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Two boxes of mixed vintage & modern Postcards, over 1000 in total, World & UK cards including Topographical, Art, Flora & Fauna etc

[BINDINGS / ENGRAVINGS - A GOOD COLLECTION] HALL, SAMUEL CARTER (EDITOR)THE ROYAL GALLERY OF ART, ANCIENT AND MODERN: ENGRAVINGS FROM THE PRIVATE COLLECTIONS OF HER MAJESTY THE QUEEN AND HIS LATE ROYAL HIGHNESS THE PRINCE CONSORT London, Virtue & Co, [circa 1860]. Two volumes (complete), folio, numerous fine steel-engraved plates, a very good copy internally in the original publisher's red cloth, gilt boards, cloth faded/worn in parts, new end-papers. Plus: THE ART JOURNAL Published in London by J S Virtue & Co, 9 volumes for the years 1873-1875, 1885-1886, and 1889-1892, folio, numerous full-page engravings and other illustrations throughout, good copies attractively bound in half-leather (bindings not uniform). Plus: THE ARTIST. Four volumes for the years 1896-1899, small folio, plates, profusely illustrated, 19th century half calf, rubbed with some wear (15)

[HISTORY OF TEXTILES / MANUFACTURE] GILROY, CLINTON GTHE ART OF WEAVINGLondon, Henry Washbourne, 1847. Second edition, thick 8vo, engraved frontispiece and plates (some folding, plates with staining), original publisher's cloth, ex-lib with ink stamps to front end-papers. Plus: WARDEN, ALEX J - THE LINEN TRADE, ANCIENT AND MODERN. London, Longman, 1864. First edition, thick 8vo, a clean copy in the original publisher's purple cloth, faded, wear to spine extremities. Plus: FELKIN, WILLIAM - A HISTORY OF THE MACHINE-WROUGHT HOSIERY AND LACE MANUFACTURES. Cambridge, W Metcalfe, 1867. First edition, "Subscriber's Copy", thick 8vo, all plates present as per plates list, publisher's dark purple cloth, worn, boards soiled. Plus: JAMES, JOHN - HISTORY OF THE WORSTED MANUFACTURE IN ENGLAND. London, Longman, 1857. First edition, thick 8vo, engraved frontispiece, publisher's embossed cloth, worn (4)

A modern Murano art glass sculpture of a couple entwined by Estevan Rossetto 1950, with felt tip signature to body and certificate of authenticity, 48cm high.

Cigarette cards, Wills, a collection of 19 'L' size sets in two modern albums, Beautiful Homes, Modern Architecture, Arms of the British Empire 1st & 2nd Series, Cathedrals, Arms of Public Schools 1st Series, Old Pottery & Porcelain, Flowering Shrubs, Roses (different), Old Inns 'A' series & 2nd Series, Trees, British Sporting Personalities, Famous British Authors, Garden Flowers New Varieties 'A' Series & 2nd Series, The King's Art Treasures, Butterflies & Moths & Racehorses & Jockeys (all vg)

Postcards, a collection of approx 300 cards 1950's onwards inc. several modern pop-related issues, inc. Dead or Alive, The Style Council, The Waterboys, Elvis Costello, Echo & the Bunnymen etc also a good number of photographic Glamour cards 1950's onwards & also a selection of artist-drawn glamour inc. comic, art nouveau style and others, (some duplication) (mostly gd/vg)

Sakhai (Essie). Persian Rugs and Carpets, the fabric of life, 1st edition, 2008, Antique Collectors Club, numerous colour illustrations, original cloth in dust jacket, large 4to , together with, Williams (Haydn) , Enamels of the World 1700-2000, the Khalili collections, 2009, numerous colour illustrations, original cloth in dust jacket, large 4to , and, Spencer (Robin [editor]) , Whistler, a retrospective, 1989, New York, numerous colour and black &white illustrations, original cloth in dust jacket, large 4to , plus other modern design, art & architecture reference & related, all original cloth, many in dust jackets, G/VG, 8vo/folio (Qty: 6 shelves)

Apert (Herb) . Black Totems,1st edition, 2010, California, half title signed by the author, numerous colour illustrations, original black cloth, large 8vo, together with, ?erifo?lu (Ömer Faruk) , Presidential Art Collection, 3 volumes, 2014, numerous colour illustrations, uniform original illustrated grey cloth, large 4to, and other modern & classic art reference & related, some original cloth in dust jackets, some paperback editions, G/VG, 8vo/4to (Qty: 6 shelves)

Physik (John) . Designs for English Sculpture 1680-1860, 1st edition, 1969, H.M.S.O., numerous black & white edition, original cloth in dust jacket,4to, together with, Aynsley (Jeremy) . Grafik-Design in Deutschland 1890-1945, 2000, numerous colour and black &white illustrations, original cloth in dust jacket, covers lightly rubbed, 4to , and, Yu (Zhang) , Fingerprints, Traces of Zhang Yu's Self-Cultivation, 2009, China, numerous colour & monochrome illustrations, original cloth in dust jacket, oblong 4to , plus other modern and classic art reference & related, some original cloth in dust jackets, some paperback editions, G/VG, 8vo/folio (Qty: 6 shelves)

Amirsadeghi (Hosein [editor]) . Sanctuary, Britain's Artists and their Studios, 2012, over 600 colour illustrations, original cloth in slipcase, large 4to, together with, Bracewell (Michael) , The Postcard Art of Gilbert & George 1972-1989, The Urethra Postcard Art of Gilbert & George 2009, 2 volumes, 2011, numerous colour and black & white illustrations, uniform original cloth in dust jackets in slipcase, large square 4to, and, Himmel (Eric [editor]) , Unisto: The Pont Neuf, Wrapped, Paris 1975-85, 1990, New York, numerous colour and black & white illustrations, original cloth in slipcase, oblong 4to, plus other modern art reference, including Culture Chanel, by Jean-Louis Froment, 2014, User's Manual, contemporary art in Turkey 1975-2015, edited by Halil Atindere, 2015, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/folio (Qty: 4 shelves)

Heron (Patrick). The Changing Forms of Art, 2nd impression, 1956, some annotations in pencil, original red cloth in dust wrapper, rubbed and some marks, together with Read (Herbert), Art Now, an introduction to the theory of modern painting and sculpture, revised and enlarged edition, Faber & Faber, 1948, original cloth, rubbed, 8vo, plus Seuphor (Michel) , L'Art Abstrait, ses Origines, ses premiers maitres, nouvelle edition, Paris, Maeght, 1950, 2 colour woodcuts by Jean Arp, several colour plates, original printed wrappers with upper cover design by Arp, in frayed glassine dust wrapper, 4to, and others on 20th century art, including Documents of Modern Art series, Art Povera, edited by Germano Celant, Studio Vista, 1969, etc. (approximately 250 volumes) (Qty: 6 shelves)

Marshall (H. Rissik) . Coloured Worcester Porcelain of the First Period (1751-1783), 1954, Newport, 31 colour plates & numerous black & white illustrations, some very minor spotting, original blue cloth, 4to, together with, Houfe (Simon) , The Dictionary of British Book Illustrators and Caricaturists 1800-1914, 1st edition, 1978, Antique Collectors' Club, numerous colour and black & white illustrations, original cloth in price clipped dust jacket, spine lightly rubbed to head & foot, 4to, and, des Fontaines (Una) , Wedgwood Fairyland Lustre, the work of Daisy Makeig-Jones, 1975, numerous colour and black & white illustrations, original cloth in price clipped dust jacket, covers lightly rubbed, large 8vo, plus other modern antique, art & book reference, including publications by Oxford, Antique Collectors' Club, Batsford, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/4to (Qty: 6 shelves)

Modern costume jewellery earrings, including some of Art Deco design, imitation turquoise and faux pearl drop earrings, Art Deco beaded clip-on earrings, Bakelite earrings, etc. (1 bag)

Costume jewellery earrings and other jewellery, including Art Deco style clip-on earrings, modern style clip-on earrings, paste stone set earrings, etc. (1 bag)

Chun Kwang Young (Korean, b.1944) SCULPTURE, AGGREGATION SERIES Mixed media sculpture, triangle pieces wrapped in Korean mulberry hanji paper, accompanied by a hanji paper book, enclosed in a perspex box, from the Aggregation series box 47 x 47 x 57cm Born in Hongchun, Korea, in 1944, Chun Kwang Young is best known for his 'Aggregations' series which take the form of freestanding sculptures and wall-hanging pieces. Chun creates the assemblages by wrapping thousands of small, triangular pieces of polystyrene in mulberry paper which has been tinted with teas and pigment, before stringing the triangles together in large, complex arrangements. Chun's practice incorporates traditional references to Korean culture, but is firmly grounded in the context of contemporary art. Chun's work is in numerous collections across the globe, including The Rockefeller Foundation, New York; the National Museum of Modern and Contemporary Art, Seoul; and the Victoria and Albert Museum, London. Chun currently lives and works in Seongnam, Korea.

***Dorothy Hepworth (1898-1978) - Oil painting - Still life - "Pinks in Roger Fry's white pottery vase" - With bowl of fruit and glass of wine to foreground, canvas 22ins x 18ins, apparently unsigned, in modern gilt moulded frame Provenance: The artist's family and sold by Michael Dickens Fine Art, Broadstairs, Kent CT10 1ND, with copy invoice dated 20th June 2000, inscribed stretcher "Patricia Preece Cookham Berks. - Still life 25 Gns."

***Dorothy Hepworth (1898-1978) - Oil painting - The Thames at Cookham - River scene with two children paddling to foreground, plywood panel 16ins x 20ins, unsigned, in modern gilt moulded frame Provenance: The artist's family and sold by Michael Dickens Fine Art, Broadstairs, Kent CT10 1ND, with copy invoice dated 18th June 2001

Cigarette Cards, Gallahers, a variety of sets in a modern ringbinder, to name, Fables & Their Morals, The Reason Why, Animals & Birds of Commercial Value, Zoo Tropical Birds and L size cards Art Treasures of the World First Series and Scenes from the Empire (gd/vg)(6)

FRANK LEWIS EMANUEL. 'Scarborough.' Watercolour. Signed & inscribed with the title. 22 x 30cm. Provenance: Louise Kosman Modern Art.

A Large Modern Art Textured Oil on Board, Signed Reay, 122cm x 50cm

Two Wall Hanging Metal Modern Art Sculptures

A Modern Art Bronze Sculpture of Ballet Dancer on Circular Plinth, 26cm High

A Royal Doulton figure 'Polly Peachum' from the Beggars Opera HN549, 10.5cm high (def) and a modern art glass vase decorated with geckoes, 20cm high (2) Condition Report: Doulton figure - hairlines to dress back and front, chip to base of dress at front underneath, hairlines and crazing to base, hairline to arm. vase - good condition - no chips, cracks or restoration..

MODERN SEIKO MANTEL CLOCK OF ART DECO DESIGN, along with two other small timepieces (3)

FOUR EDWARDIAN AND LATER SILVER MOUNTED PHOTOGRAPH FRAMES comprising; a plain heart-shaped example, inscribed upper left 'Catherine 1904', London 1903 by William Comyns, 18cm high (7 in); a rectangular example with a reeded and beaded border, Birmingham 1903 by Deakin & Francis, 19.5cm high, 12cm wide (7 ¾ X 3 ¼ in); a modern shaped-rectangular example embossed in Art Nouveau style with flowers and leaves within panels, London 1982, 21cm high (8 ¼ in); and a small rectangular example embossed with leaf scrolls and stylised flower-heads, London 1987, 8.5cm high (31/4 in)

A fine Art Deco platinum, 18ct gold, sapphire and diamond pendant, the oval cut sapphire of fine cornflower blue colour, approx. 3.60ct, flanked by two teardrops each set with an old brilliant cut diamond, suspended from a fan shaped openwork pendant set with a mix of old brilliant, rose and single cut diamonds, total weight approx. 0.50cts, colour I-J, clarity SI, overall drop 5.2cm., on a modern 18ct white gold link chain.* Condition: The sapphire has a few miniscule frits to the top facets and facets to the underside, and also tiny frits to the centre point of the back of the stone - these are only visible through a 10x lens. There are a few small inclusions visible in the stone through a 10x lens - one dark needle inclusion to the left hand edge and a tiny bubble inclusion beneath it, three or four other tiny inclusions to the top and bottom of the stone and some wispy faint inclusions around the bottom of the stone. Diagonal striations in the colour are visible through a 10x lens when held up to the light. There is no certificate so no info. re treatment or origin of the stone. The remainder of the pendant is in very good condition, with no damage to the setting or millegrain borders. All diamonds appear original and are well set. The chain is modern.

ROSSETTI, DANTE GABRIEL & CHRISTINA ROSSETTI THE GERM London: Aylott & Jones, January 1850. 8vo, issue number 1 only, one folding plate, modern blue half crushed morocco gilt Note: Known as the Pre-Raphaelite journal, The Germ was established by the Pre-Raphaelite group as a vehicle to circulate their art and ideas.

THE STUDIO AN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ART BOUND MAGAZINES London: Offices of The Studio, 1894-1904., volumes 3-30, with plates, some lithographed, with uniform green cloth gilt, with stylised gilt tooled foliate pattern on spines, together with MODERN PEN DRAWINGS: EUROPEAN AND AMERICAN, edited by Charles Holme, Offices of 'The Studio', London, Paris, New York, MCMI, No. 238/300, in tooled vellum (29)

[§] CHARLES S. HIGGINS (PIC) (1893-1980) 'AU PETIT GALOP' watercolour and bodycolour on paper, signed, inscribed and dated verso PIC/ DEC. 1934. /"AU PETIT GALOP" and with galley; label THE MODERN ART GALLERY/ 12, BAKER STREET/ LONDON W.I. 12cm x 18cm Note: Charles Higgins or 'Pic' was a regular exhibitor at The Modern Gallery in Baker Street. The gallery had been set up by the artist, author and legendary Bohemian Jack Bilbo. Bilbo had been born in Berlin in 1907 but was forced to leave Germany having campaigned against the Nazis and eventually settled in London in 1936. After internment on the Isle of Man in 1939 he returned to London and founded the Modern Art Gallery in 1941 where he showed works by Picasso and Schwitters alongside lesser-known artist such as Higgins.

SIR BASIL SPENCE (1907-1976) FOR H. MORRIS & CO., GLASGOW RARE 'ALLEGRO' ARMCHAIR, DESIGNED 1947-1948 laminated wood, with drop-in seat, later covered, bears maker's label MORRIS MADE/ GUARANTEED TRADE MARK/ GLASGOW 54cm wide, 86cm high, 50cm deep Literature: Studio Yearbook of Decorative Art, 1949, p. VIII (advertised) 'Austerity to Affluence: British Art & Design 1945-1962', The Fine Art Society, London, 1997, p. 14 and p. 22, cat. no. F27 (an example of chair illustrated) Long, Philip and Thomas, Jane (Edit.) 'Basil Spence', Architect National Galleries of Scotland in Association with RCAHMS, Edinburgh 2008, p. 52 and p. 54, fig 55 illus. Note: Sir Basil Spence was one of the leading British architects of the 20th century, whose monumental or 'brutalist' style came to define modern architecture in Britain. Noted commissions include designs for several exhibitions including the Sea and Ships Pavilion for the Festival of Britain (1951), Sussex University (1962), Glasgow Airport (1966), and Coventry Cathedral (1954-1962), for which he received a knighthood. In 1947 Neil Morris of manufacturers Morris of Glasgow asked Spence to collaborate on a range of plywood furniture he was working on, which was to include his Bambi chair and celebrated Cloud table. The result was the Allegro dining suite, which was awarded a diploma by the Council of Industrial Design in January 1949. In March of the same year it was exhibited at the Glasgow Today and Tomorrow, where it was commended, and an example of the armchair was commissioned by the Museum of Modern Art, New York for their collection. In September 1949 it was displayed at the Morris stand, also designed by Spence, at the Scottish Industries Exhibition. In 1951 another single armchair was commissioned for the collection of the Victoria & Albert Museum in London (V&A CIRC.183-1951).

A unique collection of autographs and artwork by celebrities and notable figures including pop stars, artists, sports personalities, actors, authors, comedians, designers. The collection was put together by the late Karen Gammon and began life as her contribution to a Millennium Art Exhibition designed to raise money for a number of different charities (nominated by the celebrities). Karen sent a button to each celebrity and asked them to design a piece of art around it. Many of the designs are appropriate for the figure in question and represent the very thing they are famous for. The collection includes: J. K. Rowling (who has sketched three silhouettes flying around her button on broomsticks, one clearly being Harry Potter wearing a scarf); Mary Fedden RA (who has sketched a cat holding her button in a flower); Sir Paul McCartney (who has produced a humorous cartoon with the button as a nose); Dame Elizabeth Blackadder RA (who has used her buttons in a vibrant watercolour drawing of a lizard); Sir Stirling Moss (who has turned his button into a steering wheel); Grayson Perry RA (who has turned his buttons into figures being hanged); Mary Quant (who has incorporated her button into a sketch of a dress); Antony Gormley RA (who has drawn a tiny figure holding up his button); Lord Lichfield (self-portrait taking a photograph with the button as his camera); Nick Park (who has drawn a cartoon of Gromit with the button as his nose); Ronnie Barker (who has used his padlock button in a gag about his wife's handbag); Anthony Green RA (who has incorporated his button into a self-portrait); Phil Collins (who has turned his button into a drum kit); Sir Nicholas Serota (who has depicted his button on a Tate Modern plinth); Dick Francis (who has drawn a horse & jockey jumping over his button); Sir David Jason (who has doodled a wall with 'Del Boy woz 'ere'). The collection, which has been framed, comes with separate paperwork and consent forms relating to the acquisition of the autographs (often signed again), and even press/publicity photographs (many of which are again signed), together with numerous copies of a book that was produced to illustrate and explain the collection, 'Celebrity Button Art - An A to Z of Celebrity Mini Masterpieces', 2010 (with foreword by Bonnie Tyler). In her introduction, Karen states, 'Why art around a button you may ask? I needed a common starting point yet something that would inspire the creation of a mini masterpiece without directing or inhibiting the artist too much. I needed something that was seemingly insignificant by itself but would become an integral part of an imaginative spark of inspiration.' The collection is arranged alphabetically in 41 frames, each frame housing six cards bearing autograph/button, each card measuring 10.5cm by 7cm (the entire frame measuring 41cm by 31cm); the paperwork/consent forms are housed in six box files; the Celebrity Button Art books/catalogues are housed in three card boxesOther artwork/autographs include: Joss Ackland; Jenny Agutter; Peter Amory; Lord Archer; Colin Baker; Jeff Banks; Linda Barker; Sue Barker; Roy Barraclough; Keith Barron; Michael Barrymore; Dame Shirley Bassey; Marquess of Bath; Jeremy Beadle; David Begbie; Sir Tim Berners-Lee; Stephen Beveridge; Maeve Binchy; Roger Black; Honor Blackman; Raymond Blanc; Brenda Blethyn; Patti Boulaye; Peter Bowles; Norman Bowman; Michael Brandon; Sir Richard Branson; Richard Briers; Fern Britton; Pierce Brosnan; Amanda Burton; Jeb Bush; Darcey Bussell; Max Bygraves; Simon Callow; Dame Barbara Cartland; Emma Chambers; Linford Christie; Petula Clark; Granville 'Danny' Clark; Sacha Baron Cohen; Graham Cole; Jackie Collins; Joan Collins; Sir Henry Cooper; Jonathan Cope; David Copperfield; Sir Patrick Cormack; John Craven; Michael Crawford; Bernard Cribbins; Wendy Dagworthy; Jim Dale; Paul Daniels; Alan Davies; Graham Davis; Steve Davis; Dame Judi Dench; Charlie Dimmock; Anita Dobson; Ken Dodd; Deborah Drew; Noel Edmonds; David Essex; Trevor Eve; Mohamed Al Fayed; Sarah (Ferguson), Duchess of York; Anna Ford; Frederick Forsyth; Edward Fox; Paul Franks; Chris Ferdiani; Ben Freeman; Dawn French; Ant Fry; Stephen Fry; Lesley Garrett; William Gaunt; Uri Geller; Susan Georeg; John Glenn; Hannah Gordon; David Gower; Robson Green; Bob Grose; Lloyd Grossman; Gareth Hale; Christine Hamilton; Neil Hamilton; Susan Hampshire; Nick Hancock; John Hannah; Ainsley Harriott; Tony Hart; Nigel Havers; Sir Nigel Hawthorne; Sir Jack Hayward; Tim Healy; David Hedison; Lenny Henry; Jack Higgins; Harry Hill; Katy Hill; Ian Hislop; Peter Howson; Roy Hudd; Patrick Hughes; Gareth Hunt; Konnie Huq; John Inman; Glenda Jackson; Sir Derek Jacobi; Sue Johnston; Lesley Joseph; Handy Andy Kane; Sam Kane; Kevin Keegan; Penelope Keith; Matthew Kelly; Ian Kelsey; Felicity Kendal; Alex Kingston; Michael Kitchen; Jack Klugman; Nick Knowles; Twiggy Lawson; John Le Carre; Jay Leno; Gary Lineker; Desmond Llewelyn;Laurence Llewelyn Bowen; Andrew Logan; Joanna Lumley; Cherie Lunghi; Linda Lusardi; Simon MacCorkindale; Aggie Mackenzie; Mary Elizaebth Mastrantonio; Ally McCoist; Martine McCutcheon; Debbie McGee, Ewan McGregor; Anne McKevitt; Ian McShane; George Melly; