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Modern Moorcroft art pottery tube lined jar and cover of squat form with pansy flower heads. Impressed and painted marks to the base.(B.P. 24% incl. VAT) CONDITION REPORT: Measurements: 13cm diameter and 8cm high.Condition report: No obvious damage.

Max Liebermann (German, 1847–1935)Café SceneSigned 'M. Liebermann' bottom left, pastel with pencil on paperSheet size: 5 1/2 x 8 3/4 in. (14 x 22.2cm)PROVENANCE:Paul Cassirer, Berlin, Germany.Private Collection, Pennsylvania.NOTE:Known as the "Manet of the Germans," Max Liebermann favored an Impressionist style in his work. As Barbara C. Gilbert notes, "In his lifetime, he was often viewed through the lens of German nationalism and condemned for his open acceptance of French modern art [although he] helped to pave the way for the acceptance of modernist painting in Germany" (Barbara C. Gilbert, ed., Max Liebermann, From Realism to Impressionism, Los Angeles, 2005, p. 56). His achievements included co-founding "Die Gruppe XI" and the avant-garde "Berlin Secession," and serving as President of the Prussian Academy for the Arts. However, Liebermann's paintings were removed from museums and featured in several exhibitions of "degenerate art" in the 1930s (Gilbert, op. cit., pp. 144).Liebermann displayed an early talent for art, taking drawing lessons from Eduard Holbein and Carl von Steffeck before attending the Weimar Academy of Art. The subjects in his art include landscapes, portraits, peasant life, as well as scenes of urban bourgeoisie German society at leisure, as in Café Scene. Also, as in the present lot, the artist worked "in the medium of pastel, which allowed greater spontaneity than oil paint." (Gilbert, op. cit., p. 39).We wish to thank Dr. Margreet Nouwen for confirming the authenticity of the present lot, which will will be accompanied by a Letter of Authenticity.

Édouard Léon Cortès (French, 1882–1969)Le Moulin Rouge, Place BlancheSigned 'EDOUARD [sic] CORTÈS.' bottom right; also with 'copyright' stamp verso, oil on canvas13 x 18 in. (33 x 45.7cm)Executed in 1956.PROVENANCE:Galerie F. Clair, Paris (1956).Acquired directly from the above on January 2, 1957.Herbert Arnot Inc., New York, New York.Acquired directly from the above on January 18, 1957.The Haussner's Restaurant Collection, Baltimore, Maryland.Sotheby's, New York, sale of November 2, 1999, lot 132 (B).Acquired directly from the above sale.Hammer Galleries, New York, New York.Acquired directly from the above in 2000.Private Collection, Bronxville, New York.EXHIBITED:Hammer Galleries, New York, New York, 2000.LITERATURE:Hammer Galleries, An Exhibition Catalogue, 2000, no. 26869-002, p. 28.Nicole Verdier, "Paris 1940-1969," in Édouard Cortès, Catalogue Raisonné de l'Oeuvre Peint, Vol. II, Contexte, Paris, 2002, no. 865, p. 204, (illustrated).NOTE:Édouard Cortès was born in the small village of Lagny-sur-Marne in 1882. The son of famous Spanish court painter Antonio Cortès, he trained in his father's studio from the age of thirteen. Although his hometown was sparsely populated, its proximity to Paris attracted many Parisian artists associated with the Barbizon school, who came to paint its adjoining forests. It also enabled the Cortès family to travel to the capital and keep up with the latest artistic trends.By 1900 Cortès had executed his first series of Paris street scenes, all marked by a dark, dramatic lighting. At the time, Paris was the center of the art world, a bustling international city that attracted artists, dealers, and collectors from around the globe. City scenes were particularly in demand, and Cortès, alongside painters like Jean Béraud and Eugène Galien-Laloue, wisely decided to make this genre his niche. Through his bold brushstrokes and colorful palette, Cortès was able to render the City of Lights with an Impressionistic delicacy, at the same time respecting the fundamental rules of perspective and composition he had learned from his father.He became the most famous poetic recorder of the city's ever-changing beauty, and in a career spanning more than sixty years captured its fashionable inhabitants, busy market stalls, and iconic monuments. Biographer David Klein writes: "Paris changed during the years that Cortès painted it; and the changes appear in his paintings. Horses and carriages disappear in favor of cars and trams; women's hourglass silhouettes and picture hats give way to boyish figures in short skirts and little furs, gas streetlights turn into neon signs and glaring headlights. But despite two world wars and the introduction of the machine age, the Paris of Cortès remains primarily the city of the Belle Époque. His paintings are often filled with nostalgia for the period." (David Klein, Édouard Cortès: Le Poète Parisien de la Peinture, Detroit, 1999 quoted in Mary Manion, "Esteem is Rising for Édouard Léon Cortès" in Antique Trader, September 14, 2018).After a lifelong dedication to capturing the magic of Paris during its transition from the Belle Époque to the modern era, Cortès ultimately retired to his hometown, where he continued to paint more picturesque scenes until his death in 1969.Since the Moulin Rouge opened its doors to the public in 1889, the famous cabaret in Montmartre has drawn large crowds of fashionable Parisians in search of guilty pleasures nowhere else accessible. Of the many Parisian views that Édouard Cortès completed, often depicting Notre Dame, Opéra Garnier or Boulevard de la Madeleine, only a handful of paintings and studies feature the Moulin Rouge. This excitingly rare work is one of the finest and earliest examples of Cortès’ bold, painterly style. Executed some ten years before the artist’s death, the painting skillfully captures the glowing red exterior of the cabaret juxtaposed against a dark sky, offering a glimpse of the temptations to be found within. The windmill’s striking silhouette, surrounding street lamps, and nearby facades inundate the passersby in the foreground with a warm, golden light that compels them to enter the Moulin Rouge, perhaps also tempting the viewer to leap into the picture plane and join them.

