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A modern coloured art glass panel, 55cm diameter, together with two others similar (3)

c.1965 Italjet 49cc Sports RoadsterFrame no. 25833Engine no. unable to locateItaljet was founded in 1959 by ex-Italian road-race champion Leopoldo Tartarini, a gifted engineer and designer whose many collaborations with Ducati include styling the Darmah range of v-twins. Over the years Italjet used proprietary engines from numerous suppliers including Minarelli, CZ, MZ, Yamaha, and Triumph. Almost every conceivable type of motorcycle was made, including competition and schoolboy models and a succession of stylish scooters. In the 1990s, Italjet launched the Dragster, Formula and Velocifero scooters, and in 1998 an Italjet Formula was exhibited as part of The Art of the Motorcycle exhibition at the Guggenheim Museum of Modern Art in New York City. Apparently original and complete, this rare early Minarelli-engined Italjet is offered for restoration (it should be noted that the carburettor float chamber is damaged). There are no documents with this Lot, which is sold strictly as viewed.Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.This lot is subject to the following lot symbols: NN If purchased by a UK resident, this machine is subject to a NOVA declaration, undertaken by Bonhams upon a successful sale, to facilitate the registration of the machine here in the UK.For further information on this lot please visit Bonhams.com

Group of six exhibition posters consisting of: Wassily Kandinsky, Museum of Modern Art 76cm x 51cm Edvard Munch, Hayward Gallery, 75cm x 50cm, Henry Moore at Tate Gallery, 77cm x 50cm, Man Ray, Lenor Fini and Jack Miller (6). 

A German early 20th Century Jungendstil (Art Nouveau) silverplated water jug / small claret jug, body chased with naturalistic Iris and leaves, stamped on base WMF EP I/O OX, 24cm high together with a pair of Royal Selangor pewter peppers cast as a basket of flowers and watering can; pair of Continental white metal mounted glass mustart pot and covers; white metal door knocker; Penhaligan scented candle and a modern tea light holder (Q) 

A collection of 10 framed and glazed prints. To include rural landscapes, portraits and modern art. Largest frame size approx. 48 x 62cm.

A framed and glazed stencil art on fabric depicting a tribal herdsman and cattle by D.S.Okelto. Modern frame with non reflective glass. Frame size approx. 86.5 x 48.5cm.

A modern art style triptych oil on board by Peter Walker with words by Cherry Smythe dated June 2003

Wills cigarette cards, together with R & J Hill, J Wix and other large cigarette cards, sets, part sets and individual cards, including Henry, Modern Beauties, Views of Interest, The Kings Art Treasures, and England Historic and picturesque. (quantity)

maker's mark only to inside of base, the circular box with straight sides and pull off cover, engraved to the border with simple stylised foliate border, the base section with rectangular aperture for ribbon(5.3cm diameter, weight 25.2g)Note: Robert Cruickshank was the only Old Aberdeen goldsmith who was born in Scotland, the only other two recorded are Etienne (Stephen) Agate and Samuel Le Revier both of French origin. His training is likely (although documents are lacking) to have been given by George Walker of Aberdeen. Cruickshank’s larger work is generally seen struck with maker's mark only and close comparison to the marks struck to the Quaich within Aberdeen Art Gallery & Museum and the Aberdeen University Tankard show that the uniquely shaped punch with rather soft edges following the shape of the two initials can concretely be tied to him. He later changes his punch (perhaps as his original is worn) to a more ‘modern’ rectangular shaped punch and this along with Old Aberdeen town marks are seen to his later production of flatware. This box is a new discovery within the rare survival of work by Robert Cruickshank and indeed of Old Aberdeen as a whole. The surviving silver by Cruickshank shows a very interesting and important cross section of work from three prong forks (perhaps the earliest for Aberdeen) to the various important Civic and Royal commission he received, including the fine Royal Huntly Race prize sword and cup and cover. It is interesting to note that the University of Aberdeen Tankard by Cruickshank has a large circular cartouche formed of the same stylised foliate engraving seen to the cover of the seal box under discussion. Seal boxes appear to be a generally rare survival in Scotland. Originally containing the wax seal of the granter of a document or charter they are suspended by a wide ribbon from the vellum document. In some instances they are engraved with a representation of the seal within on the covers. Due to this, and in spite of its plain nature, it is likely this box was part of an important presentation likely from a civic body within Aberdeen, perhaps the University or City Council. Indeed, it is not until the work of George booth circa 1825 that the next Aberdeen made example is seen (National Museum Scotland 1976-34).

A box of vintage & modern books relating to: gardening, wildlife, art, wine making & architecture. To include Observers books.

Two modern Pop Art prints

A modern embossed copper Art Nouveau style wall mirror, rectangular. 81cm by 30.5cm

R. Rogan a modern Art Nouveau style pewter and leaded glass wall mirror 74cm by 49cm

Mary Fedden OBE, RA, RWA (1915-2012) ''David's Lilies'' Signed and dated 1989, inscribed to artist's label verso, oil on board, 75.5cm by 59cm Provenance: Christie's South Kensington, Modern British and Irish Art, 9th December 2015, lot 48 See illustration Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business Condition Report - Some light surface dirt and sporadic specks of dirt throughout. Otherwise in good overall condition. Chips, scratches and minor losses to frame. 

Wood (MC) Flower Arrangement Art of Japan 1951; Modern Japanese Art of Flower Arrangements; The Love Letters of a Chinese Lady and two others (5)

Jamie Guillman 2015 - British Modern Art. A local interest framed print of the famous Bearpit in Bristol.  Signed to the lower corner in pencil. Measures 74 x 64 cm

Books - Photography, including Bowen (Paul, photographer): Air to Air, signed and dedicated two-volume set, 1998-2000, [with], Air to Air: Warbirds, signed, 2002, all h/b, d/j, folios, (3); art history and reference; design; furniture history, modern and antique; illustrators: Lionel Edwards, Ralph Caldecott and Robert Gibbings; classical music; ballet, including an Anna Pavlova souvenir programme; etc., [1 box]

THREE BOXES OF VINTAGE AND MODERN MOSTLY ART RELATED BOOKS

Tray of assorted brassware to include; trench art shell cases, modern miner's safety lamp, various weights, anti-aircraft shell, Post Office piggy bank etc.(B.P. 24% incl. VAT)

A Galos Portuguese Art Deco style figurine in a seated pose with unusual headdress and fan. Modern.(B.P. 24% incl. VAT)

Three pieces of modern art glass, to include: two vases and a dish.

