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C. 400-300 BC. South Italian. Cream-coloured krater with large ear-shaped handle, out turned rim, bell-shaped body, round stem and ring foot. A krater is a large ceramic used for mixing wine during drinking parties (symposia) in ancient societies. Ancient wine was considerably stronger than its modern counterparts and often had to be mixed with water, spices and honey in order to make it less potent. Excellent condition; on a custom stand.Size: L:152mm / W:100mm ; 325g; Provenance: Obtained from a L.F; previously in a collection formed in the 1970s on the UK art market.Size: L:155mm / W:137mm ; 255g; Provenance: Property of a London gentleman, formerly acquired in the US in the 1990s.

Large brutalist and modern sculpture by Belva Ball titled "The Sea Thing" bronze, copper, and iron. Provenance: acquired in Florida in 1984. Ball Michigan modernist sculptor, whose work was exhibited in 1968 at the Art Institute of Chicago and featured nature-inspired, biomorphic subjects. Size: 46 x 36 in.

Lovely and bright watercolor on canvas by Peter Kitchell. It is signed and titled in the lower middle and verso. It is titled "Eye to Horn" and dated '87.The child of two architects, Peter Kitchell, born 1950, was primed to be an artist at an early age. When the family moved from Exeter, NH to San Francisco, Kitchell began taking art classes for children at age five at the Museum of Modern Art and De Young Museum. He was exposed to modern abstract painting by the age of nine.

Lacquer wall hanging. Signed and dated 04 on the verso.Jolly has exhibited at Hokkaido Museum of Modern Art, Sapporro, Japan, and the International Exhibition Glass in Kanazawa, Japan, as well as Grounds for Sculpture in New Jersey and Laumier Sculpture Park in Missouri. The artist is included in important museum exhibitions such as the Indianapolis Museum of Art, Museum of Fine Art, Boston, Renwick Gallery of the Smithsonian American Art Museum, and the Carnegie Museum of Art and most recently in the Wornick Collection exhibited at the Museum of Fine Art, Boston.Size: 14 x 18 in.

"Art and Agriculture" study for the mural in the Department of Agriculture building in Washington, DC. Oil on canvas, Provenance: acquired from the artist's estate, signed by his 3rd wife. Thomas Gilbert White was an American painter, now best remembered for his murals. He was born in Michigan, died in Paris, studied with James McNeil Whistler. White's murals decorate many state and federal buildings in the U.S. Early in 1934 he was the center of controversy of the 40 foot panel he did for the Dept. of Agriculture. The assistant secretary of agriculture at the time criticized the mural as too classical, but the painting was finally accepted. It showed a group of four allegorical figures around a large oak tree. Critics expressed a belief it should have included artistic references to AAA crop control and modern agricultural machinery. The mural previously had been displayed in Paris and won praise from French and American experts. Overall size: 48 1/2 x 84 1/2 in. Sight size: 401/2 x 76 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

Stylized girl holding a dog on her lap. Original lithograph, numbered and signed in pencil. Born in La Paz, Graciela Rodo-Boulanger was a Bolivian artist noted for her stylizedrenderings of children, and that is reflected in the lithograph here, which is titled“Children & Animal Suite” on a paper label on the back. Graciela wanted to be an artistand musician, but found she couldn’t devote all her time to both, so she turned to artand held her first exhibitions in Vienna and Salzburg when she was just 18. She studiedetching and printmaking under Johnny Friedlaender in Paris. She married a Frenchman,Boulanger, so she could have a Spanish and French name; her public name becameGraciela Rodo de Boulanger in Spanish and Graciela Rodo Boulanger in French. In1966, her ambition bore fruit then she published her first editions of engravings andexhibited in the United States. In 1979, UNICEF designated her the official artist for theInternational Year of the Child poster, and two of her tapestries were displayed in thehall of the UN General Assembly. The Museum of Modern Art of Latin America inWashington DC. gave a retrospective of her works in 1983. In 1986, the MetropolitanOpera in New York commissioned her poster for Mozart’s The Magic Flute and herpaintings were shown by the Art Gallery of Lincoln Center. She has had more than 200exhibitions world-wide. The Suite is numbered 43 out of 100 in Roman numerals in thelower left margin and signed in the lower right margin. The overall size is 33 1/4 x 25 1/4in. wide and the sight size is 23 3/4 x 14 1/2 in. wide.

This is a biblical-themed lithograph by Reuven Rubin, a Romanian-born Israeli artistwho painted in the style of Marc Chagall and was Israel’s first ambassador to Romania.He was born to a Hasidic family, one of thirteen children. In 1912 he left for Ottoman-ruled Palestine to study art at the Bezalel Academy of Art and Design in Jerusalem. Ayear later he studied art in Paris. At the outbreak of World War I, he returned toRomania, where he spent the duration of the war. In 1921, he traveled to New York Citywith his friend and fellow artist, Arthur Kolnik; they met Alfred Stieglitz, who wasinstrumental in organizing their first American show at a gallery in the city. Following theexhibition, they returned to Europe, and in 1923, Rubin emigrated to Mandate Palestine.Rubin’s Cezannesque landscapes from the 1920’s were both modern and naive; hispaintings reflected a spiritual, translucent light. In Palestine, he became one of thefounders of the new Eretz-Yisrael style. Recurring themes in his work were the bible, theProphets, the biblical landscape, folklore and people, including Yemenites, Hasidic Jewsand Arabs, and many of his paintings are sun-bathed depictions of Jerusalem and theGalilee. Rubin was influenced by the work of Henri Rousseau, and he signed his workswith his first name in Hebrew and his surname in Roman letters.This is a signed and numbered lithograph depicting an angel comforting a Moses-likefigure holding the Ten Commandments. It is numbered 12 of an edition of 150 in thelower left and signed on the plate in the lower right. We believe the lithograph is printedby Mourlot on Arches paper, but we have not removed the paper on the backside of thelithograph to find out. The overall size is 36 3/4 x 30 in. wide and the sight size is26 5/8 x 20 1/2 in. wide