Baume & Co, 24 Hatton Garden, London. A very fine 18K gold keyless wind perpetual calendar trip minute repeating Grande Sonnerie full hunter clock watch with chronograph, strike silent, moon phase and polychrome enamel crestDate: Circa 1900 and LaterMovement: Gilt 3/4 plate fire gilt English lever, cut and compensated bi-metallic balance, gold compensation screws, blued steel Breguet overcoil balance spring, screwed gold chaton jewels throughout, bi-directional winding for going and striking, diamond end stone, No.6422Dial: White, black Roman numerals, black outer minute and 1/5th second divisions, subsidiary dials at 3, 6, 9 and 12 for seconds combined with moon phase, day, date and month combined with leap year, blued steel spade handsCase: Later polished round hinged, enamel decoration to the front depicting a European family crest, enamel decoration to the reverse depicting the Rod of Asclepius, chronograph button at 12, strike/silent indication on bezel between 11 and 12, quarters only/hours and quarters indication on bezel between 6 and 7, repeat button at 7, thief-proof bow, Latin engraving to cuvette reads 'Curant ea quae requiruntur in homine: virtus, integritas, probitas. S.(Simon) Okolski 1641, No.6422Signed: MovementSize: 61mm Accompaniments: Fitted wooden box, winding key, three spare 18K gold case back panelsFootnotes:Deriving from the private collection of a German Professor of Medicine, the current lot is to be offered for sale from the descendants of the family. The Professor had a great love of travelling and collecting which took him, alongside his career, to many of the annual auctions in London and Geneva with certain of his pieces being exhibited in Germany. This watch is an excellent representation of what can be achieved through passion, appreciation and an eye for quality. Privately commissioned, the watch case features beautifully enamelled panels to the fore and reverse whilst the Baume & Co movement is a skilfully executed piece of horological craftmanship from the turn of the century.Applied to the case are two handsomely finished pieces of enamel work. The front depicts the Professors family crest which hails back to Prussia in the 1840s. The lore of the family is that during battle a Knight pulled a small oak tree from the ground before proceeding to save the life of one of the kings involved in the skirmish. In gratitude, the King made the Knight a Baron and named the land after him which can now be found in modern day Poland. To the reverse of the case is the more familiar Rod of Asclepius. Not to be confused with the Caduceus borne by Hermes, the rod is represented by a single serpent wrapped around a staff and is commonly associated with healing and medicine. Asclepius was the son of Apollo and Coronis, a mortal, and was taught the art of healing by the centaur Chiron. His renown for healing steadily grew but it was not until after his death when he was smote down on Zeus's orders that his cult established fully. As such it is believed that it is in this process that the staff and serpent merge to form one icon as they originally were seen as separate symbols. The desire to ensure the watch represented something personal and of high quality by the Professor is furthered by the engraved inscription on the cuvette by Simon or Szymon Okolski, a celebrated heraldry specialist and historian. Roughly translated, the Latin inscription is a reminder of what as human beings we need in order to live a wholesome and rewarding life – virtue, integrity and honesty.For further information on this lot please visit Bonhams.com

Jazz / Fusion LPs, seventeen albums of mainly Modern Jazz and Fusion with artists including The Blue Notes, Art Ensemble of Chicago, J R Monterose, Detail, Steve Lacy Trio, Roland Kirk, John Scofield, Tony Kinsey, Lyle Mays and more - various years and conditions

A Modern Art Deco Style Leather Upholstered Arm Chair

JEAN JACQUES HAMARD A 20TH CENTURY MODERN ART BRONZE SCULPTURE OF A FEMALE mounted on a veined red marble base - signed J.J.Hamard 73cm high.

Two Wassily Kandinsky posters, Museum of Modern Art, New York, 133 x 66cms and 92 x 75cms, framed

signed 'Nessler' (lower left) oil on canvas (Dimensions: 39.50cm x 50cm)(39.50cm x 50cm)Footnote: Provenance The Hertfordshire County Council 'Pictures For Schools' collection' Their sale; Cheffins, 21 March 2019, lot 6, where acquired by the present owner Born in Leipzig, Germany, Nessler began his artistic career at the Castelli Italian School of Art, Dresden. Despite not being Jewish, he strongly opposed National Socialism, and eventually moved to London in 1937, joining the British army shortly thereafter. After the war, he studied sculpture at St Martin's School of Art and travelled to Paris, meeting the likes of Cocteau, Sartre, Picasso, Giacometti and Matisse. French modernism, particularly Cubism, exerted a strong influence on his subsequent work. The bright colours and geometric planes used to depict the landscape surrounding Jersey, the subject of numerous works in the early 1950s, reveals the artist's optimistic post-war outlook. Nessler first exhibited his work at the Molon Gallery in 1961. He also took part in several group exhibitions at the Royal Academy, the Royal Society of British Artists, and commercial galleries in London, the provinces, and abroad. A retrospective of his work was held in 1990, which coincided with his increasing recognition in Germany. Nessler's works are now held in numerous public collections internationally.Condition report: Oil on canvas. On the reverse of the painting is an area of modern adhesive which appears to be a crude repair to a tear at the right of the painting. Around this area are raised flakes of paint. The area appears pink under ultraviolet light suggesting it may have been retouched or reworked following the damage. Quite extensive cracking throughout.