A modern Art Deco style silver plated teapot, in the style of Christopher Dresser, height 19cm

A VICTORIAN CARVED ROSEWOOD AND TAPESTRY WORK UPHOLSTERED LOW CHAIR in early 18th century style, and a modern blue fabric covered cushion (on view at Fine Art)

A MODERN WALNUT AND GLAZED LONGCASE CLOCK BY PEARL, with triple barrel movement, weights and pendulum, 200cms high (on view at Fine Art)

A small collection of antique brass boxes comprising of a square snuff box having an embossed bull dog to hinged cover, 2½in. (6.4cm.) square; circular snuff box, the hinged cover with engraved gentleman riding a bike and the words 'Modern Prophecy', 2¾in. (7cm.) diameter; rectangular twin compartment stamp box the hinged cover with a shooting scene, 2 5/8in. (6.7cm.) long; bullet form trench art lighter; two go to bed vesta cases one fashioned as a barrel; rectangular cigarette box, together with a spitfire model. (8)

A French Art Deco mantel clock, in red and white marble, silvered face with Arabic numerals and a modern electric movement, width 40cm

A French Art Deco mantel clock, in cream and brown marble, circular brass face with Arabic numerals and a modern electric movement, a cast metal gazelle placed to the left of the dial, width 40cm

A.R. Penck(German 1939 - 2017)UNTITLEDsigned on the reverseacrylic over silkscreen on paper10 by 14,5cm, unframedSince his death in 2017 there has been a resurgence of interest in the accomplishments of the German artist A.R Penck. His work has proven to be an excellent investment, fetching high prices on auction. The relevance of his work today is evidenced by the inclusion of his artwork in a number of current gallery exhibitions, including the solo show A.R Penck at Gallery Fetzer in Germany, which was held from 21 June – 20 July 2020 as well as the inclusion in the aptly titled Writing the History of the Future at the Zentrum für Kunst und Medien in Germany from the February 2019 – March 2020. A.R Penck remains one of the most internationally celebrated artists to emerge from post-war Germany. He is known for his pictographic Standart style, which is often infused with political commentary, but always carries the trauma of an artist who was born during World War II, a dissident who suffered under the oppression of the East German government, but who ultimately slipped through the system to exhibit and gain notoriety in the West. A.R. Penck’s works are in public and private collections worldwide, including the Museum of Modern Art, New York, Tate London, Museum Ludwig, Cologne, Neue National Galerie Berlin, the Centre Pompidou in Paris, and the Musee d’Art Moderne de la Ville de Paris. Source: Art Daily Galerie Fetzer Artfacts

Christo and Jeanne-Claude(Bulgarian/French 1935 - )PACKAGE ON A HUNTsigned in pencil in the marginoffset lithograph printed in colourssheet size: 100 by 69cm, unframedThe art duo of Christo and Jeanne-Claude have created some of the most ambitious and innovative outdoor sculptures and installations in art history. In April 2004 Christo and Jeanne-Claude received a Lifetime Achievement Award in Sculpture from the International Sculpture Center. Jeanne-Claude died in 2009, but Christo continued his work until his passing, early in 2020 at the age of 84. Christo was in the midst of planning to cover the Arc de Triomphe in Paris, but the project was postponed to 2021 due to the Corona pandemic. The artists are known for a number of public art installations, including the wrapping of the Reichstag in 1995, where the German parliament was wrapped in 100 000 square meters of silver-propylene fabric and tied with 15km of rope. This project cost $15 million and ultimately took twenty years to be realized due to bureaucratic issues, but the couple persisted. The artists funded all of the projects themselves, at times selling preparatory drawings and Christo’s art produced in the 1950’s and 1960’s to help pay for each project. In October 2019 Stephan Welz & Co offered the poster for The Gates (Project for Central Park, New York City) (lot 245). Other notable projects that the artists executed included Wrapped Coast (Australia, 1969); Valley Curtain (Rifle, Colorado, 1970 – 1972); Surrounded Curtains (Greater Miami, 1980 – 1983); The Umbrellas(Japan – USA, 1984 – 1991). The artworks took years, sometimes decades to realize, and were then only exhibited/activated for a few weeks or months before being deconstructed, and their materials recycled. Christo and Jeanne-Claude were artistic collaborators, but they only announced Jeanne-Claude’s artistic involvement in 1994, believing that her role as a co-creator would have prevented them from getting permits to create some of their artworks. Jeanne-Claude has mentioned this reasoning herself but has not elaborated on it. Since 1994, Jeanne-Claude has been retroactively credited as Christo’s collaborator in all of their large-scale artworks. While many of the artworks can be defined as public installations or land art, they are also temporary, and therefore ephemeral, unusual at a time when Western dogma still perpetuates the essential eternity of art, particularly that produced by male artists. Some of the larger projects involved hundreds of people. Generally, Christo would produce the first drawings and Jeanne-Claude would begin the process of organisation required, including authorization to the space, editors, photographers, press releases and any other bureaucracy required in the initial planning process. Christo has attested that the artworks were living objects, with the wind activating the fabric they used, giving it a dynamic quality. Included on offer (lot 338) is a poster signed by Christo and details preliminary plans and sketches of their installation Package on a Hunt. Unlike their other installation works, the original Package on a Hunt, is currently in the permanent collection of the Goslar Mönchehaus Museum, displayed in their sculpture garden. In 1987 Christo received the Goslar Kaiserring for modern art. In 1988 he and Jeanne-Claude created Package on a Hunt, the artwork consists of the last lore loaded with ore (which is referred to as ‘hunt’ by those involved with mining). The work left Rammelsberg ore mine on June 30, 1988 as part of mining procedure. Oddly, the work continued to travel, being moved from the Monchehous Museum in 2000 to the Rammelsberg for space reasons in 2016 and was also included on the Treasure Harz exhibition at the castle museum on Castle Square in Braunschweig. For this reason, this work can be thought to refer to the concept of the émigré that was transposed onto Christo often, whose family fled Bulgaria. Even though the artist denied this concept often. The mystery of a wrapped article and the concealment of an object usually available to the public draws attention to the fact that we weren’t paying attention to the details of the object at all, and only realised once it had been concealed, that we couldn’t recall it in detail. Christo and Jeanne-Claude stated many times that there was no underlying meaning in their work other than transience, that they made the work simply because they were compelled to. The artwork occurs during the planning phase. In Christo’s words, “Many of our projects have the same urban planning dimensions as those of the construction of a highway or a bridge. In both cases, the procedures of authorization are similar; we face the same problems as those who build a highway, a skyscraper, or a bridge.” The artists have stated before that the planning phase, and the bureaucracy required in order to install their public installations, are as much a part of the artwork as the final wrapped object, available for public intervention. It is with this understanding that the artwork occurs during the process and that the completed work is evidence of that process. The completed wrapped object, or the signed poster, complete with plans, aerial maps and drawings of the work, are not the equivalent to preliminary sketches, practiced for a painting, but the complete artwork in itself. This poster is a complete work, and a record of the process. For those collectors who appreciate the work of Christo and Jeanne-Claude, the prints of their posters, such as the one we have on offer, are most likely their only opportunity to purchase the work for their collection. Source: Wallector Sculpture – Online A publication of the International Sculpture Center A Matter of Passion: A Conversation with Christo and Jeanne-Claude by Jan Garden Castro