This life-size bronze sculpture of Andy Warhol was done in 2005 by Jack Dowd, a local Sarasota artist who creates paintings and sculptures of artists, celebrities, and everyday people with a very human-like feel to them, and his figures are imbued with a satiric, but affectionate touch. You can see that in the Warhol sculpture here. Born in New York in 1938, Jack was inspired by his father and took up sketching and drawing at an early age. He started sculpting in the ’70s, when he lived in Plainfield, Vermont. He began with a chainsaw and blocks of wood, then started working in clay because it was more flexible: he used wire mesh to build a form, molded the clay around it and made a model, turned that into a rubber mold, and cast bronze or gypsum cement figures from the mold, and his sculptures have a touch of whimsy, avant-garde and folk art all combined in one piece. Jack moved to Sarasota in 1982 and has a private studio here called Moon River. He has had many solo exhibitions sponsored by museums and art centers across the country, including the Florida State Museum of Fine Art, Jacksonville’s Museum of Modern Art, and the Ringling Museum of Art in Sarasota, Florida, which drew 40,000 visitors and was the best attended opening in the museum’s history. The Warhol sculpture is signed and dated “Jack Down 2005 AP3” on the back side, near the back pocket, and the Warhol sculpture stands 70 inches tall, with an 18 inch diameter base.

Titled "Dinner for Two" by Jack Dowd, signed on the wine bottle. Born in New York in 1938, Sarasota-based artist Jack Dowd creates paintings and sculptures of artists, celebrities, and everyday people with a very human-like feel to them, and his sculpture of the Butler is made from gypsum cement and was created in YEAR. Definitely a figure with whimsy to it. Jack was inspired by his father and began sketching and drawing at an early age. He started sculpting in the ’70s, when he lived in Plainfield, Vermont. He began with a chainsaw and blocks of wood, then started working in clay because it was more flexible: he used wire mesh to build a form, then molded the clay around it and made a model, turned that into a rubber mold, and cast bronze or gypsum figures from the mold, and his sculptures combine avant-garde and folk art together. The artist has a private studio called Moon River in Sarasota and has had many solo exhibitions sponsored by museums and art centers across the country, including the Florida State Museum of Fine Art, Jacksonville’s Museum of Modern Art, and the Ringling Museum of Art in Sarasota, Florida, which drew 40,000 visitors and was the best attended opening in the museum’s history. The Butler is cradling wine bottles in his left arm, and the figure is attached to a base which is 10 in. high, 18 in. deep, and 22 1/2 in. wide, and the whole sculpture stands 70 in. tall. “Jack Dowd” is emblazoned on both sides of the base.

Titled "Arturo". Born in New York in 1938, Sarasota-based artist Jack Dowd creates paintings and sculptures of artists, celebrities, and everyday people with a very human-like feel to them, and his sculpture of Arthur Rubenstein, the famous pianist, is imbued with a very playful touch. The gypsum cement sculpture is titled “Arturo” and is a limited edition of 10 copies that were made in 2010. Jack was inspired by his father and began sketching and drawing at an early age. He started sculpting in the ’70s, when he lived in Plainfield, Vermont. He began with a chainsaw and blocks of wood, then started working in clay because it was more flexible; he used wire mesh to build a form, then molded the clay around it and made a model, turned that into a rubber mold, and cast bronze or gypsum figures from the mold, and his sculptures combine avant-garde and folk art together. The artist has a private studio called Moon River in Sarasota and has had many solo exhibitions sponsored by museums and art centers across the country, including the Florida State Museum of Fine Art, Jacksonville’s Museum of Modern Art, and the Ringling Museum of Art in Sarasota, Florida, which drew 40,000 visitors and was the best attended opening in the museum’s history. The sculpture measures 54 1/2 in. high and 20 in. wide, and Arturo sits on a realistic piano bench with knobs on the side. Prepare for a concert in your home.

This is a large sculpture of The Singing Chef by Jack Dowd, a Sarasota-based artist who creates paintings and sculptures of artists, celebrities, and everyday people with a very human-like feel to them, and his sculpture of The Singing Chef has a light, playful touch to it. It was made from gypsum cement in 2009 and comes on a large wooden base. Born in New York in 1938, Jack was inspired by his father and began sketching and drawing at an early age. He started sculpting in the ’70s, when he lived in Plainfield, Vermont. He began with a chainsaw and blocks of wood, then started working in clay because it was more flexible: he used wire mesh to build a form, then molded the clay around it and made a model, turned that into a rubber mold, and cast bronze or gypsum cement figures from the mold, and his sculptures combine avant-garde and folk art together. The artist has a private studio called Moon River in Sarasota and has had many solo solo exhibitions sponsored by museums and art centers across the country, including the Florida State Museum of Fine Art, Jacksonville’s Museum of Modern Art, and the Ringling Museum of Art in Sarasota, Florida, which drew 40,000 visitors and was the best attended opening in the museum’s history. The figure is signed by chefs from the Ritz Carlton, Cafe L’Europe, and other restaurants in Sarasota. The sculpture is attached to the base, and the two together stand about 69 inches tall. The chef is 45 in. tall x 22 1/2 in. wide, and the base measures 24 in. high x 22 in. wide x 22 in. deep. The sculpture is a perfect decoration for people who love to cook and entertain, or for someone who owns a culinary business. Size: 68 1/2 x 23 x 22 in.