Portrait of Nora Mabel Brownsword a note to the reverse: 'Gwyneth / with love from / John / Xmas 1932' pencil on paper (Dimensions: 28.5 x 22.5cm)(28.5 x 22.5cm)Footnote: Provenance The Artist, with whom gifted to Gwyneth Johnstone, 1932, thence by descent to the present owner Nora Brownsword was born in Nottingham into a wealthy family of lace manufacturers. As well as being a talented musician, by 1913, she was modelling for the artist, Augustus John, who used her as one of the models for Lyric Fantasy , c.1913-14 (Tate Britain). Their relationship extended beyond that of artist and model and by 1914, Nora was pregnant with John’s child. Augustus already had seven children, five by his late wife Ida, and two by his muse, Dorelia McNeill. Their daughter, Gwyneth, was born in 1914 and various options were suggested as to how to solve the problem. These included exporting mother and daughter to France, adopting Gwyneth into the John family, on the condition that Brownsword surrendered any right to contact, and arranging a marriage between Nora and John Hope-Johnstone, the former tutor of John’s sons. Brownsword rejected these offers, although she did adopt the name ‘Johnstone’ for her daughter. She later married John Back, who was from a wealthy family of East Anglian landowners. The marriage was not a success and John left, leaving Nora as the chatelaine of his house and farms at Great Hautbois, Norfolk. Brownsword was fortunately of independent means and was able to provide Gwyneth with a comfortable upbringing between Norfolk and London by herself. Gwyneth was sent to St Felix School, Southwold and whilst here, she saw pictures by Christopher Wood and other 20 th century modernists. Between 1933-38, she attended the Slade School of Fine Art and later studied with the cubist painter, André Lhote. She eventually shared a London studio with her father who painted her portrait (sold in these rooms, 26 April 2019, lot 278 for £26,000). Gwyneth went on to become an established and respected painter, showing with the London Group and the Women’s International Art Club. She also had many solo exhibitions at The Portal Gallery, London. Mother and daughter were inseparable and the artist, Julian Trevelyan, affectionally referred to them as “the cavewomen”, on account of their rejection of modern-day conventions. When her mother died, Gwyneth tied her coffin to the roof of the car and drove to Norfolk from London by herself. They are buried together in the church of St Theobald at Great Hautbois, Norfolk. We are grateful to Dr David Boyd Haycock for his assistance with catalguing this lot

Nanga Parbat Pilgrimage, Homage to Hermann Buhl signed, titled and dated 66 to the reverse oil on canvas, unframed (Dimensions: 122 x 122cm)(122 x 122cm)Footnote: JohnEdward Wright entered The Carmarthen School of Art and was closely associated with the arts scene in Wales as painter, film-maker, animateur and designer. Whilst a student, he saw a film called 'High Conquest' - the story of Edward Whymper and the climbing of the Matterhorn. He then set out to climb every ridge of the Matterhorn over 4000 metres and soon became a seasoned alpinist. He was the youngest founder member of the '56 Group, campaigning for modern art against those still advocating traditional scenes and genres. In 1959, he was appointed a lecturer at Newport College of Art. His art is represented internationally and incudes The National Museum of Wales, Bradford Art Gallery, The BBC, Glynn Vivian Gallery Swansea, Knox Foundation Boston USA, Oxford University and Reading University. Hermann Buhl (Austrian 1924-1957) was an Austrian mountaineer considered one of the best climbers of all time. He applied alpine style techniques to Himalayan climbing and in 1953 ascended Nanga Parbat solo without bottled oxygen. Before this first success, 31 people had died trying to achieve that first ascent.

Mr William Rodgers, Tory Island, County Donegal inscribed lower left, ' Mr William Rodgers Tory Island / Tractor Ploughing In / Dixon's Farm. The First / Tractor that Ever Came to / Tory Island / By James Dixon / 7.11.1966 ' oil on board (Dimensions: 44 x 67cm)(44 x 67cm)Footnote: Provenance With Portal Gallery, London, where purchased by the present vendor A native of Tory Island, a tiny, isolated and exposed spit of land, off the North-West Coast of Ireland, James Dixon worked for most of his life as a crofter and a fisherman, only beginning to paint during the 1950s. It was not until 1959, aged 72, that a chance encounter with English artist, Derek Hill (1916-2000), led Dixon to take up painting seriously. Hill encouraged Dixon to paint, providing him with oils and materials, though Dixon reportedly preferred to use the hair of donkey tails to make his own paintbrushes, and preferred boat paint over oils. Shunning canvas, Dixon tended to paint directly onto board or paper. Largely self-taught, Dixon worked in a naïve and crude style, with loose, expressive brush strokes, visceral colour palettes, and mainly depicting scenes of rural labour, harbour views, and unusual local events. Typically, in the lower corners, many of Dixon’s works are accompanied by short descriptions and specific dates, suggesting that Dixon completed his paintings quickly, within a day. His style may be compared to that of Alfred Wallis (1855-1942), Ben Nicholson, OM (1894-1982) and Christopher Wood (1901-1930), all of whom employed a similar use of skewed perspective and distorted scale. Dixon’s first solo exhibition was held in 1966 at the New Gallery in Belfast, followed by an exhibition at the Dawson Gallery in Dublin in 1967. The following year he had exhibitions at both the Autodidakt Gallery in Vienna, and at the Portal Gallery in London. In 1999 and 2000, his work was exhibited at both the Irish Museum of Modern Art, and in St Ives at the Tate Gallery, in the show Two Artists: James Dixon and Alfred Wallis .