A.R. Penck(German 1939-2017)SOPHIA LORENsigned in pencilpen on paper30 by 21cm, unframed Since his death in 2017 there has been a resurgence of interest in the accomplishments of the German artist A.R Penck. His work has proven to be an excellent investment, fetching high prices on auction. The relevance of his work today is evidenced by the inclusion of his artwork in a number of current gallery exhibitions, including the solo show A.R Penck at Gallery Fetzer in Germany, which was held from 21 June – 20 July 2020 as well as the inclusion in the aptly titled Writing the History of the Future at the Zentrum für Kunst und Medien in Germany from the February 2019 – March 2020. A.R Penck remains one of the most internationally celebrated artists to emerge from post-war Germany. He is known for his pictographic Standart style, which is often infused with political commentary, but always carries the trauma of an artist who was born during World War II, a dissident who suffered under the oppression of the East German government, but who ultimately slipped through the system to exhibit and gain notoriety in the West. A.R. Penck’s works are in public and private collections worldwide, including the Museum of Modern Art, New York, Tate London, Museum Ludwig, Cologne, Neue National Galerie Berlin, the Centre Pompidou in Paris, and the Musee d’Art Moderne de la Ville de Paris. Source: Art Daily Galerie Fetzer Artfacts

Ralf Winkler (aka AR Penck)(German 1939-2017)signedink on paper29,5 by 42cm, unframed Since his death in 2017 there has been a resurgence of interest in the accomplishments of the German artist A.R Penck. His work has proven to be an excellent investment, fetching high prices on auction. The relevance of his work today is evidenced by the inclusion of his artwork in a number of current gallery exhibitions, including the solo show A.R Penck at Gallery Fetzer in Germany, which was held from 21 June – 20 July 2020 as well as the inclusion in the aptly titled Writing the History of the Future at the Zentrum für Kunst und Medien in Germany from the February 2019 – March 2020. A.R Penck remains one of the most internationally celebrated artists to emerge from post-war Germany. He is known for his pictographic Standart style, which is often infused with political commentary, but always carries the trauma of an artist who was born during World War II, a dissident who suffered under the oppression of the East German government, but who ultimately slipped through the system to exhibit and gain notoriety in the West. A.R. Penck’s works are in public and private collections worldwide, including the Museum of Modern Art, New York, Tate London, Museum Ludwig, Cologne, Neue National Galerie Berlin, the Centre Pompidou in Paris, and the Musee d’Art Moderne de la Ville de Paris. Source: Art Daily Galerie Fetzer Artfacts

A.R. Penck (German 1939-2017)EIS IN DER HÖLLE accompanied by catalogue signed by the artist Lücke TPT: Harald Gallasch. Wolgang Opitz. A.R Penck. Terk. Gemeinschaftsbilder. Dresden 1971 – 1976, Universitätsdruckerei und Verlag, H.Schmidt GmbH. Mainz, 1972.acrylic on canvas149 by 178cm (2)LITERATURE: Lücke TPT: Harald Gallasch. Wolgang Opitz. A.R Penck. Terk. Gemeinschaftsbilder. Dresden 1971 – 1976, Universitätsdruckerei und Verlag, H.Schmidt GmbH. Mainz, 1972.p92EXHIBITED: Museum für Gegenwartskunst, Basel; Städtische Galerie im Städel, Frankfurt am Main; Staatliche Kunstsammlungen DresdenPROVENANCEPrivate Collection, Switzerland; Private Collection, Cape Town 149 by 178cm  Penck put together the artist’s group Die Lücke TPT in 1971 as a socialist act, emphasising what could be achieved by an artist’s collective. The aesthetics of the group were secondary to the processes of the groups collaborative art production. The group’s name translates to ‘the gap’, as Penck was referencing the lack of teamwork in the sterile East German art world. Die Lückeunfortunately dissolved in 1976 due to constant harassment by the Stasi. Eis in Der Hölle was painted during Penck’s time with Lücke TPT. It translates to mean ‘Ice in hell’. It is a good example of the neo-expressionism that Penck is associated with, along with other contemporaries Markus Lupert, Jorg Immendorff, Georg Baselitz, Anselm Kiefer and Sigmar Polke. Neo-expressionism brought a new sense of historical and political drama to figurative painting, the movement was also characterised by a return to the sensuousness of paint which was a direct reaction against the preceding art movements of Minimalism and Conceptualism, which distanced the artist’s hand from the artwork. Artists found a redemptive quality of art when working in Neo Expressioninsm. Penck, always carried with him the scars of growing up and living in a post-war and cold war environment, and perhaps found his art cathartic or liberating, by depicting national or political subject matter. This work is typical of the movement in the raw application and handling of the paint in a larger format than Penck had used in the past. Neo-expressionism encouraged bright colours in order to achieve subjective means. Neo expressionism resurged the incorporation of storytelling, in the form of mythical and historical imagery, unlike earlier Modernists, particularly the writings of Clement Greenberg, a proponent of Abstract Expressionism, who had rejected it. Another element of neo-expressionism was its view of art as part of a system of consumerism, for which it was criticised, unlike prior movements such as Abstract Expressionism. Source The Art Story Artforum Since his death in 2017 there has been a resurgence of interest in the accomplishments of the German artist A.R Penck. His work has proven to be an excellent investment, fetching high prices on auction. The relevance of his work today is evidenced by the inclusion of his artwork in a number of current gallery exhibitions, including the solo show A.R Penck at Gallery Fetzer in Germany, which was held from 21 June – 20 July 2020 as well as the inclusion in the aptly titled Writing the History of the Future at the Zentrum für Kunst und Medien in Germany from the February 2019 – March 2020. A.R Penck remains one of the most internationally celebrated artists to emerge from post-war Germany. He is known for his pictographic Standart style, which is often infused with political commentary, but always carries the trauma of an artist who was born during World War II, a dissident who suffered under the oppression of the East German government, but who ultimately slipped through the system to exhibit and gain notoriety in the West. A.R. Penck’s works are in public and private collections worldwide, including the Museum of Modern Art, New York, Tate London, Museum Ludwig, Cologne, Neue National Galerie Berlin, the Centre Pompidou in Paris, and the Musee d’Art Moderne de la Ville de Paris. Source: Art Daily Galerie Fetzer Artfacts

A.R. Penck(German 1939-2017)DER IEZTE NVA-PILOTsigned and editioned 3acrylic over silkscreen on canvasProvenanceGalerie Frank Hänel, Wiesbaden; Private Collection, Cape  This series of serigraphs was executed after the fall of the Berlin wall when the artist produced a number of artworks using the unusual technique of painting acrylic over silkscreen on canvas which the artist refers to as übermalungs (overpaintings) in this large format. This series is included in the catalogue Menschen Und Tiere Nach Der Offnung Ubermalungen 89 – 91, published by the Frank Hänel Galerie.  Like other artworks that feature in the above mentioned catalogue, for Der Ietzte NVA-Pilot he created a template which forms the main composition, which the artist silkscreened onto several canvas, before revising drastically by painting over the printed template with acrylic paint. An incredibly prolific time for the artist, the collectively 80 works that were made over this period are rich in symbols and Penck, perhaps expressing a liberation that he had not felt within the GDR before 1990, included much political commentary in the iconography. Der Ietzte NVA-Pilot translates to ‘The last NVA Pilot’ as a comment on how the artist viewed the German military at the time. Source: Art-service Since his death in 2017 there has been a resurgence of interest in the accomplishments of the German artist A.R Penck. His work has proven to be an excellent investment, fetching high prices on auction. The relevance of his work today is evidenced by the inclusion of his artwork in a number of current gallery exhibitions, including the solo show A.R Penck at Gallery Fetzer in Germany, which was held from 21 June – 20 July 2020 as well as the inclusion in the aptly titled Writing the History of the Future at the Zentrum für Kunst und Medien in Germany from the February 2019 – March 2020. A.R Penck remains one of the most internationally celebrated artists to emerge from post-war Germany. He is known for his pictographic Standart style, which is often infused with political commentary, but always carries the trauma of an artist who was born during World War II, a dissident who suffered under the oppression of the East German government, but who ultimately slipped through the system to exhibit and gain notoriety in the West. A.R. Penck’s works are in public and private collections worldwide, including the Museum of Modern Art, New York, Tate London, Museum Ludwig, Cologne, Neue National Galerie Berlin, the Centre Pompidou in Paris, and the Musee d’Art Moderne de la Ville de Paris. Source: Art Daily Galerie Fetzer Artfacts