This is a large sculpture of a heart by Jack Dowd. It is a personal sculpture that he made for a specific family with their family photos inside.Sarasota-based artistwho creates paintings and sculptures of artists, celebrities, and everyday people with avery human-like feel to them, and his sculpture of The Singing Chef has a light, playfultouch to it. It was made from gypsum cement in 2009 and comes on a large woodenbase.Born in New York in 1938, Jack was inspired by his father and began sketching anddrawing at an early age. He started sculpting in the ’70s, when he lived in Plainfield,Vermont. He began with a chainsaw and blocks of wood, then started working in claybecause it was more flexible: he used wire mesh to build a form, then molded the clayaround it and made a model, turned that into a rubber mold, and cast bronze or gypsumcement figures from the mold, and his sculptures combine avant-garde and folk arttogether.The artist has a private studio called Moon River in Sarasota and has had many solosolo exhibitions sponsored by museums and art centers across the country, includingthe Florida State Museum of Fine Art, Jacksonville’s Museum of Modern Art, and theRingling Museum of Art in Sarasota, Florida, which drew 40,000 visitors and was thebest attended opening in the museum’s history.The figure is signed by chefs from the Ritz Carlton, Cafe L’Europe, and otherrestaurants in Sarasota. The sculpture is attached to the base, and the two togetherstand about 69 inches tall. The chef is 45 in. tall x 22 1/2 in. wide, and the basemeasures 24 in. high x 22 in. wide x 22 in. deep. The sculpture is a perfect decorationfor people who love to cook and entertain, or for someone who owns a culinarybusiness.40 x 33 x 5 1/2 in.

Great British and World coins, medallions and banknotes including 1848 Gilbert Stuart American Art-Union medal, Great Britain Queen Victoria 1883 and 1899 half crown coins, small number of other pre 1947 Great British silver coins, George III 1797 cartwheel twopence, Queen Elizabeth II 1983 round one pound coin on card display, four modern fifty pence pieces etc - Condition Report

MODERN ART GLASS VASE, on a metal stand, 39cm high

[ARCHITECTURE & DESIGN]. DUFRENE, Maurice. Ensembles Mobiliers. Exposition Internationale 1925. Paris: Editions Charles Moreau, 1926.  3 volumes comprising Series I-III, folio. 96 photographic plates. (Very occasional soiling to plate margins, not affecting images.) Loose as issued in original cloth-backed printed boards, cloth ties (soiling, light wear to extremities).    FIRST EDITION of this set of plates documenting Art Deco interiors and furnishings on display at the 1925 International Exhibition of Modern Decorative and Industrial Arts.For condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

Two Art Deco style reproduction facsimile prints of a Jaguar and a Panther, one after Paul Jouve (1878-1973), "Jaguar and Serpent" and one after Jacques Cartier (1907-2001), "Panther".various sizes 50cm x 63.5cm (19.75in x 25in) and 48.5cm x 87cm (19in x 34.25in)Qty: 2Condition report: The "Jaguar and the Serpent" has some minor creases and cockling across the sheet with minor stains and scuffs to the paper and mountboard.  The print is not glazed but framed. The "Panther" is in good condition with no obvious faults to report.  It is behind non-reflective glass.  Please be aware that both these artworks are modern facsimile copies and should be viewed as decorative rather than original artworks.

Art Deco Period Stunning Platinum Diamond Set Brooch, with long tassels or drops, of large and impressive proportions, and beautiful design, from the 1920s; set with over 12cts of emerald cut and modern brilliant cut diamonds of top colour and clarity. It can be split into two matching brooches or be worn as the one whole brooch, Wonderful quality from a bygone age

Leon Underwood (British 1890-1975) Bronze of the African Madonna, (Modern British Avant Garde Sculptor ) - Original bronze - the African Madonna with a fine brown Patination. Conceived in 1934/1935, signed to the base Leon. U., numbered IV-VIII, dated 36. on a gnarled walnut rustic wood base. total height 14 1/2". Literature: The sculpture of Leon Underwood by Ben Whitworth, published Lund Humphries 2000 cat no. 93. African Madonna (variants) illustrated on page 60. His works can be seen in major British museums and public collections in the UK. He was the precursor of modern sculpture in Britain, attended the Slade School of Fine Art and the Royal College of Art. In the first World War he worked with Solomon Joseph Solomon, Norman Wilkinson and Paul Klee as a camoufleur creating observation posts camouflaged as trees and other objects. In 1921, Underwood opened the Brook Green School of Art in Hammersmith. Amongst his many students, he taught Henry Moore and Barbara Hepworth. Moore later spoke of his indebtedness to Underwood's influence and teaching. He wrote a number of books on ancient African sculpture including Bronzes of West Africa, which were a great influence to him in later years for cycladic and African culture designs. Provenance - Mirfield Theological College of the Church of England, West Yorkshire. On Saturday October 22nd 2011, the monks at the college held an auction to raise money for the church renovations for the grade listed building. The bronze on offer was sold at this auction and mentioned in the catalogue and sold next to work by Eric Gill - entitled Lord Jesus Christ. The said bronze was also mentioned in the local paper, The Intelligent Weekly Press on 7th October 2011. See https://www.thepressnews.co.uk/press-news/monks-auction-prized-artefacts.

A set of five Art Nouveau silver buttons, in a case, together with two silver fronted photograph frames, one AF, a small silver cauldron salt, a modern silver apple and a set of six silver teaspoons in a case

A collection of mostly modern Art Reference books

A blue and white dish, decorated with fan-shaped panels depicting Natural History designs and Manchu/Chinese Ladies, the base with Kangxi four-character mark, but not of the period, 28 cm diameter; together with a prunus decorated blue and white dish, 30 cm diameter [2]Provenance: The Property of a Lady and Gentleman. From a Private UK Collection. By Direct Family Descent from Sir Ernest Colville Collins Wilton, KCMG [1870-1952].Sir Ernest Wilton was born in Singapore, and was educated at the Bedford Modern School. At the age of 20, he entered the British Foreign Service, acting in a variety of posts across China. Like Marco Polo before him, Wilton also travelled to Yunnan Province, a remote area of south western China, now known as the unique habitat of the remarkable Blind Golden Barbel. At the time, Wilton was thereby one of the few western scientists and travellers to have visited this region, joining a group that includes the Botanist, Augustine Henry [1857-1930] and the palaeontologist, Roy Chapman Andrews [1884-1960]. Whilst Marco Polo recorded his travels there in Chapter XXXIX of his narrative, Wilton similarly gave his experience of the region to The Royal Geographical Society [Source: The Geographical Journal/Vol.49/No.6/June 1917]. Roy Chapman Andrews gave his paper to The Geographical Review for July 1918. Wilton was Consul-General of Yung-chou in 1889, and in 1903 he accompanied Colonel Younghusband on the expedition to Tibet, presumably to assist the discussions with Chinese officials there. Younghusband's mission was not well received by the Dalai Lama, and disappointingly,  diplomacy was lost. This resulted in Younghusband's forces storming the Gyantse Jong on July 6th, 1904 [Source: 'The People'/Sunday July 30th 1905]. In 1912, the year in which Sun Yat-sen established a provisional government for The Republic of China at Nanjing, Wilton was at Tientsin. This momentous year also saw the abdication of Puyi, the Last Qing Emperor, an event that ended China's long Imperial tradition; Wilton was a witness, therefore, to these changes. His service with the British Legation in Peking, and his travels in Yunnan doubtless inspired him to study and to collect a variety of art form at this time of huge transition in China's history.Wilton served as President of The Commission for The Government of The Saar Basin 1927-1932, in a region that had been established by the Treaty of Versailles. Towards the conclusion of this sensitive appointment, Wilton witnessed the departure of British Troops from the Uhlan Barracks at Saarbrucken, an event that was captured on film [Imperial War Museum/MGH 4152]. Please note that there is some rim damage to both dishes.

A Chinese metal alloy vase of double gourd form, decorated with a four-clawed dragon coiled around the exterior. The neck fitted with an integral, matching ewer with hinged cover and knop finial; the base with a bold four-character seal mark. 51 cm high and with base diameter [including the gourd-shaped feet] about 23 cm. Probably Qing Dynasty. Provenance: The Property of a Lady. From a Private UK Collection. The seal mark here may be significant in terms of offering some indication as to the maker of this vase. For other comparable marks, attributed by the author to the late Ming or Qing Periods, see page 57 of Professor Jonathan Hay's 'Sensuous Surfaces/The Decorative Object in Early Modern China' [ISBN 978-0-8248-3361-9]. Tall vases of gourd form were well established by the Ming Dynasty, offering an implied association with the devotion of Daoist thought and belief. See for instance page 93 of Volume 4, 'A Journey into China's Antiquity', compiled by the National Museum of Chinese History [1997]. The authors of this reference work illustrate a 58cm high Ming blue and white vase of gourd form, decorated with the Eight Daoist Immortals, emphasising the gourd's significance. Although the gourd form appears in the Qing Dynasty also, it is notable that Yongle Emperor was a devotee of The Daoist Deity, Zhenwu, restoring Zhenwu's monasteries on Mount Wudang [Source: The BP Exhibition, '50 Years that Changed China'/BM Catalogue page 226]. This Imperial lead, followed by the Daoist following of both the Jiajing Emperor [1507-1567] and The Wanli Emperor [1563-1620], doubtless contributed to a wider inclusion of gourd iconography and art throughout the Ming years. Please note that there are areas of fatigue, wear and repair to this vase. Notably the base has several areas of metal repair.

Three Art Deco mantel clocks, one by Smiths, the others unmarkedCondition report: Two with modern replacement battery movements. Surface scratches and knocks.

Gudrun Sibbons (Dutch, b.1925)A village scene with a blacksmith shoeing horses at his forge, beside the village innsigned 'Gudrun Sibbons' l.r., oil on board40 x 60cmGudrun Sibbons was a marine and landscape painter in oils, born in Germany in 1925 and studied art until she became a nurse in the Second World War. She met her husband Bill, married and moved to London in 1949. Her work was collected by Hollywood stars such as David Niven and Errol Flynn.Condition report: Condition appears fine - modern gilt frame.

Modern fire surround with Art Nouveau style tiles. Not available for in-house P&P

An Art Deco diamond solitaire ring, the modern round brilliant cut stone weighing approx. 0.20 carats, white and yellow metal setting/band marked '18ct', gross wt. 2.27g, size J/K.

A modern Art Deco style bronzed finish panther on marble plinth, length 45cm.

A 20thC Art Deco design standard lamp, with turned glazed stem on a hexagonal base, with modern electrical feature, 129cm high.

Various records 33rpm, modern music, etc., The Eagles, Everly Brothers, Rick Wakeman, The Beatles Red album, Art Garfunkel, Thin Lizzy, Johnny The Fox, Carole King, etc. (a quantity)

The Khalili Collection. Bactrian Documents from Northern Afghanistan II: Letters and Buddhist Texts, by Nicholas Sims-Williams, Arabic Documents from early Islamic Khurasan, by Geoffrey Khan [Studies in the Khalili Collection volumes 3 & 5], 1st edition, Nour Foundation, 2007, numerous black & white illustrations, publishers original blue cloth, spines lightly faded, large 8vo, together with; Robinson (B. W. et al), The Windsor Shahnama of 1648, Azimuth Editions, 2007, numerous colour & black & white illustrations, publishers original blue cloth spine to boards, large 8vo, and Topsfield (Andrew), Visions of Mughal India, The Collection of Howard Hodgkin, Ashmolean, Oxford, 2012, numerous colour illustrations, publishers original wrappers, spine very lightly rubbed to head & foot, large 4to, plus Carboni (Stefano), Glass From Islamic Lands, 1st edition, Thames & Hudson, 2001, numerous colour illustrations, original cloth in dust jacket, large 4to, and other modern Islamic & Far East art reference & related, some original cloth in dust jackets, some paperbacks in original wrappers, 8vo/4toQty: (23)

