaneous literature & art reference, including The Watercolours and Drawings of Thomas Bewick..., 2 volumes, by Iain Bain, reissued, Thomas Bewick Birthplace Trust, Winchester, 1989, mostly original cloth in dust jackets, G/VG, 8vo/4toQty: (6 shelves)

Holme (Charles). Art In Photography, with selected examples of European and American work, 1st edition, The Studio, 1905, monochrome illustrations, black & white adverts to the front & rear, publishers original wrappers, covers slightly rubbed with minor tears to head & foot of the spine, 8vo, Colour Photography, and other recent developments of the art of the camera, 1st edition, The Studio, 1908, numerous colour & monochrome tipped-in plates, period inscription to front endpaper, some light spotting & toning throughout, publishers original blue cloth, spine slightly rubbed to head & foot, 8vo, together with; Yapp (Nick), 150 Years of Photo Journalism, volume 1, 1st edition, Könemann, Köln, 1995, numerous monochrome illustrations, original cloth in dust jacket, spine lightly rubbed to head, folio, and other modern photography reference & periodicals, mostly original cloth, some in dust jackets, some paperbacks, G/VG, 8vo/folioQty: (5 shelves)

A modern bronze figure in the Art Deco style, woman with muff on a windy day, height 38 cm

Bruno Krauskopf (1892-1960), dt. Expressionist, wurde 1916 Mitglied, später Vorstands- und Jurymitglied in der ''Freien Berliner Sezession'', 1919-33 hatte er viele Einzelausstellungen in Museen und modernen Galerien wie Flechtheim. 1933 emigrierte Krauskopf, dessen Kunst von den Nationalsozialisten als ''entartet'' galt, nach Norwegen. 1948 sieht sich Krauskopf erneut gezwungen auszuwandern, in New York gelingt es ihm, sich mit Unterstützung von George Grosz erfolgreich in der Kunstszene in den USA zu etablieren, so dass er 1952 auf der ''Carnegie International Exhibition'' in Pittsburgh auch als Repräsentant aktueller amerikanischer Kunst gefeiert wird. Mutter mit Kind, Öl/Hartfaser, u. re. sign., 60 x 50 cm, ger. 65 x 55 cmBruno Krauskopf (1892-1960), German expressionist, became a member, later a board and jury member, of the ''Freie Berliner Sezession'' in 1916; he had many solo exhibitions in museums and modern galleries such as Flechtheim in 1919-33. In 1933 Krauskopf, whose art was considered ''degenerate'' by the National Socialists, emigrated to Norway. In 1948 Krauskopf was again forced to emigrate; in New York, with the support of George Grosz, he succeeded in establishing himself in the art scene in the United States, so that in 1952 at the ''Carnegie International Exhibition'' in Pittsburgh he was also celebrated as a representative of current American art. Mother with Child, oil/hardboard, signed on the right, 60 x 50 cm, framed 65 x 55 cm

J Philipp. An Art Deco bronze female dancer, cylindrical marble plinth, 57cmCONDITION: Not period, a modern piece in good order.

Victor Pasmore (1908-1998), 'Burning Waters' (from 'Visual and Poetic Images'), lithograph, 1988, initialled, dated and numbered 97/150 (printed to accompany the book 'Burning Waters'), Gwen Hughes Modern British Art gallery label verso, 28 x 23cm

Galassi, P., Friedlander The Museum of Modern Art, 2005, 480 pages, 4to and five other volumes to include Anderson, L., All the things lost in the flood, slipcase, Papageorge, Passing through Eden photographs of Central Park, Eskildsen, J., American Realities, Feininger, A., That's Photography and Maloof, J., Vivian Mairs Street Photographer, 6 volumes. Qty: 6

Four volumes of conjuring and stage magic namely: Garenne, H., The Art of Modern Conjuring, Magic and Illusions, blue pictorial cloth, Houdin. R., The Secrets of Stage Conjuring, 1881, brown pictorial cloth, Blackstone, H., Secrets of Magic, 1929, brown pictorial cloth, Hopkins, A., Magic, Stage Illusions and Scientific Diversions, 1967 reprint, red cloth.Qty: 4

An Art Deco style modern target ring, set with blue and white paste stones, on modern costume band, ring size X.

An Art Deco style modern dress ring, set with blue and white paste stones, on modern costume band, ring size X.

An Art Deco style modern dress ring, set with white paste stones, on modern costume band, ring size U.

MODERN BRASS READING LAMP and two Art Nouveau style pewter effect wall plaques E/T

300–500 AD. Gandharan. This striking Gandharan stucco figure of a standing Buddha is executed in a highly stylised manner, with a severe face, heavy-lidded eyes, fleshy mouth and characteristic topknot. He wears a long red robe and delicately holds a cylindrical object, perhaps an incense burner, in one hand. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent (modern north-west Pakistan and south-east Afghanistan). The Kushan period (c. 75-451 AD) of Gandharan art, to which this stucco example belongs, was the golden age of artistic production in the area. For further information on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition; restored; on a custom-made stand.Size: L:410mm / W:400mm ; 2.45kg; Provenance; Property of a Central London gallery, obtained from a private London collection (M.A); formerly acquired on the UK art market in the 1970s and 80s.