A modern Soumac rug, with rows of animals and other devices, on a white ground, 140 x 85cm, a collection of modern tribal mats and hangings, Length of Liberty material and matching cushion, Australian aboriginal art cushion, Indian embroidered and other cushions (qty).

A modern figural electric table lamp, in The Art Deco style, with semi-nude female figure holding a spherical crackled glass shade 48cm good order.

Two boxes of mixed items, including Indian tree china, modern wall clocks, wall canvas pictures, bowls, dishes, novelty wine rack, art deco style preserve pot, decorative bottles.

Original vintage advertising poster for an exhibition of modern and antique Mexican art in Paris. Great image of a skeleton wearing lady's hat most likely referencing Dia de Muertos - The Day of the Dead (Spanish: Dia de Muertos) is a Mexican holiday celebrated throughout Mexico, in particular the Central and South regions, and by people of Mexican heritage elsewhere. The multi-day holiday involves family and friends gathering to pray for and remember friends and family members who have died, and helping support their spiritual journey. In Mexican culture, death is viewed as a natural part of the human cycle. Mexicans view it not as a day of sadness but as a day of celebration because their loved ones awaken and celebrate with them. Good condition, creasing, tears. Country of issue: France, designer: Unknown, size (cm): 95x68, year of printing: 1952

Original vintage exhibition advertising poster for an exhibiton by Fernand Leger (1881-1955), a French painter, sculptor, and filmmaker. Having regarded to be a forerunner of pop art, his early works he created a personal form of cubism which he gradually modified into a more figurative, populist style. The exhibition was held from May to June 1962, at 70 Rue de L'Universite, Paris - the gallery of Heinz Berggruen, a collector and dealer who played a major role in the post-World War Two reception and dissemination of European modern art, and more specifically, of Pablo Picasso. The poster features a Leger painting dated from 1913. Toward the end of 1912, Leger made among the most defiantly abstract works yet seen. Over the next two years he worked intensely in this experimental idiom, producing the fifty or so canvases, and twice as many works on paper, that constitute his Contrastes de formes (Contrasts of forms) series. Good condition, creasing, staining, pinholes at top. Country of issue: France, designer: Fernand Leger, size (cm): 60x45, year of printing: 1962

Original vintage exhibition advertising poster for the 'Imaginary Museum of Tintin', held at the Joan Miro Foundation from 27 September to 25 November 1984, the museum of modern art honoring Joan Miro located on the hill called Montjuic in Barcelona, Catalonia (Spain). The exhibition was held jointly with the Caixa d'Estalvis de Catalunya (Catalonia Savings Bank), and in collaboration with Centre for Fine Arts, Brussels and the Museu Etnologic de Barcelona (Barcelona Museum of Ethnology). Features the main protagonist Tintin, Snowy his trusted companion leading a line of other main characters including Bianca Castafiore, the Captain, Professor Calculus, Thomson and Thompson, Jolyon Wagg and others. The entourage walk down a fictional museum hallway lined with plinths displaying sculptures and artefacts that appear in the Tintin comic series, including the unicorn ship, King Ottokar's Sceptre, the Tibetan Chorten, the African Mask the Knight Hadoque Totem and the Shiva Altar. Very good condition, light browning on edges, small tear and mark on top right. Country of issue: Spain, designer: Herge, size (cm): 90x60, year of printing: 1984

A modern white glazed table lamp in the form of an Art Nouveau style dancer; together with two other table lamps (3)

Blistering performance, classic looks and only 25,600 miles from new.First registered on the 07/03/2003 and UK supplied in Brilliant Silver Metallic with grey leatherCivilised supercar performance sprinkled with some AMG magic dust At launch, the 5.5-litre V8 engine propelled the car to 62mph in 4.2 seconds The service book shows eight stamps, the majority of which are Mercedes-Benz main dealerExtensive spec from new to include AMG Styling Package front spoiler and side skirtAccompanied by all the book packs, older MOTs, service receipts and both keysPresented to auction with an MOT until 03/02/2021 and an odometer reading of some 25,600 (atoc)Introduced in 2002, after some five years in development, the R230 Series SL Roadster was an engineering 'tour de force'. Painstakingly modelled on a state-of-the-art supercomputer which enabled the designers to analyse every curve and line, it looked utterly sensational with an air of barely contained aggression that gave it huge road presence. Packed full of sophisticated electronic driver aids which made it immensely safe but also fun to drive, it was an instant hit with press and public alike and is widely considered to be the best-looking Mercedes for many years. The power-operated aluminium folding roof was particularly admired and would disappear into the top of the boot at the press of a button in just 16 seconds, yet still leave enough room underneath for 206 litres of luggage space. It was in 2003 that the stunning looking SL55 AMG version was introduced. Seriously powerful and massively fast, the 5.4-litre engine gave 476 BHP and a tree stump pulling 520lbs/ feet of torque!First registered on the 7th March 2003, this SL is finished in Brilliant Silver Metallic with Grey leather and Designo Alcantara headlining. The options list in 2003 was packed full of state-of-the-art equipment and, it would appear in this case, most of the boxes had been ticked. The history file is rather well stocked for such a modern car and includes many main dealers receipts and a service history that includes five main dealer stamps with three specialist stamps. Showing an odometer reading of some 26,500 miles, at the time of cataloguing this car presents incredible value for money and still holds its own against modern Mercedes.You can now book a one to one appointment (up to one hour) to view this lot at our central location between 16th and 30th July. Please contact Arwel Richards on 07434 960 868 / arwel@silverstoneauctions.com to secure your appointment or to discuss the car in more detail. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions for arrival and inspection protocols will be given when making your appointment.Click here for more informationSpecification:Registration: OO03 EJHYear: 2003Make: Mercedes-BenzModel: SL55 AMGRHD/LHD: RHDChassis Number: WDB2304742F044076Odometer Reading: 25600 milesEngine Capacity: 5439Body Colour: SilverInterior Colour: Grey Leather