Elton (Richard). The Compleat Body of the Art Military ... Divided into Three Books. The First, containing the Postures of the Pike and Musket ... The Second, comprehending twelve Exercises ... The Third, setting forth the drawing up and exercising of Regiments after the manner of Private Companies ... Illustrated with Varitiet of Fugres of Battail, very Profitable and Delightfull for all Noble and Heroick Spirits, in a fuller manner then hath been heretofore published, London: Robert Leybourn, 1650, signatures pi2 §4 +6 A-2B4 2D2, pp. [24] 192 [4], initial licence leaf (pi1), engraved portrait frontispiece by John Droeshout, 5 plates (including double-page woodcut diagram, double-page typographic plate, and 3 folding typographic plates with woodcut embellishments, of which one made up of 3 sheets and opening to 70 cm), woodcut headpieces and initials, typographic and woodcut diagrams throughout the text, moderate browning, damp-stain to foot of licence leaf and frontispiece and to lower outer corner of title-page and subsequent text-leaf, title-page also with small red pencil-mark, E2-3 more heavily browned, faint shallow tide-mark to head of gutter in second half of volume, side-note on p. 141 shaved, U4 trimmed closely to diagram recto (p. 151), Y1 with section reattached (text disrupted but remaining legible), old ink-stain to p. 165, a few other marks, top edge gilt, early-20th-century red-brown half calf for Hatchards, slightly rubbed and marked, front joint cracking at head and foot, folio in 4s (27.2 x 17 cm), together with 1 similar work (Sir James Turner, Pallas Armata: Military Essayes of the Ancient Grecian, Roman, and Modern Art of War, 1st edition, 1683, damp-staining, without advertisement leaf, last 2 leaves and binding defective)Qty: (2)NOTESProvenance (Elton): Cavalry Club (bookplate; ink-stamp to front free endpaper). Elton: ESTC R24314; Wing E653. First edition, rare: ESTC traces four copies in UK libraries, and eight copies in the USA. The initial licence leaf is also catalogued separately by ESTC under the number R227338 (one copy traced). Elton's work superseded William Barriffe's Militarie Discipline (1635) as the most popular military training manual in English, and it was an important reference work for English colonists in North America (see Hope, A Scientific Way of War: Antebellum Military Science, West Point, and the Origins of American Military Thought, chapter 1).

Brown (Christopher & Hans Vlieghe), Van Dyck 1599-1641, Royal Academy Publicaions, 1999, numerous colour illustrations, original cloth in dust jacket, large 4to, together with; Spicer (Joaneath A. & Lynn Federle Orr), Masters of Light, Dutch painters in Utrecht during the Golden Age, Yale University Press, 1998, numerous colour & black & white illustrations, original cloth in dust jacket, covers lightly marked, spine slightly faded, large 4to, and Campbell (Mungo & Nathan Flis), William Hunter and the anatomy of the modern museum, Yale University Press, 2018, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, plus other 19th century art reference & related, mostly original cloth, many in dust jackets, some paperbacks, G/VG, 8vo/folioQty: (5 shelves)

Walton (Izaak & Charles Cotton). The Compleat Angler or the Contemplative Man's Recreation..., 2 volumes, The Winchester Edition, Freemantle & Company, 1902, 30 black & white etchings plus other illustrations, some light spotting & toning, top edge gilt, uniform publishers original gilt decorated green cloth, boards & spines lightly rubbed & marked, 8vo, together with; Shannon (Kevin), The Lion and The Rose, the 4th Battalion and the King's Own Royal Lancaster Regiment 1914-1919, 2 volumes, 1st edition, 2015-17, black & white illustrations, original cloth in dust jackets, 8vo, and The Caughley Society, Caughley Blue & White Patterns, 1st edition, 2012, numerous colour illustrations, original cloth in dust jacket, large 4to, limited edition, 5/500 plus other 19th century & modern miscellaneous reference, including military, fishing, art, sports, music, & a bound volume of handwritten correspondence, letters &c. by & to Lord Burghersh, 1815-16, mostly original cloth, some in dust jackets, G/VG, 8vo/folioQty: (6 shelves & a carton)

Harding (Silvester). The Biographical Mirrour, or, Connoiseur's Repertory; comprizing a series of ancient and modern English portraits of eminent ... persons ... engraved from original pictures or drawings, 3 volumes, London: E. and S. Harding, 1795-1810?, text by Francis Godolphin Waldron, volume 1 with additional title, numerous engraved portraits, variable spotting and offsetting, hinges strengthened, contemporary mottled calf, rebacked, spines rubbed, boards worn, 4to, together with: Glasse (Hannah), The Complete Confectioner; or the Whole Art of Confectionary made Plain and Easy ..., first edition, second issue, London: J. Cooke, c. 1765, Glasse's facsimile signature on pp.iv and 1, 16 pp. publisher's catalogue at rear (1st two leaves close-trimmed at foot affecting text), lightly toned throughout, front free endpaper deficient, each pastedown with an early ink manuscript ownership inscription, contemporary sheep, worn, boards detached, 8vo, plus: Encyclopedie Methodique, Tableau Encyclopedique et Methodique des Trois Regnes de la Nature, [Insectes], 2 volumes, [Paris: Agasse, 1797], 18th part, half-title, lacking title, but with title for 19th part, 267 (of 268) engraved plates (plate 268 deficient), rectos of title and plates 131, 132 & 267 each with circular ink ex-libris stamp, 1 plate in volume 2 partially coloured with light, neat red crayon, 6 plates with some small & neat red crayon underlining, both volumes with intermittent pale dampstaining to margins at head and fore-edge, somewhat affecting a few plates, hinges cracked, 19th century quarter morocco, somewhat rubbed, corners showing, 4to, with 16 other titles including: The Pleasures of Hope in two parts, by Thomas Campbell, 2nd edition, 1800; Tratado Elemental de Botanica Teorico-Practico, by Antonio Blanco, 2 volumes in 1, 1834; The Silver Swan, a fairy tale, by Madame de Chatelain, 1847Qty: (27)NOTESGlasse: Cagle 708; Maclean pp.61-62. The second issue of the first edition of circa 1760, with J. Cooke imprint. Encyclopedia Methodique: Nissen ZBI 4621.