The Visitors watercolour (Dimensions: 13 x 8.5cm )(13 x 8.5cm )Footnote: Provenance With Pyms Gallery, London Described as the Edgar Allen Poe of painting - Scottish painter and designer, James Pryde, is remembered for his ominous depictions of gloomy street scenes, sombre gothic interiors, and figures dwarfed by vertiginous architecture. One half of ‘the brothers Beggarstaff’, which comprised Pryde and his brother-in-law, William Nicholson, he is also noted for his contributions to theatrical poster design and graphic art. Between 1885 and 1888, Pryde trained at the Royal Scottish Academy, before studying under William-Adolphe Bouguereau at the Académie Julian, Paris, in 1889. Describing the oppressive smell of tobacco, stove-oil, and human sweat at the Parisian atelier, Pryde returned to Scotland after three months. After his sister’s marriage to William Nicholson in 1893, the pair formed the Beggarstaff partnership, which lasted until 1899. During this period, Pryde was also working as an actor. Although his reputation as an actor was not as illustrious as his reputation as a painter, his love of the stage is evidenced by the stage-set quality of his paintings. Indeed, from 1930 he worked as a theatre designer for a production of Othello at the Savoy Theatre. During his lifetime, Pryde was a highly respected artist and belonged to several institutions - including the International Society of Sculptors, Painters and Gravers and the Royal Institute of Oil Painters. After his death, in 1941, Pryde’s work received very little critical attention, until in 1992 when the Scottish National Gallery of Modern Art held a major exhibition of his work. More recently, in 2019, his work was exhibited at The Fitzwilliam Museum, Cambridge, as part of their ‘Beggarstaffs’ exhibition.

Blue and green forms oil on paper signed and dated 'Denny 2 / 59' (lower right); numbered 15 (Dimensions: 79 x 57cm )(79 x 57cm )Footnote: Defiant, contrary, and radical, Robyn Denny’s life and works were characterised by his determination to disrupt the status quo. In the late 1950s, reacting against what he perceived to be the ‘insidious’ influence of the populist and pervasive St Ives School of landscape painting, Denny unveiled his first modern abstract works, inspired by American films, Abstract Expressionism, and popular culture. The third son born to Sir Henry, an Anglo-Irish clergyman, and Joan Denny, Robyn Denny rapidly identified a natural synergy between art and rebellion that could be used to his advantage. An anecdote from Denny’s early life, for example, recalls an urgent meeting of traumatised village elders occasioned by his overpainting, in bright primary colours, of ecclesiastical art in the local church. His rebellious streak was also noted during his national service in the Royal Navy, when he spent much of his time in military prison after declaring himself a conscientious objector and declining to wear any outer clothing. With a recommendation from Henry Moore, Denny attended St Martin’s School of Art, and later the Royal College of Art. Upon his graduation from the RCA in 1957, Denny began exhibiting with Gallery One, and in 1964, at the Kasmin Gallery, noted for its modernism. He also represented Great Britain at the Venice Biennale in 1966. By 1974, Denny had held eight solo shows and by the end of the decade his work had been acquired by numerous important institutions, including The Tate and MoMA. We are grateful to Professor David Mellor for his assistance in cataloguing this lot.

A collection of vintage and modern postcards together with three photographs of ET, RAF cards and The Art of Disney by Christopher Finch (1 box)

A Smith's 1930s/40s oak mantel clock; a brass ceiling light; oil lamp; trench art; glass ship in bottle; modern silhouettes; Days Gone and Matchbox cars 

Florence . Galleria Dell' I. E Reale Accademia Delle Belle Arti di Firenze pubblicata con incisioni in rame da Una Societa Artistica..., 1845, Florence, Presso La Societa Artistica, 60 black & white engravings on India paper, decorative text boarders, very minor marginal toning, all edges gilt, publishers original gilt decorated half vellum with marbled boards, boards & spine slightly rubbed, split to foot of the front hinge, folio, together with: Ephrussi (Charles) , Albert Durer et Ses Dessins, 1882, Paris, A. Quantin, numerous tinted & monochrome plates & illustrations, top edge gilt, bookplate to front pastedown, some light marginal toning & spotting, publishers original gilt decorated brown full crushed morocco, spine lightly rubbed, large 4to, and Nolhac (Pierre de) , Les Trianons (Les Grands Palais de France), Paris, circa 1900, 110 black & white plates, some light toning & marks, contemporary gilt decorated blue half morocco bound by Zaehnsdorf, boards & spine slightly rubbed, split to foot of the front hinge, folio, plus other late 19th century & modern Renaissance art & architecture reference & related, including The Fasciculus Medicinae of Johannes De Ketham Alemanus, facsimilie of the first (Venetian) edition of 1491, published by R. Lier & Co. 1924, Milan, Michelangelo The Medici Chapel, by James Beck et al, reprinted, 2000, some leather & vellum binding, mostly original cloth, 4to/folio (Qty: Approximately 60)

Atkins (Jacqueline M. [editor]) . Wearing Propaganda textiles on the home front in Japan, Britain, and the United States, 1931-1945, 2006, Yale, numerous colour & monochrome illustrations, original cloth in dust jacket, covers lightly rubbed to head, large 4to, together with: Celant (Germano) , Post Zang Tumb Tuuum Art Life Politics Italia 1918-1943, 2018, Milan, numerous colour and monochrome illustrations, original black cloth, large 8vo, and Ward (Laurence) , The London City Council Bomb Damage Maps 1939-1945, reprinted, 2015, numerous colour and black & white illustrations, original cloth in dust jacket, folio, plus other modern World War II art reference & related, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/folio (Qty: 6 shelves & a carton)

Art Reference . A large collection of modern photography, art, antique & book binding reference, including Sir William Russell Flint, a catalogue raisonné..., volume 2 only, limited edition of 1525 copies, Behind The Veil in Bird Land..., by Oliver G. Pike, 1908, A New Bibliography of Arthur Rackham, by Richard Riall, 1994, Bath, The Work of Graham Sutherland, by Douglas Cooper, 1st edition, 1961, mostly original cloth, some in dust jackets, some paperbacks, G/VG, 8vo/folio (Qty: 6 shelves)

Modern First Editions. A collection of 35 modern first editions, comprising: 14 by Michael Green, including The Art of Coarse Rugby; 10 by Glen Baxter; 8 by Martha Grimes; 3 by Spike Hughes, illustrations, original boards, many with dust jackets, some toned or spotted, a few spine ends frayed, 8vo (Qty: 35)

Art . A collection of modern art & private press reference & related, including William Coldstream, by Bruce Laughton, 2004, U.S.A., signed by the author to the title page, 8vo, Winter Sunshine and other verses, by Agnes Fry, circa 1930, The Orphan's Printing Press, Leominster, includes a handwritten letter signed by the author, 4to, Ewan Uglow, some memories of the painter, by Susan Campbell, 1st edition, 2003, includes a complement slip signed by the author, 8vo, Miscellaneous images of the twelve countries in the European Community - to celebrate 1992, by Alan Fletcher, Pentagram Press, some original cloth in dust jackets, many paperbacks, G/VG, 8vo/4to (Qty: 3 cartons)

Boaden (James) . The Life of Mrs. Jordan;..., 2 volumes, 1831, printed by Edward Bull, black & white engraved frontispiece to volume 1, folding facsimile letter to front of volume 2, some minor spotting & toning, uniform contemporary boards, some loss to spine labels, lightly rubbed to head & foot, 8vo, together with: Crane (Walter) , Ideals In Art:..., 1905, numerous black & white illustrations, bookplate to front pastedown, some minor spotting, original gilt decorated blue cloth, boards & spine slightly rubbed, 8vo, and Watkins-Pitchford (Denys 'B B') , The Countryman's Bedside Book, 4th impression, 1947, The Idle Countryman, reprinted, 1948, Confessions of a Carp Fisher, 1st edition, 1950, numerous black & white illustrations by the author, some light spotting & toning, all original cloth in dust jackets, covers slightly rubbed to head & foot, 8vo, plus other late 19th century & modern illustrated literature, art & miscellaneous reference, including The Life of William Morris, 2 volumes, by J. W. Mackail, 1899, Animals in Black and White, Volume One The Larger Beasts, by Eric Fitch Daglish, reprinted, 1929, mostly original cloth, some in dust jackets, G/VG, 8vo/folio (Qty: 6 shelves)

MISCELLANEOUS GLASS. A pair of moulded glass candlesticks, a modern Art Deco style perfume bottle & a pair of studio glass vases by Shakespeare Glass Ltd. from their Random Trail range. Each with etched signature.

ART BOOKS. Four books: The Shining Sands, Artists in Newlyn & St. Ives 1880 - 1903, hardback by Tom Cross, 1999; Catching the Wave, First Edition hardback, by Tom Cross, 2002; Forty Years of Modern Art, 1945 - 1985, Tate Gallery 1986 & Portrait of David Hockney, a hard back First Edition by Peter Webb, 1988.

Art Nouveau gold and garnet pendant with almandine garnets and white stones, on a modern 9ct gold chain

Caithness glass pedestal bowl & two vases, glass scent bottles, art glass vase, two sets of modern wine glasses, Moet & Chandon glass ice bucket, stainless steel champagne bucket with stand and other glass

A modern carved stone sculpture of a reclining Inuit figure, indistinct incised marks to underside, approved with 'Eskimo Art' retailers label 15 cm long

Richard Hogg (Modern British), Limited edition print on paper, 'Untitled', Signed and dated '97' lower right, numbered 27/50, 27.5cm x 27.5cm, Framed and glazed, with Amaina (modern British), Print on paper, 'Windows', Signed and titled to lower margin, 30cm x 29cm, Framed and glazed, and a further unsigned fine art print (3)

Vintage Colombos "Egyptian Cigarette's" Tin, Art Nouveau tin with central vignette, Ogdens photograph album, "Lesney Modern Amusements" miniature articulated model, etc:- One Tray

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

A late Victorian clotted cream and black striped boned corset, lace trim at back, lace ties have been replaced with modern ties, brown mark on inside lining, edged in brown lace; a black late 1930's with late Art Deco clasp handbag with 1930's rouge inside (2)

Two boxes of assorted books, mainly reference books, including titles 'World Ceramics', 'Wedgwood', 'Modern Art', 'Spanish Glass', 'American Antiques' etc (2 boxes)

Sokem - Bristol based graffiti / street artist - original Modern Neo-Plasticism mixed media painting on canvas. Block pattern geometric urban art painting - with block colours and mixed media panels in orange, white, black and red.. Signed to verso. Measures approx; 101 cm x 70 cm

Sokem - Bristol based graffiti / street artist - original Modern Neo-Plasticism mixed media painting on canvas. Block pattern geometric urban art painting. Multi coloured blocks, in orange, blue, yellow and green. Signed to verso. Measures approx; 62cm x 46cm. 

A mixed collection of various jewellery dating from the early 20th Century to include an Art Nouveau belt decorated with ladies, amber necklace, a modern mother of pearl necklace, early celluloid jade style necklace, a group of three Chinese Cloisonne bangles, stained bamboo bracelet to mimic coral etc. Multiple silver items to include a thick sun pendant set with a central turquoise cabochon on a heavy silver chain, multiple pairs of silver earrings, bar brooch etc.  