**Sale Room Announcement** Vendor will fix leaking window switch at their expense post sale.Extensively and expensively recommissioned, the ultimate 'Grand Mercedes'. Stylishly presented in Anthracite Grey Metallic paint with a tan interiorRecently subject to extensive recommissioning work at a cost of over £29,000Hydraulics and braking system overhauled, air suspension stripped, vacuum system and tank testedNew Pullman-spec airbags, interior refurbished, bumpers chromed plus a deep cleanCopies of the original Factory Data Card. On a NOVA number and ready for UK registrationA rare and desirable motorcar, exhibiting cutting edge 1960's luxury, engineering and styleThe Mercedes-Benz 600 was a line of ultra-luxury cars produced between 1963 to 1981. A forerunner of the modern Maybach marque, the 600 was the company's flagship and most expensive model. Among the variety of 600 models produced was the long-wheelbase four-door "Pullman" limousine, with two additional rear-facing seats separated from the driver's compartment by a power divider window. Just 429 of these substantial motor cars were built, including the superb example on offer here.This home-market car was delivered new to the German company "Alpine" in 1964, presumably to transport important staff and clients, before the company was subject to a take-over by a Japanese firm around 20 years ago. As a company asset, the vehicle then made its way over to Japan where it spent many years before being purchased by our vendor and brought to the UK.Representing state-of-the-art automotive engineering of the era in just about every department, this supremely well-equipped luxury car featured four-speed automatic transmission, all-round disc brakes, power-assisted steering, central locking, separate air conditioning systems for the front and rear compartments, and insulated glass all round. The 600 Pullman's great size, weight, and numerous hydraulically driven amenities required more power than Mercedes' largest engine at that time could produce. A new V8 with more than twice the capacity was developed, the 6.3-litre M100. Featuring single overhead camshafts (SOHC) and Bosch mechanical fuel injection, it developed around 250bhp offering highly respectable performance, reaching 60mph in a little under 10 seconds and exceeding 125mph flat out.One of the most notable features of these models is their sophisticated 150-bar (2,176 psi) hydraulic pressure system which operates the multi-way adjustable seating, windows, opening and closing of doors and boot lid, whilst adjustable air suspension delivers variable control, excellent ride quality and sure handling over any road surface.Stylishly presented in Anthracite Grey Metallic paint with Tan interior, the car has been subject to extensive recommissioning work at a cost of over £29,000. This attention includes; overhaul of the hydraulics and braking system, air suspension stripped and sent to the leading specialist in Germany to be worked on, vacuum tank tested, new Pullman-spec airbags on all sides as well as having the interior refurbished, bumpers chromed plus a deep clean and pre-sale detail. The car is accompanied by copies of the original Factory Data Card showing the vehicle specification and sale to 'Alpine' in Augsburg, Germany. Also supplied is a printout from Mercedes-Benz confirming the vehicle details and invoices for recent works to the hydraulics and suspension plus new tyres. The car has a NOVA number and is ready for UK registration. A rare and desirable motorcar, exhibiting cutting edge 1960's luxury, engineering and style. You can now book a one to one appointment (up to one hour) to view this lot at our central location between 16th and 30th July. Please contact Harry Whale on 07919 887 374 / harry@silverstoneauctions.com to secure your appointment or to discuss the car in more detail. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions for arrival and inspection protocols will be given when making your appointment.Click here for more informationSpecification:Registration: Unregistered (NOVA)Year: 1969Make: Mercedes-BenzModel: 600 PullmanRHD/LHD: LHDChassis Number: 10001412001369Engine Number: 100980-12-001435

The 'SA-30 Collection' - 30 exceptional vehicles chosen to celebrate 30 years of the Silverstone Classic and all excitingly offered at No ReserveNumber 255 of 500 examples of the ultimate super-saloon and road-going DTM carOne owner for 30 years and just 26,056 miles (41,934km) from newShort-stroke,16v, 2.5-litre, 4-cyl with an AMG Power Pack producing 235bhp at 7,200rpmPresented in gleaming 'Blauschwarz' (blue/black) metallic with an array of spoilers, splitters, skirts and air damsWhilst aesthetically pleasing these dramatic aerodynamic aids are strictly functionalClassic nineties black leather cockpit, Teutonically efficient yet immensely comfortableOn offer from a private collection and for sale publicly for the first time since newRare opportunity to acquire an example of Mercedes' most radical road car since the Gullwing 25 years ago, the 190 E 2.5-16 Evolution II thrilled professionals and the general public alike when it was unveiled at the Geneva International Motor Show and legend has it that the entire limited run of 502 cars was sold pre-launch, possibly being squirrelled away by international car collectors. The bitter rivalry between BMW and Mercedes-Benz in saloon car racing throughout Europe helped hone the greatest 'touring cars' of the era and the Evo II was pitted against one of the best touring cars of all time, the E30 M3. A compromise was out of the question and the full-race car, developed for Group 'A' using this sports saloon as a basis, went on to acquire legendary status. Mercedes-Benz took the first three places in the DTM championship in the 1992 season with this remarkable vehicle, which henceforth is referred to, in revelation, as the "Evo II".The engine's output had been raised once again in comparison to the first Evolution model from the previous year, the Evo II now generating 235 horsepower. Top speed was 250 km/h, and the Evo II accelerated from a standing start to 100 km/h in 7.1 seconds. The body had also undergone further refinement on an aesthetic and aerodynamic level and the car's sporting pedigree was emphasised by its muscular stance. In this form, the 190E finally had the match of the M3, and while it was never as naturally gifted as its rival, the brutal and unrelenting way it delivered its performance, and its devotion to technological supremacy, set a precedent for Mercedes performance models that can be traced right the way through to today.The Evo II's body kit is perhaps the most outrageous ever applied to a production car, and the fact it was a product of the ultra-conservative world of early ninety's Mercedes-Benz is even more incredible. The ostentatious, fully adjustable rear spoiler was aerodynamically perfect and its front splitter would make a decent job of cutting the grass, however, despite outward appearances, the Evo II is a comfortable and tractable daily driver.The 255th of 500 built, this Evo II Homologation special-edition is no disappointment and exceeds expectations on every level. Firstly, there is the way it looks. Legend has it that BMW redesigned its wind tunnel after seeing the Evo II race car and none of the excitement has been lost on the road car. With its stunning "Blauschwarz" (blue/black) metallic bodywork devoid of any decals, and with number plates fitted instead of sponsors' logos, it's arguably even more dramatic.The build quality is pure Mercedes-Benz at their best and nothing has been compromised. The full-leather sports seats are both supportive and comfortable, the centre console has a full accompaniment of switches including air-conditioning and electric windows and, with only 26,056 miles (41,934km) from new, the interior wears its 30 years almost imperceptively.All but the first 1,000 of these kilometres were covered by one collector-owner over the last 30 years. Speaking volumes for its ability to be an exciting 'road-going' racecar, without the compromises that this usually entails, is the fact that this owner seems to have used this car more than almost any other in his truly world-class collection. But here is an example that offers the perfect balance of low miles and usability, and has been cherished in one of the world's finest car collections. With growing interest in historic motorsport, has come renewed interest from collectors in the cars that were homologated in order to allow some of the greatest saloon cars of all time to go racing in the first place. This Evo II ranks among the most visually striking of all the homologation specials and warrants pride of place in any collection. But more than that, whilst most of us would love to have an E30 M3 Johnny Cecotto or Robert Ravaglia in our garage, that's where they would be kept. The 250-16 Evo II deserves to be in a large architect-designed, glass-walled space in your house on a raised plinth lit by pencil spotlights. A piece of modern art, Form and Function in perfect harmony.You can now book a one to one appointment (up to one hour) to view this lot at our central location between 16th and 30th July. Please contact Harry Whale on 07919 887 374 / harry@silverstoneauctions.com to secure your appointment or to discuss the car in more detail. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions for arrival and inspection protocols will be given when making your appointment.Click here for more informationSpecification:Registration: NOVAYear: 1992Make: Mercedes-BenzModel: 190E 2.5-16 Evolution IIChassis Number: WDB2010361F740599Odometer Reading: 41934Engine Capacity: 2463