Collection of modern printed exhibition posters and art prints, to include Picasso, Miro, Jackson Pollock and Marc Miranda, all framed, largest 92 x 50cm, and unframed art prints to include two Miro and one Picasso (8)

A MODERN TEAK FINISH CHEST OF THREE DRAWERS, together with a pair of beech finish single door cabinets, an art deco dressing table, two various wall mirrors, framed picture and a single modern chair (8)

C. 1300 AD or later. Islamic medieval. Glazed ceramic diorama with a beautiful turquoise glaze typical of medieval Islamic ceramics. The item comprises rectangular base supporting a pen which contains a large array of stylised quadrupedal animals, probably oxen. This exceptional object would make a gorgeous statement piece within the context of a modern collection. Medieval Islamic ceramics developed as a distinctive tradition of decoration in Muslim lands several centuries after the original Arab conquests. From the 9th century onwards, distinctive Islamic ceramic styles, often involving glazed and/or incised decoration developed and spread across the Islamic world and beyond; Islamic ceramics also had an important influence on pottery production in Italy and in the Byzantine Empire. Good condition. Size: L:90mm / W:230mm ; 1.7kg. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.

C. AD 618-907. Tang Dynasty. Stone head of Buddha with characteristic elaborate coiffured, two-tiered black “snail-shell” hair curls ornamented with a red spiralling jewel. The Buddha’s full face is gilded with a red painted urna in the centre of the forehead, and large pendant ears hang from the sides. The lightly closed eyes and small hooked nose complement the thick, rich red lips and modest chin. This beautiful piece may originally have formed part of a larger statue or statuette. Buddhism entered China as early as the Han Dynasty (late 3rd century BC-early 3rd century AD), and has played an important part in shaping the country’s art, politics, literature and philosophy. This beautiful stone head embodies the importance of Buddha to Chinese culture and reflects the enormous amount of work invested by Tang craftsmen. It would make a stunning centrepiece to any modern collection. Good condition; on a custom stand. Size: L:530mm / W:380mm (w/o stand); 73kg. Provenance: From an old Sumerset collection of Asian Art formed in the 1980s/1990s.

Ca. 1368-1644 AD. Ming Dynasty. A set of 12 comprising animal figures, each carefully modelled and dressed in court robes, painted in a range of rich blues, greens, yellows and reds. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal to each year in a twelve-year cycle. These beautiful items would perhaps have once served as a reminder of the importance of personal piety and would make an excellent addition to any modern collection. Good condition. Size: L:set of 12: 202mm(smallest),220(largest)mm / W:78mm(smallest),85mm(largest)mm ; 5.4kg Provenance: Private collection of an Oxford professional, formed in the 1970s-1990s on the UK art market.

c. 2000-1000 BC, Amlash culture. Pottery idol in a terracotta fabric with cylindrical head, ribbed neck broad shoulders and small, budding breasts, wide hips, prominent buttocks and truncated legs. The Amlash culture refers to an assortment of historic materials and periods in Northern Iran, enduring for many centuries. Female idols of this kind probably reflect ideals of fertility in pre-modern societies, where it was of vital importance to produce a substantial family in order to ensure survival in later life. Good condition; restored. Size: L:310mm / W:170mm ; 1.35kg Provenance: Private London collection, formed in the 1990s on the UK and European art market.

1100-900 BC. Early Western Zhou Dynasty. Bronze cast vessel Gui comprising a broad shelf-like lip, hemispherical bowl, wide loop handles topped with moulded dragons, and a cylindrical base. Just below the rim is a horizontal frieze showing a stylised dragon. At the part of the frieze which lays midway between the two handles is a projecting dragon’s head. The guy is a classic vessel shape in Chinese bronzewares, which originated in the Shang dynasty in the 16th century BC but continued to be made for many centuries thereafter. Dragons, the fifth animal of the Chinese zodiac are a symbol of power, strength and good fortune in Chinese art, and this beautiful object may have once been used during rituals or for dining. A similar item was recently sold at Christies for $100,000, see https://www.christies.com/lotfinder/lot/a-bronze-ritual-food-vessel-gui-early-6276466-details.aspx?from=searchresults&intObjectID=6276466 Excellent condition; beautiful patina; expertly cleaned and conserved. The artefact is fully authenticated with an XRF analysis by an independent Belgian laboratory. All samples correspond to the metal content of the period specified; no modern trace elements were detected in the patina. Size: L:150mm / W:360mm ; 1.8kg. Provenance: From an old Sumerset collection of Asian Art formed in the 1980s/1990s.

1300-1200 BC. Shang dynasty. A beautiful bronze jia tripod vessel comprising a flaring rim, inward sloping neck, flaring shoulder and flat bottom supported by three wedge-shaped legs. A single strap handle is attached to one side of the vessel and two posts with conical casts rise from the rim, perhaps in imitation of mushrooms. A decorative frieze runs around the neck of the vessel, just above the shoulder, and depicts stylised taotie masks. The taotie are mythological creatures commonly appearing in ancient Chinese art, where they are commonly associated with the Four Evils of the World, a motif fitting for a vessel that would have been used for holding food on ritual or ceremonial occasions. Jia with this form and decoration are typical of the Anyang period (1300-1030 BC) and a comparable example can be seen in Shang Ritual Bronzes in the National Palace Museum Collection, Taipei, 1998, pp. 152-7, no. 9. A similar, less well-preserved object was recently sold at Christies for $137,500, see https://www.christies.com/lotfinder/lot/a-bronze-ritual-tripod-wine-vessel-jia-6276463-details.aspx?from=salesummery&intobjectid=6276463 Excellent condition; beautiful patina; expertly cleaned and conserved. The artefact is fully authenticated with XRF analysis by an independent Belgian laboratory. All samples correspond to the metal content of the period specified; no modern trace elements were detected in the patina.Size: L:250mm / W:220mm ; 1.5kg. Provenance: From an old Sumerset collection of Asian Art formed in the 1980s/1990s.

Ca. 206 BC - 220 AD. Attractive Han dynasty terracotta dog. A hollow-formed terracotta dog in a cream fabric with a black painted topcoat and coral-red details in the inner ears, eyes and lips and on the harness which runs around its chest and neck. The dog is a small breed creature similar to a modern Chongqing (Chinese bulldog), featuring short legs, a squat body, a small, curled tail, a compressed snout and large, triangular ears. The dog’s features have been carefully modelled and carefully incised detail is visible, especially around the eyes, snout and paws. It stands on all fours in an alert position and sniffs the air, as if engaged in a hunt. The dog occupies the 11th place in the Chinese Zodiac and is associated with loyalty and honesty. The Han Dynasty, which ruled between 202 BC–220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. Excellent condition. Comes fully authenticated with a TL test from Ralf Kotalla laboratory, Germany. Size: L:415mm / W:365mm ; 4.3kg. Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market before 2000.

1045–771 BC. Western Zhou Dynasty. A bronze wine vessel known as a You, comprising a detachable domed lid with cylindrical handle top, piriform body, flaring foot and strap handle. The object features two bands of intricate geometric patterns, one on the neck and one on the lid, as well as horned zoomorphic terminals at either end of the strap handle. A you or yu, is a type of Chinese bronze vessel for wine that is characterised by a handle and knobbed lid, as in this example. Such items would have been used during ceremonial banqueting amongst the aristocracy. Excellent condition; beautiful patina. The artefact is fully authenticated with XRF analysis by an independent Belgian laboratory. All samples correspond to the metal content of the period specified; no modern trace elements were detected in the patina; expertly cleaned and conserved. A comparable example has recently been sold st Christie's for $37,000, see ehttps://www.christies.com/lotfinder/lot/a-bronze-ritual-wine-vessel-you-western-4960515-details.aspx?from=searchresults&intObjectID=4960515 Size: L:305mm / W:160mm ; 2.3kg. Provenance: From an old Sumerset collection of Asian Art formed in the 1990s; formerly in a Hong Kong collection acquired in the early 1990s.

1300-1100 BC, Late Shang Dynasty. A bronze tripod, generally known as a ding. The object comprises a hemispherical body with shelved rim and two rectangular handles. A band of geometric decoration runs horizontally around the upper part of the body, just below the rim. The body is supported by three robust cylindrical legs. This beautiful object may have been used for ritual banqueting among the aristocracy of the Late Shang Dynasty, who ruled over the lower and middle Yellow River Valley in the 2nd millennium BC. For a comparable item recently sold at Christies, see https://www.christies.com/img/LotImages/2007/NYR/2007_NYR_01877_0205_000(023528).jpg Excellent condition; beautiful patina. The artefact is fully authenticated with XRF analysis by an independent Belgian laboratory. All samples correspond to the metal content of the period specified; no modern trace elements were detected in the patina; expertly cleaned and conserved. Size: L:192mm / W:145mm ; 1kg. Provenance: From an old Sumerset collection of Asian Art formed in the 1990s; formerly in a Hong Kong collection acquired in the early 1990s.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), NEAR RONDA oil on paper, signed and dated '99 51cm x 60cm 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 RE ROI (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.

Original vintage printer's proof of a dust jacket for a book Lautrec Plakate featuring art from an advertising poster by Henry Toulouse-Lautrec taken from his famous design of a lithograph titled 'Divan Japanois'. It was created to advertise a café-chantant that was at the time known as Divan Japonais. The poster depicts three persons from the Montmartre of Toulouse-Lautrec's time. (The third was cropped in this edition) Dancer Jane Avril is in the audience. Beside her is writer Édouard Dujardin. Henri de Toulouse-Lautrec was a French painter, printmaker, draughtsman, caricaturist, and illustrator whose immersion in the colorful and theatrical life of Paris in the late 19th century allowed him to produce a collection of enticing, elegant, and provocative images of the modern, sometimes decadent, affairs of those times.Toulouse-Lautrec is among the best-known painters of the Post-Impressionist period, with Paul Cézanne, Vincent van Gogh, and Paul Gauguin. Horizontal. Very good condition, minor creasing, minor staining. Country of issue: France, designer: Toulouse-Lautrec, size (cm): 78x56, year of printing: 1960s

WALTER OSBORNE (IRISH 1859-1903)Newbury Streetscape [recto] Sketch of Seated Man [verso], 1887 pencil on paper 22 x 13 cm (8 1/2 x 5 in.) [full sheet] dated lower left, titled lower center, signed lower right; illustrated bio of artist on verso PROVENANCECarrickmines House, Foxrock, Co. Dublin, Ireland, Including An Important Collection of Modern Irish Pictures, Christie’s and Edmiston’s LTD. Monday, 10 February 1986 at 11.00 a.m. and 7.00 pm (label on verso) William A. Smith, Inc. auctioneers and Appraisers, Plainfield, NH, sale 03781, lot 369 (label on verso)CONDITIONN.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

CIRCLE OF JOHN CONSTABLE (BRITISH 1776-1837)Harvesters in a Cornfield, oil on panel 20 x 29cm (7 3/4 x 11 1/2 in.)PROVENANCEMortimer S. Brandt Old and Modern Paintings, New York (label on verso) Private Collection, New York CONDITIONObserved in frame. The painting is in age appropriate condition. There is visible panel seam that is stretches from the center left perimeter to the center right perimeter. Inspection under UV shows retouching around 10%. Most notably to the panel seam measuring at 29 cm (11 3/8 in.), the trees on the left side and sky. No other issues to report otherwise.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

MARCEL ROCHE (FRENCH 1890-1959)A Reclining Nude , oil on canvas 65 x 80 cm (25 3/4 x 32 1/8 in.) signed lower right; Two San Francisco MoMA labels on verso PROVENANCESan Francisco Museum of Modern Art, acquired in 1937 (sale, Christie's New York, September 3, 2008, lot 121, illustrated) Private collection, New York (acquired at the above sale)CONDITIONN.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

Roy Bacon: "The A-Z Of British Motorcycles From The 1930's, 1940's, 1950's", Antique Collectors Club "Susie Cooper - A Pioneer Of Modern Design" and collection of other art and other collectors books (3 boxes)

A collection of modern Studio Art glass paperweights, comprising : seventeen assorted weights, including a 'Dynasty Gallery' example with blue bubble inclusions, another with dolphins and bubbles, several with pale purple tint and bubble inclusions, the majority of 'dump' shape (17)

An Art Nouveau 9ct gold amethyst set open work pendant 1.1g, 3cm, together with a pair of modern silver ear pendants (2)

Fine modern art deco bronze lady figure, 'The hoop dancer' after Bruno Zach, raised on a black and red marble base. 65cm high

Fine modern art deco bronze lady figure, 'A dancing girl' after Dominique Alonzo raised on a black and red marble base. 48cm high

[Christie (James)] A Disquisition upon Etruscan Vases; displaying their probable connection with the shows at Eleusis, and the Chinese Feast of Lanterns, first edition, one of 100 large paper copies for presentation, this copy inscribed "To Wm. Morland Esqre. a memorandum of gratitude from the Author" on verso of title, engraved title-vignette, head- & tail-pieces and 16 plates, some offsetting, occasional foxing, mostly marginal, modern calf-backed marbled boards, gilt-stamped calf label to upper cover, uncut, [Blackmer 347], folio, William Bulmer & Co. for T.Becket, 1806.⁂ Privately printed for the author's friends this handsome work describes vases in the British Museum and the collection of Thomas Hope. William Morland (1739-1815), banker, MP for Taunton 1796-1806, and art collector.

NO RESERVE Waterworks.- Fireworks.- Bate (John) [The Mysteries of Nature and Art. In foure severall parts. The first of water works. The second of fire works. The third of drawing washing, limming ..., engraved portrait (2 small holes), lacking title, ?A1 and A4, 2 engraved plates, illustrations, many full-page. occasional marginal holes, tears and loss, many expertly strengthened, affecting some text, 2Q3 lacking top half, occasional contemporary and near contemporary manuscript notes, occasional spotting and staining, bookplate, modern calf, [STC 1578], small 4to, Thomas Harper for Ralph Mabb, 1635; sold not subject to return

[Bramston (James)] The Art of Politicks, in Imitation of Horace's Art of Poetry, engraved frontispiece, loss to corner, restored, for Lawton Gilliver, 1729, bound with, [Miller (Rev. James) Harlequin-Horace: or, the Art of Modern Poetry, first edition, engraved frontispiece, printing error (F1&2), staining to final leaf, [Foxon M251], for Lawton Gilliver, 1731 and [King (William)] The Art of Cookery, in Imitation of Horace's Art of Poetry, second edition, engraved frontispiece, text in English and Latin, short tear (E1), [Foxon K59], for Bernard Lintott, [1712], occasional marginal damp-staining, manuscript notes to endpapers, contemporary panelled calf, a little rubbed, slight bumping to corners and spine extremities; together 3 vol. bound as 1, 8vo.

"The Night HE Came Home". Country of origin US One-Sheet for the definitive 'slasher' flick "Halloween". From first year of general release 1978. With its classic, creepy 'Jack O'Lantern' imagery by Bob Gleason it introduced the audience to the modern horror icon Michael Myers. A must have title for serious collector of the genre and Carpenter fan. Referenced (page 74) in Tony Nourmand/Graham Marsh excellent illustrated reference book "Horror Poster Art".27" x 41" (69 x 104 cm)Condition: Very GoodUnrestored, folded (as issued). Minor handling and fold line wear with a 1/4" split to lower crossfold, no pin holes.Artist: Bob Gleason£200 - 300VAT Status: M

A bronze slender vaseBy Hasuda Shugoro (1915-2010), Showa era (1926-1989), 20th centuryCast in a slim, abstract form, with a flat top and angled spout rim at one side meeting at an indented front upper section on the shoulder and cut away below, adjacent to engraved inset lines, signed just above the foot with chiselled characters Shu; with a wood tomobako storage box inscribed Chudo kaki (Cast bronze flower vase), signed inside the lid Shugoro with seal Shugoro. 32cm (12½in) high. (2).Footnotes:Born in Kanazawa, Hasuda Shugoro is considered one of the principal modernist artists working in bronze during the post-war period. He studied metal craft under Takamura Toyochika (1890 -1972) and in 1960 set up Enshin (The Heart of the Circle), an art crafts group, followed in 1962 by Gendai Kogei Bijutsuka Kyokai (Association for Modern Artist Craftsmen). His first national award was at the Fifth Nitten in 1949 and he subsequently received the Hokuto Award (1953) among many other prizes. In 1987 he was honoured as a Person of Cultural Merit by the Japanese government and in 1991 he was decorated with the Order of Cultural Merit.For a very similar vase by the artist, see Hasuda Shugoro, Hasuda Shugoro kinzoku zokei (Shugoro Hasuda- Metall Plastik), Kyoto, Kyoto Shoin, 1981, p.40, no.12.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com