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Mihail Chemiakin (New York, Russia born 1943) "Untitled VII" Color serigraph. Numbered (34/225) lower left. Pencil Signed lower right. Watermark "Arches France". Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States. Image Size: 19 x 16.5 in. Sheet Size: 30 x 21 in. Unframed.

Mihail Chemiakin (New York, Russia born 1943) "Purple Harlequin" Color serigraph. From the Carnival at St. Petersburg Suite. Numbered (34/225) lower left. Signed lower right. Watermark "Arches France". Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States. Image Size: 18.75 x 16 in. Sheet Size: 30 x 21 in. Unframed.

Mihail Chemiakin (New York, Russia born 1943) "Nature Morte w/ Fish" Color Lithograph on Japan paper. Numbered (49/78) lower left. Signed lower right. Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States. Image Size: 18 x 25.25 in. Sheet Size: 21 x 29.75 in. Unframed.

Marko Spalatin (New York, Born 1945) "Cube Figure" (12/65) serigraph. Pencil signed, dated and numbered in lower margin. His works are in numerous permanent collections including the Museum of Modern Art in New York City, the Bibliotheque Nationale in Paris, the Tate Gallery and Victoria and Albert Museum in London, the Philadelphia Museum of Art, and the Library of Congress in Washington D.C. Sight Size: 18 x 18 in. Overall Size: 22.25 x 22.25 in. Framed behind glass.

A collection of vintage and modern cranberry glass, crystal, art glass and cut glassware. To include salts, a lidded jar, bon bon dish and candlesticks. Some pieces a/f.

Josef Herman R.A. (British, 1911-2000)Village Street in Walesoil on canvas 71 x 91cm (27 15/16 x 35 13/16in).Painted in 1949Footnotes:ProvenanceWith Roland, Browse and Delbanco, London, where acquired byR.D.S. May Esq, by 1952With Leicester Galleries, London, where acquired byPeter Pears, May 1953Dr and Mrs H. M. Roland, by 1955With Ffin y Parc Gallery, Conwy, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, The Arts Council of Great Britain, Three Young Collectors, 26 November-9 December 1952, no. 19: this exhibition travelled to Nottingham, Chapel Bar Art Gallery; Bristol, Bristol City Art Gallery; Lincoln, Art Gallery; Newcastle, Hatton Gallery; Arbroath, Art GalleryWakefield, Wakefield City Art Gallery, Paintings & Drawings by L. S. Lowry, Josef Herman and Pottery by Nehemiah Azaz, 6 May-11 June 1955, no. 61Copenhagen, Kunstforeningen, British Council: British Art 1900-1955, 10-29 April 1956, no. 38: this exhibition travelled to Oslo, Kunstnernes HusLondon, Ben Uri Art Gallery, Twelve Contemporary Artists, 8-28 July 1958 (catalogue not traced)Wakefield, Wakefield City Art Gallery, The Continental British School of Painting, 9 January-1 February 1959, no. 32: this exhibition travelled to Bradford, City Art Gallery Bradford, Bradford City Art Gallery, Josef Herman, 1-29 August 1959, no. 4 Swansea, The Arts Council of Great Britain, Glynn Vivian Art Gallery, Contemporary British Landscape, 12 November-3 December 1960, no. 24: this exhibition travelled to Liverpool, Walker Art Gallery; Bristol, City Art Gallery; Derby, Derby Museum and Art Gallery; Edinburgh, Inverleith House; Manchester, Whitworth Art Gallery; Plymouth, Art Gallery; Brighton, Art Gallery; Scarborough, Art Gallery; Wrexham, Public Library and Newcastle, Laing Art GalleryManchester, Manchester City Art Gallery, Modern Works from the Collection of Dr. Henry M. Roland, 21 June-12 August 1962, no. 50: this exhibition travelled to Leeds, City Art GalleryLlanelly, Royal National Eisteddfod of Wales, Josef Herman November 1962 (ex-cat)Swansea, Glynn Vivian Art Gallery, Josef Herman, April 1963 (catalogue not traced)Marlborough College, Josef Herman, 29 June-14 July 1963, no. 4Farnham, Wilmer House Museum, Exhibition of Paintings from Private Collections, 15-29 October 1963, no. 13Auckland, Auckland City Art Gallery, Three British Painters: Hitchens, Herman, Davie, March 1964, no. 13 (as Village Street, Wales: this exhibition travelled to Wellington, Christchurch and DunedinEdinburgh, Scottish National Gallery of Modern Art, March-July 1965London, Ben Uri Gallery, 16 November-7 December 1965 (catalogue not traced)Eastbourne, Towner Art Gallery, December 1965-January 1966 (catalogue not traced): this exhibition travelled to Farnham, Willmer House Museum London, Hampstead Art Centre, Survey '66: Figurative Painters, April-May 1966 (catalogue not traced)Reading, Reading Museum and Art Gallery, Josef Herman: Paintings and Drawings From the Collection of Dr. Henry Roland, 28 September-16 October 1967, no. 5Edinburgh, Scottish National Gallery of Modern Art, African and New Guinea sculpture from the Josef Herman Collection and Paintings and Drawings by Josef Herman, 19 July-17 August 1969, no. 5Brighton, Gardner Centre for the Arts, University of Sussex, Josef Herman, March-April 1972 (catalogue not traced)Cardiff, Chapter, Josef Herman, 5-23 September 1972, no. 5Birmingham, City Museum and Art Gallery, Forty Pictures from the Roland Collection, April 1974, no. 17Folkestone, New Metropole Arts Centre, A Selection from the Collection of Dr. H. M. Roland, 22 March-4 May 1975, no. 32Glasgow, Art Gallery & Museum, Josef Herman, Paintings & Drawings: Retrospective Exhibition, 30 May-6 July 1975, no. 32 (as Street Scene, Wales): this exhibition travelled to Edinburgh, Scottish Arts Council Gallery; Cardiff, National Museum of WalesFarnham, West Surrey College of Art & Design, Josef Herman, Drawings & Paintings and Negro Primitive Sculpture from his own Collection, 13-28 January 1976 (catalogue not traced)Bury St Edmunds, Art Gallery, The Roland Collection May-June 1976 (catalogue not traced)London, Camden Arts Centre, The Roland Collection, 15 September-10 October 1976, no. 52Cardiff, Welsh Arts Council, The Dark Hills, The Heavy Clouds: An Expression of the Welsh Landscape in Paintings, 1981, no. 3New York, The Jewish Museum, The Immigrant Generations: Jewish Artists in Britain, 1900-1945, 24 May-25 September 1983, no. 55London, Arts Council, South Bank Centre Moments of Being, 30 April-5 June 1988, no. 21: this exhibition travelled to Bristol, Bristol City Museum & Art Gallery; Norwich, Norwich Castle Museum and Nottingham, Nottingham Castle MuseumThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