UNRECORDED ITALIAN MAIOLICA HANDLED SPOUTED DRUG JAR SIENA, CIRCA 1510-1530 with short cylindrical neck and tubular spout united by a single twisted rope of clay, fitted with a thick handle of flat joined bands decorated with green stripes, above the bulbous body with pharmacy label inscribed SYo. DEISAP. O and a gadrooned urn, decorated throughout with polychrome grotesque decoration of stylised dolphins, birds and flowerheads on an orange ground, within characteristic bands of interlaced ornamental knotwork, incised L6 d ?2 to the base, (for ‘libbre’ (pounds) and ‘once’ (ounces) likely equating to 2095.2gm, its modern weight when empty) (Dimensions: 27cm high, 25.5cm wide)(27cm high, 25.5cm wide)Footnote: Provenance: Property from Newbattle Abbey, Midlothian Note: This jar belongs to a small group of recorded surviving jars from Siena with characteristic shapes and handles made circa 1500-circa 1530 for various pharmacies. All known survivors were made and labelled to contain syrups. Two (one in the V&A and one in the Museo Internazionale delle Ceramiche Faenza) are decorated on a dark blue ground and one, very similar to this example, (in a private collection) on a dark orange ground (see Mario Luccarelli and Anna Migliori Luccarelli, ‘L’evoluzione della maiolica senese dall’immaginario medievale al ‘capriccio’della grottesca’, in La ceramica a Siena dalle origini all’Ottocento, ed. Margherita Anselmi Zondadari and Paolo Torriti,2012, figs 90-91, p68-69.). This orange ground was popular with early 16th century Sienese maiolica potters. The group relates in decoration and colour to tiles made in Siena in particular to those made for the Santa Caterina Oratory of 1504-5. This drug jar here also relates to a group of smaller dark orange grounded albarellos made from 1500 and in particular to one dated 1515 in the Metropolitan Museum of Art New York (see Timothy Wilson, Maiolica - Italian Renaissance Ceramics in the Metropolitan Museum of Art, 2016, cat22, p96-7.). For reference to the weight of the jar please see Dora Thornton and Timothy Wilson, Italian Renaissance Ceramics. A catalogue of the British Museum Collection, 2009, vol 2, cat249, p427-8. We are grateful to Celia Curnow for writing these entries and to Dr Elisa Sani for confirming her attributions.

PAIR OF UNRECORDED ITALIAN MAIOLICA ALBARELLOS, FROM A SET OF PHARMACY JARS BY ANDREA DI MARCO DI the cylindrical bodies with swelling at the shoulders and bases, and decorated with bands of yellow armorial trophies on dark blue grounds, enclosing central oval reserves depicting the emblem Ds ME (for Domus Misericordiae House of Pity) surmounted by crosses flanked by trophies, with inscribed labels, the first EL. D.’ GENZNA, the second UNG. D’. B’SILICO, with incised symbols to the base, the first L2 d2 (for ‘libbre’ (pounds) and ‘once’ (ounces), possibly equating to 792.5gm its modern weight when empty), the second L2 d6 (possibly equating to 937.3gm, also its modern weight when empty) (Dimensions: 20.8cm high, 13.6cm wide; 21.5cm high, 13.4cm wide) (Qty: 2)(20.8cm high, 13.6cm wide; 21.5cm high, 13.4cm wide)Footnote: Provenance: Property from Newbattle Abbey, Midlothian Note: The emblem depicted on the albarellos is still to be found on the buildings which were formally the Hospital of Santa Maria della Misericordia in Perugia. The surviving hospital account books note in 1565 payment for a set of pharmacy vases from the Perugian potter Andrea di Marco di Iacopo delle Scine. These albarellos belong to this commissioned set. Eight others are recorded. Four spouted jars - one in the Castello Sforzesco, Milan, dated 1565, one in the collection of the Fondazione Cassa di Risparmio in Perugia, two in private collections, one in Ostra, one in Assisi (Giulio Busti and Franco Cocchi in La Via Della Ceramica Tra Umbria e Marche: Maioliche Rinascimentali da Collezioni Private, 2010, ed. Ettore A. Sannipoli, cat1.23, p104.). Four albarellos similar to these exist, two in the Bagatti Valsecchi Museum Milan, and two, both dated 1565, formerly in the Della Gherardesca Collection (Finarte, Milan, 21-22 Nov, 1963, lot 65). The labels: EL.D.’ GENZNA and UNG.D’.B’SILICO probably refer to an elixir of gentian, and an ointment made from basil, respectively. For reference to the weight of the albarellos please see Timothy Wilson, Maiolica - Italian Renaissance Ceramics in the Metropolitan Museum of Art, 2016, cat30, p116-7. We are grateful to Celia Curnow for writing these entries and to Dr Elisa Sani for confirming her attributions.

Two trays of modern art glass paperweights. (B.P. 24% incl. VAT)

A small collection 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 functioning at time of testing

A Pair of Framed Modern Art Textured Prints, 100cm Square

Modern art glass bowl Height 31 cm

Modern art glass bowl Diameter 46 cm

A modern pink and blue tinted art glass vase, indistinctly signed, h.19cm

A Victorian copper preserve pan, dia.32cm; together with a modern art glass vase (chip to vase) (2)

NO RESERVE Adriani (Gotz) Toulouse-Lautrec. The Complete Graphic Works: A Catalogue Raisonné. The Gerstenberg Collection, original wrappers, 1988 § Elderfield (John) Henri Matisse: A Retrospective, 1992 § Schattschneider (Doris) M.C.Escher: Visions of Symmetry, 2004, illustrations, many colour, the last two original cloth with dust-jackets; and c.35 others, Impressionist and modern art, many catalogues, 4to (c.40)

Ginzburg (Ralph, editor) Avant Garde, nos.1-14 [all published] and a duplicate of no.1, illustrations, many colour, all with subscription form intact at end, light spotting at beginning of no.1, some leaves a little browned, mostly at edges, original pictorial wrappers, a few very slightly rubbed, preserved together in modern cloth drop-back box, morocco label, 4to, New York, 1968-71. (15)⁂ A complete set of the counter-culture magazine designed by Herb Lubalin, and featuring artwork by Richard Lindner, Tom Wesselman, John Lennon and literary contributions by Roald Dahl and Norman Mailer amongst others. Key issues are: No.2 The Marilyn Monroe Trip: A Portfolio of Serigraphic Prints by Bert Stern with Stein's versions of his final photographs of Monroe printed in vibrant day-glo colours, No.8 Picasso's Erotic Gravures, and no.11 Wedded Bliss: A Portfolio of Erotic Lithographs by John Lennon. Issues no. 6, 9, 11 & 12 have varying covers; those present here are: no.6 pregnant woman, no.9 Ernest Fuchs cover, no.11 Wedded Bliss by John Lennon, and no.12 fantasy art cover.

NO RESERVE Drunkeness.- Younge (Richard) Sinne stigmatizd: or, The art to know savingly, believe rightly, live religiously, taught both by similitude and contrariety from a serious scrutiny or survey of the profound humanist, cunning polititian, cauterized drunkard, experimentall Christian, woodcut head-pieces and decorative initials, lacking 3A2, occasional marginal worming, some spotting ands staining, modern morocco with original contemporary calf covers laid down, [cf. STC 26112], 8vo, Printed [by Richard Badger] for G. Latham at the signe of the Bishops head in St. Pauls Church-yard, 1639. sold not subject to return.⁂ A re-issue of The Drunkard's Character, 1638, with more preliminaries than called for by ESTC.

Collection of books relating to Guns and Shooting, to include: Perry D Frazer - Elementary gunsmithing, William Greener - Gunnery in 1858 (covers in poor condition) , Hank Wieand Bowman - Antique guns, W & C Scott & son - Breech loaders, Westley Richards 2000 Catalogue, Julian S Hatcher - The Book of the Garand, Proof House - Notes on the proof of gun barrels, American machine & foundry co. - Phase III Acoustic study program, Donald B McLean - Firearm silencers, Regulations for conducting musketry instruction of the army, W F Vickery - Advanced Gunsmithing, Firearms of the ages issue 3 Nov. 1967, HMSO - Navel Swords & Firearms, Labore - The Armourer's handbook Part II Machine carbines & pistols, W W Greener - The Gun & its Development, Golden State Arms - World's Guns & other weapons, Charles F Waterman - The Treasury of Sporting Guns, Guns. Antique & used Modern 2nd ed. 1955, Thompson/Centre arms Co. - Shooting black powder guns, National Armory Army revolvers & Gatling guns, HMSO - Treatise on Military small arms & ammunition 1888, Peter R Senich - Limited war sniping, Wilson James - The rod and the gun, Wilkinson Frederick - The worlds great guns, Durdik, Mudra, Sada - Firearms 1326 - 1900, HMSO - Text book of small arms 1929, Peterson Harold L- The Book of the Gun, Sothebys - The Visser Collection part I, Rosa J C & May Robin - The Pleasure of Guns, Escritt L B - Rifleman & pistolman, Groves J Percy - Reefer and rifleman, Graham Harry - The complete sportsman, Bowman Hank Wieand - Famous guns from famous collections, Legge Reginald F - Mainly about shooting, Parker-Hale - 1941 sporting section catalogue, Payne-Gallwey R - Letters to young shooters, Greener W W - Sharpshooting for sport & war, Admiralty - Notes on gunnery for defensively armed merchant vessels, H C B Rogers- Weapons of the British Soldier, William - The Lore of Arms, W H B Smith revised by E C Ezell - Small Arms of the World, Barry Wynne - The Sniper, Metropolitan Museum of Art - Catalogue of Arms and Armor, Richard Jefferies The Gamekeeper at home, A M Low- Modern Armaments, ed J I H Owen - Brassey's NATO Infantry & its weapons, (45 volumes) `

Alberto Magnelli - Trois nus couchés - (1 July 1888 - 20 April 1971) woodcut compositionItalian modern painter who was a significant figure in the post war Concrete art movement.24cm x 31cm Framed - 35cm x 43cm

Pamphlets. A Sermon Preach'd before the King and Queen, in their Majesties Chappel at St. James's, upon the Annunciation of our Blessed Lady, March 25, 1686, by Jo[hn]. Betham Doctor of Sorbon , London: Printed by Henry Hills, Printed to the King's most Excellent Majesty, for his Houshold and Chappel, 1686, [2], 32, [2] pp., with a final advertisement leaf, disbound 4to (Wing B2060), together with: A Sermon Preached on the 18th. of April, 1692. at the Funeral of the Reverend Dr. Anthony Walker, Late Rector of Fyfield in the county of Essex, deceased, by Josiah Woodward minister of Popler, London: Nathanael Ranew, 1692, [4], 7-29, [1] pp., without A1 (initial blank or half-title?), ruled border at foot of title cropped, some browning, modern marbled wrappers, 4to (Wing W3519), A Sermon Preach'd before the Honourable House of Commons, at St. Margaret's Westminster, January the XXXth, 1691/2, by William Sherlock, London: William Rogers, 1692, [4], 29, [3] pp., disbound 4to, and other 18th-19th century pamphlets including An Account of the Proceedings of the Lords Spiritual and Temporal in Parliament Assembled, in Relation to the Bill, Intituled, an Act for Preventing Occasional Comformity, London: Printed by Charles Bill and the Executrix of Thomas Newcomb, deceas'd. 1703; Considerations on the Present State of Public Affairs, and the Means of Raising the Necessary Supplies, by William Pulteney, London: J. Dodsley & T. Cadell, 1779; The Clergy-Man's Recreation, Shewing the Pleasure and Profit of the Art of Gardening, by John Lawrence, 5th edition, London: Bernard Lintott, 1717; The Case of the Dissenters, as it stands upon the Corporation and Toleration Acts, with Regard to Corporation Offices..., by a Gentleman of the Middle Temple, London: J. Roberts, 1739, etc., all disbound 4to & 8vo (Qty: approx. 90)

Pickford (Ian [editor]) . Jacksons Silver & Gold Marks of England, Scotland & Ireland, revised edition, 1991, Antique Collectors' Club, numerous black & white illustrations, original cloth in dust jacket, spine slightly faded, large 8vo, together with Warhol (Andy) , Andy Warhol's Exposures, 1st edition ,1979, numerous black & white illustrations, original cloth in dust jacket, covers lightly rubbed to head & foot, 4to, and other modern antique, photography & art reference, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/folio (Qty: 6 shelves)

Knight (Charles) . London, 6 volumes (bound in 6), 1841-44, numerous black & white illustrations, some toning & light marks, uniform contemporary gilt decorated half calf, boards & spines rubbed with minor loss, 8vo, together with Hedgemann (Werner & Peets, Elbert) , The American Vitruvius: An Architects Handbook of Civic Art, 1922, New York, numerous black & white illustrations, ex-library copy with associated bookplate & stamps, some minor toning & marks, publishers original gilt decorated blue cloth, boards & spine slightly rubbed to head & foot, folio, and Alpern (Andrew) , The New York Apartment Houses of Rosario Candela and James Carpenter, 1st edition, 2001, New York, numerous black & white illustrations, bookplate to front pastedown, original cloth in dust jacket, 4to, plus other 19th century & modern London & American architecture reference & related, mostly original cloth in dust jackets, G/VG, 8vo/folio (Qty: 6 shelves & a carton)

Kendrick (A. F. & Tattersall, C. E. C.). Hand-Woven Carpets, Oriental & European, 2 volumes, 1922, colour and black & white illustrations, bookplates to front pastedowns, some minor spotting & toning, uniform original gilt decorated cloth in dust jackets, covers rubbed with minor loss to head & foot, large 4to, limited edition 147/1000, together with Hughes (Peter) . The Wallace Collection Catalogue of Furniture, 3 volumes, 1996, numerous colour and black & white illustrations, bookplates to front endpapers, uniform original cloth in dust jackets & slipcase, 4to, and Edwards (Diana) , Black Basalt, Wedgwood and Contemporary Manufacturers, 1st edition, 1994, numerous colour and black & white illustrations, original cloth in dust jacket, large 4to, plus other mostly modern antique furniture, pottery, firearms & decorative art reference, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/4to (Qty: 5 shelves )

Lanes (Selma G.) . The Art of Maurice Sendak, 1993, New York, numerous colour & monochrome illustrations, original cloth in dust jacket, covers lightly rubbed with minor tear to head of the front cover, oblong 4to, together with Howgate (Sarah et al) , Lucian Freud Portraits, 2012, numerous colour & monochrome illustrations, original cloth in dust jacket, minor tear to head of spine, large 4to, and Guild (Tricia) , A Certain Style, 2010, numerous colour illustrations, publishers original half cloth, folio, plus Crookshank (Anne et al) , Ireland's Painters 1600-1940, 2002, Yale University, period inscription to head of the title page, numerous colour & black & white illustrations, original cloth in dust jacket, covers lightly rubbed to head & foot, large 4to, and other modern art reference & related, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/folio (Qty: 5 shelves )

Ettlinger (L.D.). The Sistine Chapel before Michelangelo, Religious Imagery and Papal Primacy, 1st edition, Oxford University Press, 1965, monochrome plates, original black cloth gilt in dust wrapper, some marks, 4to, together with Hauser (Arnold), Mannerism, The Crisis of the Renaissance and the Origin of Modern Art, 2 volumes, 1st edition, Routledge, 1965, monochrome plates, bookplate of Michael Jaffé to front pastedown of each volume, original red cloth gilt in dust wrappers, a little rubbed and minor fraying, large 8vo, plus Berenson (Bernard). Italian Pictures of the Renaissance (Venetian School, 2 volumes, Florentine School, 2 volumes & Central Italian & North Italian Schools, 3 volumes), 1st editions, Phaidon, 1957, 1963 & 1968 respectively, monochrome plates, all original cloth in dust wrappers, some marks and light soiling, second title with slipcase, 4to, and others on Italian art and related, including Ars Naturam Adruvans, Festschrift fur Matthias Winner, 1996, S.J. Freedberg, Painting of the High Renaissance in Rome and Florence, 2 volumes, Harvard University Press, 1961, Studies in Renaissance & Baroque Art presented to Anthony Blunt on his 60th birthday, 1967, Studies in the History of Art dedicated to William E. Suida on his eightieth birthday, 1959, Giorgio Vasari, Le Vite de piu Eccellenti Pittori, edited by Bettarini and Barocchi, 7 volumes, Florence, Sansoni, 1966-76, etc., mostly original cloth, mainly 4to (Qty: 35)NOTESEx libris Michael Jaffé (1923–1997).

A modern silver mounted photo frame in the Art Nouveau taste (Sheffield 1988) by Robert Carr stamped Asprey

Brett Oldham (Modern British School)Art Concrete, Red, Yellow, Green,signed, oil on board, 40cm x 30cm

A collection of modern art glass, to include a tall green decanter and Val St Lambert-style vases (6)