A right-hand-drive SVR with just 2,720 miles from newThe SVR is a lighter, faster and sharper version of Jaguar's F-Type R All-Wheel Drive5-litre supercharged V8 producing 567bhp and 516lb.ft. 0-60 in 3.5 seconds and 200mphEight-speed automatic transmission by Special Vehicle Operations and split-bias 4-wheel driveUnique SVR seats with Lozenge Quilt pattern, suede cloth-covered instrument binnacle and centre console, SVR steering wheel and anodized aluminium paddlesTitanium and Inconel exhaust system offers a fabulous 'harder-edged' soundIn Corris Grey Metallic and presents as you would expect for what is essentially a car still being run in!This is a VAT qualifying car so 20% needs to be added to the Hammer PriceIn the same month that the F-Pace SUV became the fastest-selling Jaguar of all time, the F-Type arrived in 'Supercar 'territory. Introduced at the Geneva Motor Show in March 2016, the F-Type SVR was a lighter, faster and sharper version of Jaguar's F-Type 'R' All-Wheel Drive. It was powered by the same 5-litre supercharged V8 but now produced 567bhp at 6,500 rpm and a remarkable 516lb.ft of torque at 3,500rpm, with all this power transferred to the road through a Special Vehicle Operations - developed, eight-speed automatic transmission and split-bias 4-wheel drive.The SVR was now a seriously quick motor car with 0-62mph in a tad less than 3.5 seconds and a genuine 200 mph available, however, the external differences from the F-Type R were stylish and subtle with a new aerodynamics package that included a new front bumper, splitter, flat undercarriage, rear venturi and an active rear wing that rises at 70mph. What wasn't quite so subtle was the new Titanium and Inconel quad-pipe exhaust system which was a full 16kg lighter but featured valves that open at 2,500rpm generating a distinctive metallic bark that will rattle windows and upset the neighbours. You don't have to use full throttle and it is possible to progress in a civilised manner, but the option is there!However, more impressive than the increased power output is the way the SVR conducts itself. We quote from a recent Road Test in Classic Car Magazine;"Yet more impressive than the raw speed is the way it's delivered. The smaller-engined, rear-drive F-types regularly trouble their electronic stability systems, but in four-wheel-drive SVR form traction is outrageous. Off the line the Jag just grips and goes, and the same applies when putting the power down early out of a corner: it's composed, controlled and deeply impressive.The beautifully weighted steering filters out any semblance of kickback, yet retains far more feedback than most modern systems, with delicious accuracy. Switch to 'Dynamic' mode and the car gets stiffer, harder and more focused, the smooth auto 'box serving up immediate, aggressive changes when commanded by the steering wheel-mounted paddles.Yet although there's grip and body control enough to ensure that your passenger will need the large grab handle, it's delivered without the back-breaking ride you might expect, particularly when you switch to 'Normal' - but then Jaguar always was a master of chassis that blended balance and suppleness."Inside the cockpit is truly state of the art and indications that you are in the SVR include very handsome quilted leather covering seats and door panels. The stitched shapes take the form of the 'Jaguar Heritage' lozenge, a subtle nod to the racing DNA of the brand and a lovely touch. There's also an SVR steering wheel and the contrast double stitching on the seating and door handles mirrors the car's external colour.This superb F-type SVR is on offer from the SA30 collection and dates from the 31st of March 2017. It's finished in Corris Grey Metallic with a black leather interior piped and double stitched in silver grey and sits on a set of bespoke SVR Satin Black/diamond cut, 20" alloys sitting in front of yellow 'Carbon Ceramic' brake calipers.According to the Bill of Sale from Lancaster Jaguar, Sevenoaks, the cost new was £115,696 including £12,340 of extras. Those factory-fitted options include a premium leather interior with twin stitching, 3-spoke leather steering wheel, premium-leather and suede-wrapped instrument panel with piping, dark brushed-Aluminium centre console trim, Panoramic glass roof, Climate Pack 2 F-Type, automatic climate control, Meridian 380W sound system with 10 speakers, 'InControl' secure, Blind spot monitoring/closing vehicle sensor/reverse traffic detection, body-colour door mirrors, bonnet louvres, power tailgate, Carbon-fibre rear spoiler, Carbon Ceramic brake pack and forged F-Type SVR wheels.The current mileage is 2,720 and the Online Service History indicates that it was serviced on 22/06/2018 @2,163 miles(16,000-mile service) and on 15/08/2019 @ 2594 miles (32,000 miles/24 months). On both occasions, the work was carried out by Lancaster Tonbridge. The Jaguar is accompanied by its V5C, Book Pack and Owner's Handbook.As you might expect from an SA30 Collection car, it's absolutely pristine and totally immaculate. Obviously, it's not brand new but, at 2,720 miles with two services and totally cossetted, you would have a job to tell and we would recommend an appointment to view to confirm this for yourself.You can now book a one to one appointment (up to one hour) to view this lot at our central location between 16th and 30th July. Please contact Harry Whale on 07919 887 374 / harry@silverstoneauctions.com to secure your appointment or to discuss the car in more detail. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions for arrival and inspection protocols will be given when making your appointment.Click here for more informationSpecification:Registration: GJ17 YVRYear: 2017Make: JaguarModel: F-Type SVRRHD/LHD: RHDChassis Number: SAJAL6843HMK46228Odometer Reading: 2720 milesEngine Capacity: 5000Engine Number: 16111833071508PSBody Colour: Corris Grey Metallic

Attributed to William Young Ottley (1771-1836). Sketchbook from the artist's tour of Italy, circa 1791-99, 75 leaves of laid paper (cockerel watermark; countermarked 'D'), unfoliated, leaves [1-2] with pencil annotations in Italian and an architectural pencil sketch (somewhat faded), leaf [3] with annotated bookplate of Thomas Ashby and additional annotation 'Drawings by Wm Young Ottley' probably in Ashby's hand, 4 medial leaves left blank, the remaining 68 leaves containing 25 sketches in pen and brown ink over occasional traces of pencil and approximately 43 pencil sketches, nearly all rectos only (one sketch to a page; one pencil sketch double-page; one on verso), mainly studies after paintings but several apparently from life (including landscapes, clothed figures, and 3 sketches captioned 'Nature' and depicting a boy with a dog, a woman with a child on her back, and a crouching boy), 12 further sketches with legible manuscript captions (see note), tide-mark to upper outer corners gradually fading and receding but touching edges of image in about 10 cases, cords split between penultimate and final quires, first 3 leaves and final quire (6 leaves) with modern clear tape reinforcement in gutter, floral-patterned endpapers, contemporary Italian vellum binding with envelope flap, vellum soiled, tie perished, 4to (18.2 x 13.7 cm)Qty: (1)NOTESProvenance: 1. Thomas Ashby (1874-1931), British archaeologist in Italy and director of the British School at Rome (bookplate, with manuscript aquisition note 'Wey[?], Charing X Rd, 18/7/6, 2 vols, Vol 2'). 2. Professor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool. Ottley, the son of a plantation owner entered the Royal Academy in 1787, studying briefly under John Brown, and was in Italy from 1791 to 1799. After his return to London ' Ottley established himself as a writer, connoisseur, and marchand-amateur . He was elected a fellow of the Society of Antiquaries and, as a leading arbiter of taste, he advised others on the purchase of works of art' (ODNB). He was responsible for a number of ambitious art publications and in 1833 became keeper of prints and drawings at the British Museum. A number of the sketches have manuscript captions in Italian referring to the original work, the artist or its location, the inconsistencies in spelling suggesting a non-native author. These include 'Bologna, Domenchino [sic] in S. Agnese' (after Domenichino, Martyrdom of St Agnes; a section), 'Turino palazo [sic] Reale, Carlo Cignani' (after Cignani, Adonis and his Dog , cf. Palgrave, Hand-book for Travellers in Northern Italy, 1847, p. 20), and 'Tizziano [sic], palazzo Reale a Parigi' (after Titian, Venus Anadyomene ); briefer captions indicate originals by Guercino (the sketch depicting a woman holding a jug), 'Reggio' (presumably Raffaellino da Reggio), and Coreggio ('Coreggio a Parma'); the Palazzo Caprara and the Palazzo Bonfiglioli are cited as locations for originals which are otherwise unidentified.

* Le Bas (Damian, 1963-2017). 'Phantasmagoria', late 20th century, gouache on laid paper, signed lower left, sheet size 70 x 50 cm (27.5 x 19.75 ins), laid down on card, window-mountedQty: (1)NOTESProvenance: Monika Kinley (1925 - 2014), British art dealer, collector, curator, and one of the earliest enthusiasts for Outsider Art, soon after the opening in 1976 of Jean Dubuffet’s Collection de l'Art Brut in Lausanne. Having first worked at Tate Britain and in commercial galleries, in 1977 Monica Kinley met the art dealer Victor Musgrave, who in collaboration with Roger Cardinal, curated the seminal Outsiders exhibition at London's Hayward Gallery in 1979. This led to the formation of the Outsider Archive, a collection which Musgrave hoped would eventually form the core of a specialist museum in Britain. Following Musgrave's untimely death in 1984, Kinley took over the collection, committing herself to expanding - and finding a home for - the collection. She subsequently curated the touring exhibitions In Another World (Arts Council, 1987) and Inner Worlds Outside (Whitechapel, 2000). After a 10 year loan to the Irish Museum of Modern Art in Dublin, the Musgrave Kinley Outsider Art Collection of 800 works was gifted to the University of Manchester's Whitworth Art Gallery in 2010. Damian Le Bas was born in Sheffield in 1963 to a family of Irish travellers, and studied at the Royal College of Art London between 1985 and 1987. Once described by the writer, critic and jazz singer George Melly as a "tribe of one", Le Bas was a champion of Roma culture, and one of sixteen artists who took part in Paradise Lost , The First Roma Pavilion at the 52nd Venice Biennale in 2007. His work has been exhibited widely around the world.

* Lipczinski (Albert, 1876-1974). Portrait of an Officer, circa 1915, oil on board, signed lower left, 46 x 37.5 cm (18 x 14.75 ins), maplewood veneer frameQty: (1)NOTESProvenance: Until recently in the collection of Diana Keast (nee Harman, younger daughter of Martin Coles Harman, who bought Lundy Island in 1925), the last surviving member of the Harman family. The Polish artist Albert Lipczinski came to Liverpool in the late 1890s, to study art at Liverpool University Art School and became part of the bohemian artistic group centred on the University, the Sandon Society Studios, and the painter Augustus John. Lipczinkski's portrait of Dorothy Reilly wearing a japanese kimono was exhibited alongside avant-garde post-impressionist works by Van Gogh, Gauguin, Matisse and Signac in a groundbreaking exhibition of modern art by post-impressionists and local artists held at the Sandon Studios Society, in Liverpool, in 1911. A first biography of the artist by David Bingham was published in 2011, coinciding with an exhibition of the artist's work at the Williamson Art Gallery in Birkenhead.

Cookery.- Glasse (Hannah) The Complete Confectioner; or the Whole Art of Confectionary made Plain and Easy, first edition, second issue, damp-staining, heavier at start, occasional small patches of soiling obscuring the odd letter of text, occasional worming to fore-margin, 16pp. publisher's catalogue at end (trimmed at foot with loss to text) not called for, modern panelled calf, [Cagle 708; Maclean p.62], 8vo, [c.1770].⁂ The second issue of the first edition of c.1760 with a new title.

NO RESERVE Cookery.- May (Robert) The Accomplisht Cook, or the Art and Mystery of Cookery, third edition, lacking engraved frontispiece, 1 folding plate only (of 4, that defective), lacking index f. 2I1, first advertisement f. partially torn away, closely trimmed at foot, occasionally affecting signatures and affected text of Z2, occasional worming to margins, browning, modern antique-style panelled calf, [Cagle 867; Oxford pp.29-30; Wing M1393aA], 8vo, J.Winter, for Nath.Brooke, 1671.

NO RESERVE Cookery.- Nott (John) The Cook and Confectioners Dictionary: or, the Accomplish'd Housewives Companion, second edition, title printed in red and black, lacking engraved frontispiece, O8 with central portion cut out with loss to text, occasional foxing and light browning, modern panelled calf, [Simon 1102], by H. P. for C. Rivington, 1724 § Glasse (Hannah). The Art of Cookery, made Plain and Easy..., new edition, lacking folding bill of fare, title with repairs to verso, occasional damp-staining or browning, modern cloth-backed boards, [Bitting pp.186-9; Maclean, p.60], for W. Strahan, 1778; and 7 others, 18th and 17th century cookery, defective, 8vo & 12mo (9)

A group of early twentieth century art deco period wares and other pieces, c. 1910-30. Comprising of: three Elijah Cotton polka dot tea plates, a gilded shell-shaped wall pocket, a beaker, a jug, a covered jug, two small vases, three tea bowls and a cup, two Simpsons saucers and two modern Chinese blue and white pieces. Polka dot plate: 24 cm wide. (17)  Condition: In good overall condition.  Provenance: The Arthur and Julia Roberts Collection

'The Kiss of Peace and Justice' oil on canvas 51 x 72 cmFootnote: The original by La Hyre, dated 1654, is in the Cleveland Museum of Art, Ohio.Condition report: This is a modern copy - late 19th / early 20th Century Oil on canvas which in unlined, the canvas has good tension and is in plane. The figures have been heavily, and poorly, overpainted but other areas of the painting appear sound and untouched. The paint layer is in a good condition overall. The varnish is patchy and uneven with a mottled surface.

Tuchman (Maurice & Dunow, Esti & Perls, Klaus). Chaim Soutine (1893-1943). Catalogue Raisonné Werkverzeichnis, 2 volumes, Taschen, 1993, numerous colour and some black & white illustrations from photographs, original cloth gilt in publisher's card slipcase, folio, together with: Feld (Charles) , Picasso, His Recent Drawings 1966-1968, Preface by René Char, 1st English edition, Pall Mall Press, 1969, colour and black & white illustrations throughout, original pictorial linenised boards with lettered glassine dust jacket, a little soiling, 4to, plus: Carrier (David) , Sean Scully, 1st edition, Thames & Hudson, 2004, colour and black & white illustrations throughout, original cloth in dust jacket, 4to, plus other mostly modern art interest including a few paperbacksQty: (approx. 60)

Tolkien (J. R. R.) . The Fellowship of the Ring, 8th impression, 1960, The Two Towers, 6th impression, 1959, The Return of the King, 6th impression, 1960, 3 monochrome folding maps to the rear of each volume, bookplates to front endpapers, minor marginal toning, publishers uniform original red cloth, spines slightly faded & marked, 8vo, together with: Robinson (Lennox) , A Little Anthology of Modern Irish Verse, The Cuala Press, Dublin, 1928, some minor toning, publishers original cloth spine & boards, spine lightly rubbed to head & foot, minor loss to spine label, slim 8vo, limited edition of 300 copies, and Gantillon (Simon) , Maya, The Golden Cockerel Press, Berkshire, 1930, 13 black & white wood engravings by Blair Hughes-Stanton, some light offsetting, publishers original gilt decorated brown cloth, boards & spine slightly toned & marked, 8vo, plus Powell (Anthony) , The Soldier's Art, 1st edition, 1966, Books do Furnish a Room, 1st edition, 1971, Temporary Kings, 1st edition, 1973, Hearing Secret Harmonies, 1st edition, 1975, The Military Philosophers, 1st edition, 1975, A Question of Upbringing, reprinted, 1974, A Buyer's Market, reprinted, 1974, The Acceptance World, reprinted, 1972, Casanova's Chinese Restaurant, reprinted, 1974, The Kindly Ones, reprinted, 1975, The Valley of Bones, reprinted, 1973, 11 volumes, bookplates to front pastedowns, some minor toning, all in original cloth, all but 'The Kindly Ones' in dust jackets, spines lightly faded & rubbed to head & foot, 8vo, and other modern fiction, private press & poetry, including The Complete Works of William Shakespeare, 4 volumes, Nonsuch Press, 1953, all original cloth, many in dust jackets, G/VG, 8voQty: (6 shelves)

Shankland (Hugh [translator] ) . Messer Pietro Mio, Letters between Lucrezia Borgia & Pietro Bembo, Libanus Press, Marlborough, 1985, black & white engravings by Richard Shirley Smith, signed to the limitation page by the illustrator, publishers original gilt decorated quarter morocco in slipcase, 8vo, limited edition123/135, together with: Helmholz (R. H.) , The Ius Commune in England, four studies, 1st edition, Oxford University Press, Oxford, 2001, original cloth in dust jacket, 8vo, and Unger (Richard W.) , The Art of Medieval Technology, Images of Nah the Shipbuilder, 1st edition, Rutgers University Press, New Jersey, 1991, black & white illustrations, original cloth in dust jacket, covers lightly rubbed & marked, 8vo, plus Denley (Peter) , Commune and Studio in Late Medieval and Renaissance Siena, 1st edition, CLUEB, Bolognia, 2006, black& white illustrations, publishers original boards, large 8vo, and other modern scholarly medieval & renaissance reference & related including publications by John Hopkins, Cambridge, Scholar Press, Penn State, mostly original cloth in dust jackets, G/VG, 8vo/4toQty: (3 shelves )

Rackham (Bernard) . Catalogue of The Glaisher Collection of Pottery & Porcelain in the Fitzwilliam Museum Cambridge, 2 volumes, Antique Collectors' Club, 1987, numerous black & white illustrations, original cloth in dust jackets, large 8vo, together with: Rasmussen (Jörg) , Italian Majolica in the Robert Lehman Collection, 1st edition, The Metropolitan Museum of Art, New York, 1989, numerous colour & black & white illustrations, original cloth in dust jacket, 4to, and Trollope (Andrew) , An Inventory of the Church Plate of Leicestershire, with some account of The Donors, 2 volumes, Clarke and Hodgson, Leicester, 1890, 33 black & white plates, volume 1 front gutters split, some minor toning throughout, publishers original gilt decorated red cloth, boards & spines lightly rubbed & marked, large 4to, plus other late 19th century & modern ceramics, pottery & decorative art reference, including Histoire des Poteries, Faiences et Porcelaines, 2 volumes, by M. J. Marryat, Paris, 1866, many original cloth, some in dust jackets, some paperbacks, G/VG, 8vo/4toQty: (3 shelves)

A large Louis XVI carved giltwood frameWith a stiff leaf carved slip with an acanthus leaf and bell flower moulded frame, 132cm wide x 10cm deep x 182.5cm high, (51 1/2in wide x 3 1/2in deep x 71 1/2in high)Footnotes:Provenance: Christie's, London, Fine Picture Frames, 12 July 1994, lot 14The reverse has several paper labels applied to the frame reading detailing a loan of a painting by SEURAT, including: THE METROPOLITAN MUSEUM OF ART, ACC. No. 61.101.17 ML 5477 A Title: LA Parade ARTIST: SEURATAnother: SEURAT Invitation to the Side-show 16.101.17Another MUSEUM OF MODERN ART LOANThis lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Modern Jazz CDs / Box Sets, three Box Sets and approximately thirty-five CDs of mainly Modern Jazz with artists including Miles Davis, Bill Evans, Wynton Marsalis, Zoot Sims, Paul Desmond, Art Pepper, Stan Getz, Fats Navarro and more - mainly Excellent condition

Quantity of children's books by Alison Uttley, Thelwell, Beatrix Potter (all modern), art and handicrafts (4 boxes) 

100 – 300 AD. Gandharan. This striking Gandharan schist head of a Bodhisattva is executed in a highly stylised manner, with a severe face, heavy-lidded eyes and fleshy mouth. His finely modelled moustache and the prominent urna decorating his forehead underline his seriousness, as does his elaborate headpiece. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent (modern north-west Pakistan and north-east Afghanistan). The Kushan period (c. 75-451 AD) of Gandharan art, to which this schist head example belongs, was the golden age of artistic production in the area. This excellent example depicts a Bodhisattva, an individual on the path to enlightenment, and embodies a deep sense of spirituality. For further information on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition; on a custom-made stand. Size: H:295mm / W:185mm (w/o stand); 14.5kg; Provenance: Property of a North London gentleman; previously acquire on the UK/European art market before 2000;