John Wells (British, 1907-2000)Relief on a Seventh Module (Homage to Ben and Gorin) oil on carved wood in a perspex box frame61 x 122cm (24 x 48 1/16in).Please note that this work bears signature and number 'John Wells/4.7bb' (on a Wills Lane Gallery label verso)Conceived in 1970Footnotes:ProvenanceWith Wills Lane Gallery, St. Ives, where acquired by the present ownerPrivate Collection, U.K.The present work is from two editions of 7 with 3 artist's proofs. It was constructed by Graham Potter in collaboration with John Wells and Henry Gilbert, Wills Lane Gallery, St. Ives and is three times the size of the original.As the title suggests, this carved wood relief by John Wells pays respect to both the artists Ben Nicholson (1894-1982) and Jean Gorin (1899-1981). Nicholson famously altered the visual language of modern British art in 1934 with his first painted, pure white, carved reliefs, which in themselves were a development of his coloured reliefs begun the year before. Nicholson wrote to his wife, Winifred, following a visit to see her in Paris during 1933 that his aeroplane journey home had a profound effect on him. He referenced the white clouds more than once, and Jeremy Lewison comments:'The ability to pass from one level to another with abruptness and precision, bypassing intermediate planes, is a quality found in Nicholson's reliefs and was paralleled in his description of the flight. The purity of the white cloud, moreover, may have had some bearing on his next major advance, the making of white reliefs.' (J. Lewison, Ben Nicholson, Phaidon Press, London, p. 16)John Wells was acquainted with Ben Nicholson from a young age, having met both him and Christopher Wood in St Ives in 1928 as a student at the age of twenty-one. He became familiar with his work, although Wells's own ambition to become an artist was initially delayed for financial reasons and he became a doctor, working from the Scilly Isles until after the war.Where Relief on a Seventh Module (Homage to Ben and Gorin) deviates from Ben Nicholson's white reliefs is in its introduction of the projecting shelf and upright form it supports. Here, Wells is showing his admiration for the French neoplastic painter and sculptor, Jean Gorin, a disciple of Piet Mondrian, who developed his idiosyncratic wall reliefs in the late 1920s; although these were polychrome, unlike the purity of Nicholson's work and the present lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A Modern Stortford Art Deco Style Music Centre.

SVEND HAMMERSHOI - a rare Art Nouveau Danish silver vase, fluted stylised form with relief embossed floral decoration and pierced stem, made and marked by Holger Kyster (1872-1944), height 11.5cm, 6.2oz Notes: In 1925, Hammershøi (together with Holger Kyster) was awarded a gold medal at the International Exposition of Modern Industrial and Decorative Arts in Paris for his silverware. Hammershøi became a Knight of the Order of the Dannebrog in 1925 and in 1944 he received the Thorvaldsen Medal. Very good overall condition, no obvious damage or repair, body has some very light dents and surface scratches all over, high points are also very lightly rubbed, silver is heavy gauge and sits perfectly flat, marks on underside are clear.

MIXED, large, part sets & odds, inc. Ardath, Champion Dogs (21), Dog Studies (8), Gainsborough (37); Benson Old Bristol (10); Churchman, Famous Railway Trains 2nd (2), Italian Art (3) etc., in modern album, VG to EX, 110*

A modern Art Deco style dress ring, of chunky design set with blue and white paste stones, ring size Y.

RED FIGURE BELL KRATER ATTRIBUTED TO PYTHON PAESTUM, C. 340-330 B.C. painted terracotta, the obverse with a youthful Dionysos holding a thyrsos , replete with long hair falling to his shoulders, wearing a wreath and a mantle wrapped around his lower body and resting on his arm, he holds forth a phiale towards Silenos who is depicted nude with full beard and similarly carrying a thyrsos; the reverse with two draped youths with dotted hems, one seemingly presenting a sprig to the other; a horizontal wave pattern forming the ground below, above the scenes a wreath of laurel beneath the rim, palmettes and floral motifs below and framing the handles (Dimensions: 36.5cm tall) Provenance: Max van Berchem (1863 – 1921), Swizerland Jorg Baron von Bistram, Bad Reichenhall, Germany Private collection, United Kingdom Note: The vase painter Python is one of only two such artists from ancient Italy whose names have survived on extant works. His workshop was located roughly fifty miles south of modern Naples in the port city of Paestum, styled by its Greek founders after the sea god Poseidon. Alongside his tutor (and possible relative) Asteas, Python produced works purely in the red-figure style, largely conforming to traditional mythological and Dionysian scenes. Only two signed works by Python are known and both reside in institutions: one in The British Museum (1890,0210.1) and the second in the Paestum Museum (21370). This rare piece is from a wider but still limited corpus of unsigned works attributed to him. A vessel designed for the mixing of wine and water at a symposion , it is unsurprising that this bell krater is painted with a series of Dionysian scenes so beloved of the Magna Graecian communities. In the earliest years of colonization, pottery had been imported from Greece, indeed at Paestum there is considerable evidence of 6 th – 5 th century Athenian and Corinthian wares brought from across the Mediterranean. However, by the 4 th century many cities had begun to produce painted pottery of their own, these workshops produced at a stunning rate and began to export around the immediate region. The painted scenes produced by these new workshops remained tied to the Greek heartland, focusing on a distinctly Greek visual vocabulary. Paestum was no exception and by the second half of the 4 th century the Astaes-Python workshop was flourishing, with both individuals signing their names in Greek. Works such as the present example acted to reinforce a sense of Greek identity to those who resided so far from Greece. For another unsigned work of similar style also attributed to Python, please see; The Metropolitan Museum of Art, New York, accession number 1976.11.5.

ANCIENT CELTIC SHIELD WESTERN EUROPE, 5TH CENTURY B.C. hammered sheet bronze, of circular form with an outer border of small raised dots, moving inwards a series of concentric ridges to a central dome and large bronze rivet projecting from the centre, pierced with multiple perforations, raised on a bespoke mount (Dimensions: 40.6cm diameter) Provenance: Private collection, Swizerland, acquired prior to 1990 Bonhams, New Bond Street, London. Antiquities, 1st May 2013, Lot 240 Private collection, United Kingdom Note: This shield is the work of a master metalsmith active at some point in the 5 th century B.C. producing arms and armour for the elite of society. Of circular form and produced from a single sheet of bronze; the design features a series of concentric bands rising into a domed boss at the centre decorated with a repoussé border of small dots. Its design suggests an origin in Ireland or perhaps the British Isles, indeed a similar example can be found in the National Museum of Ireland, Dublin, no. IA:1872.15. As an actual defensive weapon, it is wholly impractical for use in battle. A sword or spear would comfortably punch through the sheet bronze and research shows that whilst the vast majority of shields found dating to this period are constructed from metal, actual shields used in combat would have most commonly been formed of bark or hide. Instead, this piece was created as a work of art, to be worn and displayed on particular occasions, festivals and religious events. In a society where worked metal remained a highly valuable commodity, the shining polished bronze would have dazzled and impressed. The individual who owned this shield would have been of chiefly rank, their status demonstrated by their ability to commission and own prized objects such as this. The most important aspect of this shield though is not its original design, but the series of diamond shaped perforations which are visibly present across the entire body. These are spear marks - but as previously mentioned this was not an object to be used in combat. In order to understand what is going on here we must look into ritual practices that there were written about in contemporary Roman sources and have been attested by modern archaeologists. The ancient Celts were a polytheistic society, their deities, much like those of the Mediterranean, required constant appeasement through sacrifice and gift giving. This gifts provided to the gods needed to be items of the highest value possible to society, so metalwork; with its rarity, beauty and complex production was often selected. A number of studies have demonstrated that the deposition of artefacts in sites linked to water; rivers, lakes and springs - was a particularly widespread custom amongst the Celts in the Bronze and Iron Ages. In fact, we continue this practice today when we throw coins into wells to make a wish. In short, water was seen as a threshold or gateway to the divine world where the gifts could be received and prayers answered. However, before the object could be given, first it had to be broken or “killed”. Swords would be bent, razors or shears blunted and shields pierced. To explain this practice, one theory contents that the gift could not be given until the “power” of the object was broken and its spirit removed. A more modern parallel would be the Polynesian concept of mana , the life force that permeates not only people, but objects. Any article worn or owned by an individual can become imbued with mana through their accomplishments and personality. In this context, ancient Celtic shields such as the present example such would have been seen as personal to such an intense extent that it is hard to comprehend. They were not simply the property of an individual, they were an indivisible part of them. As such, this remarkable shield is a window into both ancient Celtic craftsmanship and ritual practice more than 2,500 years ago.

A Tray Containing Various Sundries and Curios to Include Vintage Union Jack, Alaska Toffee Hammer, Carved Wooden Modern Art Sculpture, Tooled Leather Album, Horn Sailing Ship, Holy Bible etc

A modern art nouveau style table light with three glass shades, 40cm. IMPORTANT: Online viewing and bidding only. No in person collections, Mail Boxes Etc couriers ONLY.

NO RESERVE King (Jessie Marion, illustrator) An excellent collection of 91 works by, illustrated by, or about Jessie M. King, a few signed or presentation copies, includes Jeptha, which contains her first commissioned illustrations for a British publisher, all in original bindings, including some in her charming pictorial wrappers, generally the majority in sound clean condition, v.s., c.1902-1980 (91)⁂ King studied at the Glasgow School of Art, where she was influenced by Charles Rennie Macintosh and his circle. She taught book decoration at the school in 1902, winning a gold medal for book design at the Turin International Exhibition of Modern Decorative Art in the same year. In later years she worked as a muralist, illustrator, and designer of book bindings, fabrics and jewellery. A full list of the collection is available upon demand.

FRAMED MODERN PRINT OF THE RIVER TYNE TOGETHER WITH LEATHERETTE FRAMED MIRROR AND BUDDHA CANVAS ART PIECE

NEW WAVE / ART ROCK / COOL POP - LPs/12". Smashing collection of 54 x LPs and 30 x 12". Artists/titles include Talk Talk, Madonna, Orchestral Manoeuvres in the Dark, Ultravox, Soft Cell, The Gift, Alison Moyet, Bronski Beat, ABC, Modern Talking, Paul Young, Wham!, Duran Duran, Pet Shop Boys, Heaven 17, Culture Club, Howard Jones, The Human League, The Riddle, The Communards, Falco, Spandau Ballet, Kim Wilde, The Flying Pickets, Erasure, Yazoo, Art of Noise, Van Morrison, Feargal Sharkey, Bob Geldof, Chris Rainbow, Big Country, Simple minds, B.A. Robertson, Locomotion, Malcolm McLaren, Flesh, Limahl, Tears for Fears, Clive Pig, Victims. Condition is generally VG+ to Ex+.

Original vintage travel advertising poster for Lahti, a city and municipality situated on a bay at the southern end of lake Vesijärvi about 100 kilometres (60 mi) north-east of the capital Helsinki, and considered the 'sports capital' of Finland. The name Lahti translates to 'bay' in English. The poster was designed by Finnish graphic designer Martti Mykkänen (1926-2008) and printed by Suomalaisen Kirjallisuuden Kirjapaino Oy. Maykkanen won the first prize in the competition “Best Book Cover of the Year” for the Finnish cover of Leonid Andrejev’s book The Tale of Seven Hanged Men. Roughly estimated Mykkänen has created 450 book covers for almost all the publishing houses in Finland. He also created corporate logos, for example the T-logo for the publishing house Tammi and the three flashes of lightning still used today by Helsinki Energy. He was also the art director for the magazine Look at Finland, published by the Finnish Tourist Board. The poster features a drawing of balloons, singing bird, boy with a red cap, modern architecture and busy street, against a cerulean blue background. The Finnish flag can be seen on a pole atop a building Condition: Excellent condition. Country of printing: Finland, designer: Martti Mykkänen, size (cm): 100x62, year of printing: 1960s.

NO RESERVE Modern Art.- Pétrides (Paul) L'Oeuvre Complet de Maurice Utrillo, 5 vol., limited edition, original wrappers or limp boards, uncut, original board folders, vol.I & V lacking slip-cases, a little rubbed, 1959-74 § Fabris (J.) & Cédric Paillier. L'Oeuvre Complet de Maurice Utrillo, original cloth, dust-jacket, pictorial slip-case, 2009, illustrations, some colour, Paris; and 3 others on Utrillo, 4to (9)

NO RESERVE New Female Instructor (The); or, Young Woman's Guide to Domestic Happiness, engraved frontispiece, vignette title, 7 engraved plates, occasional spotting, contemporary half-calf, a little rubbed, Thomas Kelly, [1834] § Everard (Thomas) Sterometry: or, the Art of Gauging ..., folding table frontispiece, juvenile ink sketch to verso, 3 folding engraved plates, occasional faint spotting, contemporary calf, rebacked, 1750 § Sherlock (Thomas, Bishop of London) A Letter from the Lord Bishop of London ... on Occasion of the Late Earthquakes, lacking half-title, occasional faint spotting, modern calf backed boards, for John Whiston, 1750, 8vo & 12mo (3).⁂ The third mentioned lacks the half-title.

NO RESERVE Osten (Gert von der) & Horst Keller, editors. Kunst der Sechziger Jahre Sammlung Ludwig im Wallraf-Richartz Museum, second, enlarged edition, tipped-in colour illustrations, original embossed plastic wrappers fastened with two large screws, preserved in modern cloth drop-back box, Cologne, 1969 § Anfam (David) & Julian Barnes. Howard Hodgkin, colour illustrations, some folding, price list loosely inserted, original cloth-backed boards, dust-jacket (folding out to become poster), New York, Gagosian Gallery, 2003; and 3 others, 4to & 8vo (5)⁂ The first is an important catalogue of the art of the 1960s featuring the work of Warhol, Lichtenstein and many others.

NO RESERVE Modern Art.- Dupin (Jacques) Miró Engraver, vol.II: 1961-1973, with 3 original woodcuts (2 plates and dust-jacket), 2 colour, New York, 1989 § Meyer (Franz) Marc Chagall: Life and Work, New York, [1969] § Güse (E.-G.) Marc Chagall: Druckgraphik, Stuttgart, 1985 § Rouault in the Idemitsu Collection, text in English and Japanese, Tokyo, 1991 § Arnold (Matthias) Vincent van Gogh: Werk und Wirkung, Munich, 1995, plates and/or illustrations, many colour, original cloth or boards, the fourth with slip-case, the rest dust-jackets; and c.15 others on early 20th century art, 4to & 8vo (c.20)

NO RESERVE Silver.- Martin (Stephen A.) Archibald Knox, 2001 § Lawson (Tom J.) Charles Horner of Halifax, Leicester, 2002 § Stern (Jewel) Modernism in American Silver: 20th Century Design, New Haven & London, 2005 § Huey (M., editor) Viennese Silver: Modern Design 1780-1918, Ostfildern-Ruit, 2003 § Krekel-Aalberse (A.) Art Nouveau and Art Deco Silver, 1989 § Venable (Charles L.) Silver in America 1840-1940: A Century in Splendor, New York, 1995 § Atterbury (P.) & John Benjamin. Art and Crafts to Art Deco: The Jewellery and Silver of H.G.Murphy, Woodbridge, 2005 § Lvingston (Lida, editor) Dali: A Study of his Art-in-Jewels, original clot-backed boards, slip-case, Greenwich, Ct., 1959, illustrations, many colour, original cloth with dust-jackets; and c.30 others on modern silver and jewellery, 4to & 8vo (c.35)

A collection of glassware including an early 20th century cranberry and opalescent glass dish with a shaped edge measuring approx 27cm with no damage, a pair of modern design Swedish blue art glass vases, a glass lamp shade and other glass - NO RESERVE

§ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) HIGHLAND WEDDINGSigned, signed and titled verso, oil on canvas (Dimensions: 60cm x 50cm (23.5in x 19.75in))Biography: John Bellany was one of the most acclaimed Scottish artists of his generation. He is best known for depicting the lives of fishing communities along the east coast of Scotland as this is where he spent his childhood. In 1960 he began studying at the Edinburgh College of Art and later went on to study at the Royal College of Art, London. His artwork is almost entirely figural, with many of his portraits being of family members or female figures. Themes of Christianity, mortality and sin are seen throughout his paintings, especially during the 1970's, when the influence of alcohol resulted in a period of self-destruction in Bellany's life. Bellany's work is included in major museums and art galleries across the world, including Tate in London, The Museum of Modern Art and the Metropolitan Museum in New York and the National Galleries of Scotland. The late David Bowie, whose art collection caused such a stir when it came on the market, was a great supporter and collector of Bellany's, reportedly once stating his top three painters to be "Tintoretto, Beckmann, Bellany".

§ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) WOMAN OF THE MEDITERRANEAN SEASigned, ink and wash (Dimensions: 55cm x 47cm (21.75in x 18.5in))Biography: John Bellany was one of the most acclaimed Scottish artists of his generation. He is best known for depicting the lives of fishing communities along the east coast of Scotland as this is where he spent his childhood. In 1960 he began studying at the Edinburgh College of Art and later went on to study at the Royal College of Art, London. His artwork is almost entirely figural, with many of his portraits being of family members or female figures. Themes of Christianity, mortality and sin are seen throughout his paintings, especially during the 1970's, when the influence of alcohol resulted in a period of self-destruction in Bellany's life. Bellany's work is included in major museums and art galleries across the world, including Tate in London, The Museum of Modern Art and the Metropolitan Museum in New York and the National Galleries of Scotland. The late David Bowie, whose art collection caused such a stir when it came on the market, was a great supporter and collector of Bellany's, reportedly once stating his top three painters to be "Tintoretto, Beckmann, Bellany".

§ JOHN HOUSTON R.S.A., R.S.W., S.S.A (SCOTTISH 1930-2008) THE BLUE DRESSSigned, watercolour (Dimensions: 12.5cm x 8.5cm (5in x 3.25in))Exhibited: 'Cabinet Paintings,' August 2001, Compass Gallery , Glasgow. Biography: John Houston, born in Fife in 1930, attended and subsequently taught at the Edinburgh College of Art between 1955-1989. His early works were vibrant and semi-abstract, but by the late 1960s, his paintings became more expressive, influenced by Turner and American Abstract Expressionism. Houston often painted landscapes and seascapes, many of which are now held in important Scottish collections. Houston received an Honorary Doctorate from Heriot-Watt University in 2004 and held a major retrospective at the Scottish National Gallery of Modern Art in 2005. He was elected to the Royal Scottish Academy in 1972 and was married to the Scottish artist Elizabeth Blackadder from 1956 until his death in 2008.

§ RAY RICHARDSON (BRITISH B.1964) A PLACE YOU CAN'T PLACE - 2016Screenprint, P.P., signed, dated, titled and editioned in pencil to margin, unframed and two further screenprints by the same artist: 'Friday Street' and 'Mandatomyass' (Dimensions: 30cm x 72cm (11.75in x 28.25in)) (Qty: 3)Biography: Ray Richardson is a contemporary British artist known for his cinematic paintings which employ symbols of working-class London, including English Bull Terriers, soccer pitches, urban landscapes and gritty dockyards. Richardson was born in 1964 in London, in the neighbourhood of Woolwich Dockyard, an area that would eventually deeply influence his art. He attended Saint Martin's School of Art and Goldsmiths College in the 1980s and won his first British Council Award in 1989 followed by the BP Portrait Award in 1990. It was during this time that he gained recognition for his narrative-based representational works and began a long collaborative relationship with three international galleries: Boycott Gallery in Brussels, Galerie Alain Blondel in Paris and Beaux Arts gallery in London. Since 2016, he has collaborated with the Zedes Art Gallery in Brussels. Combining academic pictorial tradition with contemporary culture and his interest in film noir, Richardson’s works capture the everyday scenes in southeast London mixed with social commentary and his personal concerns. In 2014, two of his works were included in the exhibition ‘Reality: Modern and contemporary British painting,' which was held at the Sainsbury Centre for Visual Arts and the Walker Art Gallery. This show highlighted the most influential painters from the last sixty years, exhibiting Richardson’s works alongside the likes of Francis Bacon, Ken Currie, Lucian Freud, and David Hockney.

§ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) PORT SETONSigned, pencil and watercolour (Dimensions: 27.5cm x 37cm (10.75in x 14.5in))Biography: John Bellany was one of the most acclaimed Scottish artists of his generation. He is best known for depicting the lives of fishing communities along the east coast of Scotland as this is where he spent his childhood. In 1960 he began studying at the Edinburgh College of Art and later went on to study at the Royal College of Art, London. His artwork is almost entirely figural, with many of his portraits being of family members or female figures. Themes of Christianity, mortality and sin are seen throughout his paintings, especially during the 1970's, when the influence of alcohol resulted in a period of self-destruction in Bellany's life. Bellany's work is included in major museums and art galleries across the world, including Tate in London, The Museum of Modern Art and the Metropolitan Museum in New York and the National Galleries of Scotland. The late David Bowie, whose art collection caused such a stir when it came on the market, was a great supporter and collector of Bellany's, reportedly once stating his top three painters to be "Tintoretto, Beckmann, Bellany".

§ HOWARD HODGKIN C.H, C.B.E. (BRITISH 1932-2017) UNTITLED (BRUSHSTROKE) - 2010Screenprint, 30/75, signed with initials, numbered and dated in pencil to margin, in original oak wood frame selected by the artist (Dimensions: 36cm x 25cm (14.25in x 9.75in))Note: This series of prints was gifted by the artist to The Art Fund 'Brushstrokes' series, it was distributed to key donors to the fund. Biography: Considered to be one the most important British artists of the twentieth century, Sir Howard Hodgkin was a central figure in the country's modern art movement. Born in 1932 in Hammersmith, London, Hodgkin was determined to become a painter from the young age of five. During the Second World War Hodgkin, along with his sister and mother, were evacuated to Long Island, USA. There his ambitions to paint were reinforced after seeing pictures by Matisse, and Picasso at the Museum of Modern Art in Manhattan. After returning to England he attended Eton College. After running away from school twice, Hodgkin was transferred to Bryanston School in Dorset however he soon ran away again to pursue his ambition of becoming a painter. Hodgkin first trained at Camberwell School of Art, followed by four years studying at Bath Academy of Art. In the mid-1950s a wave of Abstract Expressionism exhibitions in London had an important impact on the development of his style, and to an extent liberated him as an artist. Hodgkin has exhibited at numerous notable institutions including the Hayward Gallery and Gagosian. He was also granted numerous major shows including exhibitions at the Metropolitan Museum of Modern Art, Tate Britain as well as representing Britain at the 1984 Venice Biennale. In 1976 Hodgkin's first retrospective was curated by Nicolas Serota at the Museum of Modern Art in Oxford, and in 1992 he was knighted for his services to the arts.

§ STEVEN CAMPBELL (SCOTTISH 1953-2007) LOBSTER (FROM THE SCOTTISH BESTIARY PORTFOLIO)Woodcut, P/P, signed and editioned in pencil to margin, unframed (Dimensions: 76cm x 56.5cm (30in x 22.25in), full sheet)Biography: Steven Campbell was born in Glasgow and originally worked as a maintenance engineer in a steelworks in Cambulsang before attending Glasgow School of Art and becoming one of the leading Scottish figurative painters of his generation. Campbell worked alongside the artists Ken Currie, Peter Howson and Adrian Wiszniewski, a group which later became known as the 'New Glasgow Boys'. While their artistic output was not homogenous, they all shared an interest in figurative painting during the early 1980s which broke away from the conceptual and minimal trends in Modern art at the turn of the twentieth century. After graduating from Glasgow School of Art in 1982 Campbell won a Fulbright Scholarship to study at the Pratt Institute in the United States. Campbell worked from a studio in Brooklyn until 1986 and this period was key in establishing his status as an internationally renowned artist whilst raising awareness of Scottish contemporary art on a global scale. Campbell had solo exhibitions across the world in locations as far reaching as Galerie Pierre Huiber in Geneva (1986) and Marlborough Fine Art in Tokyo (1990). His artwork is influenced by a diverse range of literary fiction from tales by the author P.G. Wodehouse to murder mysteries, resulting in his artworks appearing to be humorous and unsettling. Campbell was also influenced by children's book illustrations accounting for his use of a rich and vibrant palette which intensified after his U.S. period. Campbell's surreal compositions cannot be read as a conventional fictional narrative and his imaginary worlds intentionally challenge the viewer with their dreamlike quality leaving his artwork open to multiple interpretations. Campbell saw himself as a 'director, writer and producer' of other-worldly scenes and he often repeated figures in multiple artworks as if they were a cast of actors.

ALEXANDER CALDER (AMERICAN 1898-1976) BLACK AND REDLithograph, 1963, from the special edition of Derrière le Miroir, dedicated to Calder, unframed and two further lithographs from the same publication, including the cover (Dimensions: 38cm x 55.5cm (15in x 21.75in), full sheet) (Qty: 3)Biography Alexander Calder was an American sculptor best known for his innovative mobiles, a type of carefully balanced kinetic sculpture powered by motors or air currents, and his monumental public sculptures. Calder's work first gained attention in Paris in the 1920s and soon he was exhibiting his work internationally. The Museum of Modern Art in New York held a retrospective exhibition of his work in 1943, followed by further major retrospectives held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974). Although he is primarily known for his mobiles, Calder also worked in paint, print, jewellery, fabric and rug, and miniature sculpture (such as his famous Cirque Calder). Calder's work is in many international permanent collections including the Whitney Museum of American Art, the Guggenheim Museum, the Museum of Modern Art, the National Gallery of Art, Washington, D.C., the Peggy Guggenheim Collection, Venice, and the Centre Georges Pompidou.

§ TRACEY EMIN C.B.E., R.A. (BRITISH B.1963) LOVE IS A STRANGE THING - 2000Off-set lithograph, 210/250, signed and dated 2000, numbered in pencil verso, unframed (Dimensions: 70cm x 54cm (27.5in x 21.25in), full sheet)Biography One of the most infamous artists of the generation of 'Brit Art' artists, christened YBAs, who emerged onto the London art scene in the early 1990s, Tracey Emin, best known for her 'tent' and 'bed', has gone on to become a leading figure in the British art establishment. In August 2006, Emin was selected as Britain's representative in the British Pavilion at the Venice Biennale for 2007. The first major retrospective of her work was held at the Gallery of Modern Art in Edinburgh in August 2008 and included ‘My Bed’ and a monumental, room-sized installation entitled ‘Exorcism of the Last Painting I Ever Made’ dating from 1996. It also featured her appliquéd blankets, paintings, sculptures, films, neon works, drawings and multiples, and travelled to the Centro de Arte Contemporáneo in Malaga and the Kunstmuseum in Bern. Fabric, particularly in the form of appliqué, has been a constant feature of her art. For her, the material itself retains an emotional significance related to its original function and history. In December 2011 Emin was appointed Professor of Drawing at the Royal Academy; drawing has always played a major part in her practice.

§ BRYAN PEARCE (BRITISH 1929-2007) HARBOUR - 199160/75, signed, numbered and dated in pencil to margin (Dimensions: 19.5cm x 14.5cm (7.67in x 5.75in))Biography: Bryan Pearce is recognised as one of the U.K.’s leading naïve artists. Born in Cornwall, he suffered from severe health problems and attended a special needs school during the 40’s and 50’s. Encouraged to paint and draw Pearce attended Leonard Fuller’s St.Ives School of Painting from 1953 to 1957. As an artist Pearce depicted his home town and surrounding landscape and on the suggestion of the sculptor Denis Mitchell he joined the Newlyn Society of Artists in 1959. He held his first solo exhibition at the Newlyn Gallery near Penzance in 1959 and subsequent major shows at the Museum of Modern Art in Oxford in 1975 and the Royal Cornwall Museum in Truro in 2000. In his later life he produced a series of prints in small numbered editions and our etching dates from this period.

§ RACHEL WHITEREAD (BRITISH B.1963) HERRINGBONE FLOOR - 2001Laser-cut relief, 331/450, signed with initials, titled and numbered in pencil to mount (Dimensions: 35.5cm x 30cm (13.75in x 11.75in))Biography: Rachel Whiteread studied sculpture at Slade School of Art from 1985 to 1987 under Phyllida Barlow. In her early career she created casts of ordinary domestic objects including ‘Shallow Breath’ the cast of the underside of a bed not long after her father died. She says the casts carry ‘the residue of years and years of use’. In 1992 she exhibited at the first Young British Art show in 1992 where her exhibit ‘Ghost’ was purchased by Charles Saatchi. In 1993 Whiteread won the Turner Art Prize for ‘House’ a concrete cast of an entire terraced house in East London. She has continued to exhibit widely to include the Holocaust Monument a.k.a. Nameless Library in Vienna; Embankment (2005) a commission to fill the vast Turbine Hall at Tate Modern and ‘Cabin’ a concrete reverse cast of a wooden shed located on Governors Island, New York. Whiteread was appointed a Dame of the Oder of the British Empire for services to art in the 2019 Birthday Honours. Her work is represented in many public collections worldwide to include National Gallery of Art, Washington and Tate Gallery, London.

BARBARA KRUGER (AMERICAN B.1945) UNTITLED (PROJECT FOR DAZED AND CONFUSED)Off-set lithograph, unframed (Dimensions: 28cm x 39.5cm (11in x 15.5in))Biography: Barbara Kruger is an American Conceptual artist and collagist, best known for her works that combine type and image. Kruger’s works are instantly recognisable from her unique use of black-and-white photographs, red accents, and Futura Bold Oblique font. On top of a mass-media image, Kruger overlays short phrases such as “Thinking of You,” “You are a captive audience,” and “I shop therefore I am.” She employs this language to explore stereotypes, and examine themes of consumerism, identity, sexuality, and power. Born in 1945 in Newark, NJ, Kruger studied at both Syracuse University and Parsons School of Design, where she studied under Diane Arbus and Marvin Israel in the 1960s. She worked as a graphic designer and art director, which directly influenced her artistic style. Kruger’s works are held in the collections worldwide, including The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Art Institute of Chicago, and the Walker Art Center in Minneapolis. Today, Kruger lives and works in New York and Los Angeles and is a Distinguished Professor of New Genres at the UCLA School of the Arts and Architecture.

§ DAVID SAWYER (BRITISH B.1961) SNOW ON THE DOWNS, NEAR WARLINGHAMSigned, oil on board (Dimensions: 16.5cm x 24cm (6.5in x 9.5in))Provenance: Panter & Hall , London Biography: David Sawyer is a modern British Impressionist, working within the tradition of landscape painting. He trained at the Canterbury College of Art, and has worked professionally as an artist since graduating in the early 1980s. Sawyer divides his time between studios in London and south-west France. Working predominantly in oils, Sawyer is interested in architectural subjects and the power of light to reveal structure, and create mood and atmosphere. He exhibits regularly with the Royal Society of British Artists, New English Arts Club and Chelsea Art Society. In 2019, the acted as official tour artists for The Prince of Wales and the Duchess of Cornwall, on their visit to Barbados, Cuba and the Cayman islands.

NAN GOLDIN (AMERICAN B.1953) MISTY AND JIMMY PAULETTE IN A TAXI, NYC - 1991Cibachrome print, A.P., signed, titled, editioned and dated verso, unframed (Dimensions: 71cm x 101cm (28in x 39.75in))Note: Nan Goldin is an American photographer best-known for her deeply personal and candid portraiture. Her photographs serve to document herself and those closest to her, particularly the LGBTQ community and associated heroin-addicted subcultures. Influenced by the fashion photography of Helmut Newton and Guy Bourdin, Goldin's earliest photographic works are portraits of close friends glamorously dressed in drag. From the 1970s and throughout the 1980s, while she was living in New York, Goldin continued to socialise with and photograph people of ambiguous gender. She intended her work to be an homage to their beauty and courage; exploring drag and its ability to fulfil the fantasy of reconstructed identities. When Goldin first encountered drag queens in 1972, she quickly became obsessed. She explained: ‘I was eighteen and felt like I was a queen too- they became my whole world. Part of my worship of them involved photographing them. I wanted to pay homage, to show them how beautiful they were. I never saw them as men dressing up as women, but as something entirely different - a third gender that made more sense than either of the other two. I accepted them as they saw themselves; I had no desire to unmask them with my camera.’ ( The Other Side , p.5.) Misty and Jimmy Paulette in a Taxi is part of a large series of colour photographs of glamorous drag queens taken by Goldin in New York, Paris and Berlin in 1991. This picture was taken in a cab as her friends headed uptown to join their float in the New York City Pride March. Misty and Jimmy Paulette stare directly at the camera from the backseat of the taxi. The camera’s flash has illuminated their heavy makeup and shiny clothes. In 2018, Goldin collaborated with the clothing brand Supreme by contributing three of her photographs, Misty and Jimmy Paulette in a Taxi, NYC (1991), Kim in Rhinestones, Paris (1991), and Nan as a dominatrix, Cambridge, MA (1978) to their spring/summer collection. Today, Goldin’s works are held in collections worldwide, including The Museum of Modern Art, New York, the Tate Modern, London, the Museum of Contemporary Art, Los Angeles, and the Centre Georges Pompidou, Paris.

§ JOHN HOUSTON R.S.A., R.S.W., S.S.A (SCOTTISH 1930-2008) DESIGN IN BLUESWool tapestry (Dimensions: 56.5cm x 10cm (22.25in x 4in), image size)Provenance: Dovecot Tapestry Studios , Edinburgh Biography: John Houston, born in Fife in 1930, attended and subsequently taught at the Edinburgh College of Art between 1955-1989. His early works were vibrant and semi-abstract, but by the late 1960s, his paintings became more expressive, influenced by Turner and American Abstract Expressionism. Houston often painted landscapes and seascapes, many of which are now held in important Scottish collections. Houston received an Honorary Doctorate from Heriot-Watt University in 2004 and held a major retrospective at the Scottish National Gallery of Modern Art in 2005. He was elected to the Royal Scottish Academy in 1972 and was married to the Scottish artist Elizabeth Blackadder from 1956 until his death in 2008.

§ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) INTERIOR - RESTAURANTSigned, pencil and watercolour (Dimensions: 55cm x 74cm (21.75in x 29.25in))Biography: John Bellany was one of the most acclaimed Scottish artists of his generation. He is best known for depicting the lives of fishing communities along the east coast of Scotland as this is where he spent his childhood. In 1960 he began studying at the Edinburgh College of Art and later went on to study at the Royal College of Art, London. His artwork is almost entirely figural, with many of his portraits being of family members or female figures. Themes of Christianity, mortality and sin are seen throughout his paintings, especially during the 1970's, when the influence of alcohol resulted in a period of self-destruction in Bellany's life. Bellany's work is included in major museums and art galleries across the world, including Tate in London, The Museum of Modern Art and the Metropolitan Museum in New York and the National Galleries of Scotland. The late David Bowie, whose art collection caused such a stir when it came on the market, was a great supporter and collector of Bellany's, reportedly once stating his top three painters to be "Tintoretto, Beckmann, Bellany".

§ CRAIG MULHOLLAND (SCOTTISH B.1969) STILL-LIFE WITH PEACHES -1993Signed with initial, oil on board (Dimensions: 59cm x 59cm (23.25in x 23.25in))Exhibited: 'Craig Mulholland - New Paintings,' 1993, The Scottish Gallery , Edinburgh Biography: Craig Mulholland was born in Glasgow and studied Drawing and Painting at Glasgow School of Art. He lives and works in Glasgow and is currently course leader and lecturer in Fine Art at The Glasgow School of Art. Mulholland’s work is included in a variety of public and private collections including: Gallery Of Modern Art, Glasgow; The Royal Bank of Scotland; Rudin Dewoody Collection; Gregory Papadimitriou Collection and the Fleming Collection, London. He has been the recipient of a number of visual arts awards from the Scottish Arts Council and Creative Scotland, and exhibits regularly. Artistically, Mulholland is pre-occupied with dialogues between emerging digital technologies and the clearer limits of more traditional painting and sculpture. This current image has developed from an earlier interrogation of digital imaging software to assist in the development of compositions for drawing, sculpture and painting.

§ RAY RICHARDSON (BRITISH B.1964) PASTIME PARADISE - 2016Screenprint, PP, signed, dated and editioned in pencil to margin, unframed and another screenprint by the same artist 'Dreamtime' (Dimensions: 30cm x 72cm (11.75in x 28.25in)) (Qty: 2)Biography: Ray Richardson is a contemporary British artist known for his cinematic paintings which employ symbols of working-class London, including English Bull Terriers, soccer pitches, urban landscapes and gritty dockyards. Richardson was born in 1964 in London, in the neighbourhood of Woolwich Dockyard, an area that would eventually deeply influence his art. He attended Saint Martin's School of Art and Goldsmiths College in the 1980s and won his first British Council Award in 1989 followed by the BP Portrait Award in 1990. It was during this time that he gained recognition for his narrative-based representational works and began a long collaborative relationship with three international galleries: Boycott Gallery in Brussels, Galerie Alain Blondel in Paris and Beaux Arts gallery in London. Since 2016, he has collaborated with the Zedes Art Gallery in Brussels. Combining academic pictorial tradition with contemporary culture and his interest in film noir, Richardson’s works capture the everyday scenes in southeast London mixed with social commentary and his personal concerns. In 2014, two of his works were included in the exhibition ‘Reality: Modern and contemporary British painting,' which was held at the Sainsbury Centre for Visual Arts and the Walker Art Gallery. This show highlighted the most influential painters from the last sixty years, exhibiting Richardson’s works alongside the likes of Francis Bacon, Ken Currie, Lucian Freud, and David Hockney.

§ ANDRE BEAUDIN (FRENCH 1895-1979) NUDE WITH YELLOWColour lithograph, 1961, printed by Mourlot Freres atelier, and published by Editions Verve, unframed and six further lithographs from the same series (Dimensions: 29cm x 21.5cm (11.5in x 8.5in), full sheet) (Qty: 7)Biography Beaudin was born in Mennecy and known for his particular attachment to his native Ile-de-France. He studied at the École des Art Décoratifs in Paris from 1911-1913, until he was called to serve during WWI. His creation of artwork after the war was on hold until he visited Italy in 1921 with his new wife Suzanne Roger. On his return to Paris he began to paint again and, by 1923, he had an exhibition organised at Galerie Percier. The success of this show lead to further shows over the next few years at Galerie Georges Bernheim and Galerie Simon. He developed and honed his individual style during the 1930s, with his technique a reaction to the Cubism of the 1920s. In fact, Beaudin was one of the first younger artists to have responded pictorially against the formulaic Cubist movement. Although his work is considered a descendant of Cubism, Beaudin focussed on the free, intuitive and lyrical quality of paint, therefore contradicting the Cubist formula. In 1937 Beaudin exhibited at the International Paris exhibition, and the following year participated in the L’Art Français Exhibition in Buenos Aires. By the 1940’s he had established an international reputation and held both major solo shows and group shows around the world. He was furthermore awarded the prestigious Grand Prix National des Arts in 1962 in recognition of his contribution to Modern Art. His work is represented in numerous museums of modern art worldwide.

§ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) WOMAN WITH TWO EXOTIC BIRDSSigned twice, pencil and watercolour (Dimensions: 56cm x 37cm (22in x 14.5in))Biography: John Bellany was one of the most acclaimed Scottish artists of his generation. He is best known for depicting the lives of fishing communities along the east coast of Scotland as this is where he spent his childhood. In 1960 he began studying at the Edinburgh College of Art and later went on to study at the Royal College of Art, London. His artwork is almost entirely figural, with many of his portraits being of family members or female figures. Themes of Christianity, mortality and sin are seen throughout his paintings, especially during the 1970's, when the influence of alcohol resulted in a period of self-destruction in Bellany's life. Bellany's work is included in major museums and art galleries across the world, including Tate in London, The Museum of Modern Art and the Metropolitan Museum in New York and the National Galleries of Scotland. The late David Bowie, whose art collection caused such a stir when it came on the market, was a great supporter and collector of Bellany's, reportedly once stating his top three painters to be "Tintoretto, Beckmann, Bellany".

§ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) WOMAN AND CATSigned, pencil and watercolour (Dimensions: 76cm x 57cm (30in x 22.5in))Biography: John Bellany was one of the most acclaimed Scottish artists of his generation. He is best known for depicting the lives of fishing communities along the east coast of Scotland as this is where he spent his childhood. In 1960 he began studying at the Edinburgh College of Art and later went on to study at the Royal College of Art, London. His artwork is almost entirely figural, with many of his portraits being of family members or female figures. Themes of Christianity, mortality and sin are seen throughout his paintings, especially during the 1970's, when the influence of alcohol resulted in a period of self-destruction in Bellany's life. Bellany's work is included in major museums and art galleries across the world, including Tate in London, The Museum of Modern Art and the Metropolitan Museum in New York and the National Galleries of Scotland. The late David Bowie, whose art collection caused such a stir when it came on the market, was a great supporter and collector of Bellany's, reportedly once stating his top three painters to be "Tintoretto, Beckmann, Bellany".

§ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) BOAT AT SEACeramic plate, signed verso (Dimensions: 26cm (10.25in), diameter)Biography: John Bellany was one of the most acclaimed Scottish artists of his generation. He is best known for depicting the lives of fishing communities along the east coast of Scotland as this is where he spent his childhood. In 1960 he began studying at the Edinburgh College of Art and later went on to study at the Royal College of Art, London. His artwork is almost entirely figural, with many of his portraits being of family members or female figures. Themes of Christianity, mortality and sin are seen throughout his paintings, especially during the 1970's, when the influence of alcohol resulted in a period of self-destruction in Bellany's life. Bellany's work is included in major museums and art galleries across the world, including Tate in London, The Museum of Modern Art and the Metropolitan Museum in New York and the National Galleries of Scotland. The late David Bowie, whose art collection caused such a stir when it came on the market, was a great supporter and collector of Bellany's, reportedly once stating his top three painters to be "Tintoretto, Beckmann, Bellany".

§ MARDI BARRIE R.S.W (SCOTTISH 1931-2004) PART OF A STREAMOil on board (Dimensions: 34cm x 47cm (13.5in x 18.5in))Exhibited: 'Christmas Exhibition, 1965,' Aitken Dott & Son , Edinburgh. Biography: Barrie was born in Kirkcaldy, Fife in 1931. She studied at both the University of Edinburgh and the Edinburgh College of Art. After graduating, in 1953, she taught at Broughton High School in Edinburgh. Throughout her career, she worked mainly in oils, and was recognised for the lyrical quality of her paintings and her ability to create a subtle harmony of mood and colour. Barrie exhibited in solo shows throughout the UK, including two at Douglas & Foulis Gallery in Edinburgh and three at the Thackeray Gallery in London, and she participated in several group shows, both in the UK and overseas. Her work is held by several public and private collections, including Kelvingrove Art Gallery and Museum, the Scottish National Gallery of Modern Art and the Scottish Arts Council, as well as by HRH Prince Philip, Duke of Edinburgh. Barrie was a member of the Royal Scottish Watercolour Society.

BRUCE NAUMAN (AMERICAN B.1941) BODY PRESSURE - 1974Off-set lithograph, unframed (Dimensions: 63.5cm x 42cm (25in x 16.5in), full sheet)Biography: Nauman’s work incorporate a wide range of media including, sculpture, photography, video, print making and performance. Born in Indiana Nauman studied art at the University of California and during the sixties devoted himself to sculpture. Early in his career Nauman espoused the view that ‘If I was an artist and I was in the studio then whatever I was doing in the studio must be art’. This led to a series of videos in which he filmed himself doing banal tasks in real time. Nauman was also interested in language and the use of visual puns and his use of neon recurs regularly in his work over the decades. In 2004 Time Magazine named Nauman as one of their 100 most influential people in 2004 and in 2006. Artfacts.net ranked Nauman as the number one among living artists followed by Gerhard Richter and Robert Rauschenberg. Nauman is represented in most major Art Galleries of Modern Art worldwide.

§ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) STILL-LIFESigned, oil on canvas (Dimensions: 101.5cm x 76cm (40in x 30in))Biography: John Bellany was one of the most acclaimed Scottish artists of his generation. He is best known for depicting the lives of fishing communities along the east coast of Scotland as this is where he spent his childhood. In 1960 he began studying at the Edinburgh College of Art and later went on to study at the Royal College of Art, London. His artwork is almost entirely figural, with many of his portraits being of family members or female figures. Themes of Christianity, mortality and sin are seen throughout his paintings, especially during the 1970's, when the influence of alcohol resulted in a period of self-destruction in Bellany's life. Bellany's work is included in major museums and art galleries across the world, including Tate in London, The Museum of Modern Art and the Metropolitan Museum in New York and the National Galleries of Scotland. The late David Bowie, whose art collection caused such a stir when it came on the market, was a great supporter and collector of Bellany's, reportedly once stating his top three painters to be "Tintoretto, Beckmann, Bellany".

§ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) ROSE OF SHARONSigned, oil on canvas (Dimensions: 91.5cm x 91.5cm (36in x 36in))Biography: John Bellany was one of the most acclaimed Scottish artists of his generation. He is best known for depicting the lives of fishing communities along the east coast of Scotland as this is where he spent his childhood. In 1960 he began studying at the Edinburgh College of Art and later went on to study at the Royal College of Art, London. His artwork is almost entirely figural, with many of his portraits being of family members or female figures. Themes of Christianity, mortality and sin are seen throughout his paintings, especially during the 1970's, when the influence of alcohol resulted in a period of self-destruction in Bellany's life. Bellany's work is included in major museums and art galleries across the world, including Tate in London, The Museum of Modern Art and the Metropolitan Museum in New York and the National Galleries of Scotland. The late David Bowie, whose art collection caused such a stir when it came on the market, was a great supporter and collector of Bellany's, reportedly once stating his top three painters to be "Tintoretto, Beckmann, Bellany".

FRANK STELLA (AMERICAN B.1936) VARIOUS COLOUR STUDIES AND DESIGNSSix wool tapestries (Dimensions: 67cm x 80cm (26.5in x 31.5in), frame size)Provenance: Dovecot Tapestry Studios , Edinburgh Note: In 1984, Frank Stella was commissioned to design a set of tapestries, to be woven by the Dovecot Tapestry Studios in Edinburgh, for PepsiCo Inc. headquarters in New York. The set of tapestries were inspired by El Lissitzky's Had Gadya. The tapestries in this lot are test samples for different colours and patterns for Stella's designs. The tapestries are accompanied by a catalogue, published to commemorate the entire project. Biography: Frank Stella is one of the great American artists associated with the Minimalism movement of the 1960s. Minimalism spanned many artistic fields, from the compositions of musician Philip Glass, to the plays of Samuel Beckett. In terms of the visual arts, it is characterised by an often 'hard-edged' take on abstraction and a systemic approach to painting, often formed of geometric shapes depicted in highly saturated 'fields' of colour. Stella is regarded as one of the pioneers of this new approach, though many included under the Minimalism banner rejected the categorisation of their work as a cohesive movement as such. Stella struck out on his career path as an artist largely independently and with a clear, singular vision for the work he wanted to create. Having been influenced early on by the precise, tonal works of European modernists like the Bauhaus' Josef Albers, Stella very deliberately chose to move away and past the dense, gestural approach to abstraction made famous by Abstract Expressionists like Jackson Pollock. In antithesis, his work sought to elevate the picture as object, as opposed to the picture as cipher for something tangible in the physical world, or as representative of the artist's own interior life and emotions. Where the previous school had sought to capture feeling and painterly movement in the immediate post-war years, Stella and his contemporaries were cool and detached. Stella's work is featured in the collections of important institutions around the world. In 1970, he became the youngest artist to be the subject of a major solo exhibition at the Museum of Modern Art, New York. In 2009, Stella was awarded the National Medal of Arts by President Obama.

§ HANNAH COLLINS (BRITISH B.1956) ANIMATED SOUND PIECE VII: WALKING AND DRAWING (TRACES AND ROMANS)Sixty-four polaroids presented together, unique, signed, titled and dated in pencil to margin (Dimensions: 72cm x 87cm (28.25in x 34.25in))Biography: Hannah Collins works across film, photography and written text, and lives and works between London and Almeria, Spain, having previously lived in Barcelona for over two decades. Collins often develops a body of work over several years, and has spent long periods living within communities to make films – in Russia, Spain, and the Colombian Amazon. She has taught internationally and was nominated for the Turner Prize in 1993. More recently, in 2019 her digital slide show created with musician Duncan Bellamy was shown at the Tapies Foundation Barcelona and San Francisco Museum of Modern Art and in 2020 she curated the exhibition ‘We Will Walk - Art and Resistance in the American South’ at Turner Contemporary.

§ JOHN BELLANY C.B.E., R.A. (SCOTTISH 1942-2013) WOMAN AND BIRD ON THE COASTSigned, pencil and watercolour (Dimensions: 74cm x 54cm (29in x 21.25in))Biography: John Bellany was one of the most acclaimed Scottish artists of his generation. He is best known for depicting the lives of fishing communities along the east coast of Scotland as this is where he spent his childhood. In 1960 he began studying at the Edinburgh College of Art and later went on to study at the Royal College of Art, London. His artwork is almost entirely figural, with many of his portraits being of family members or female figures. Themes of Christianity, mortality and sin are seen throughout his paintings, especially during the 1970's, when the influence of alcohol resulted in a period of self-destruction in Bellany's life. Bellany's work is included in major museums and art galleries across the world, including Tate in London, The Museum of Modern Art and the Metropolitan Museum in New York and the National Galleries of Scotland. The late David Bowie, whose art collection caused such a stir when it came on the market, was a great supporter and collector of Bellany's, reportedly once stating his top three painters to be "Tintoretto, Beckmann, Bellany".

A collection of mirrors to include Victorian octagonal example, large Industrial modern style mirror and a 1930's Art Deco part frameless mirror having flash wood sides. Measures 93cm tall by 61cm wide. 

A Modern Art Oil on Canvas Portrait Together with a Framed Collection of Mouton Rothschild Wine Labels 1945/1980

Mihail Chemiakin (New York, Russia born 1943) "Purple Harlequin" Color serigraph. From the Carnival at St. Petersburg Suite. Numbered (33/225) lower left. Signed lower right. Watermark "Arches France". Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States. Image Size: 18.75 x 16 in. Sheet Size: 30 x 21 in. Unframed.

Mihail Chemiakin (New York, Russia born 1943) "Untitled VII" Color serigraph. Numbered (33/225) lower left. Pencil Signed lower right. Watermark "Arches France". Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States. Image Size: 19 x 16.5 in. Sheet Size: 30 x 21 in. Unframed.

Donald Moss (1920 - 2010) "The Biltmore House". Signed lower right. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting was published on the Fleetwood First Day Cover for the U.S. 18c Biltmore House stamp issued August 28, 1981. More than any other American architect of his day, Richard Morris Hunt created buildings that suited the taste of the very rich. His lavish country home, Biltmore House, epitomizes this talent. Built for George Vanderbilt amid the lofty grandeur of the Blue Ridge Mountains, it is a strikingly beautiful monument to the wealth of a Gilded Age. To create a mansion of the splendor his client desired, Hunt took inspiration from the Renaissance chateaux of France. Flying buttresses, clusters of pinnacles, gables and gothic chimneys combine in this towering house to make the surrounding mountains, as architect Hunt declared, "in scale with the house." Inside, the home is just as grand. Chandeliers, bejeweled with Thomas Edison's newly devised light bulbs, hang pendant-like amid a swirling marble and bronze staircase that reaches -- from appearances -- all the way to heaven. The library is paneled in rich, Circassian walnut and reflects both the taste and the wealth of a man who could afford to travel the world learning eight languages and cultivating a taste for art and literature. Today, the lavish Biltmore House is a museum with a collection of paintings, sculpture, prints and furniture that is a marvel to the modern age. Stately and remote, the house towers over landscaped gardens and rolling lawns, a testimony to the skill and vision of architect Hunt, the pioneer of palace building in America. Image Size: 17.5 x 15 in. Overall Size: 20 x 19.75 in. Unframed. (B07092)

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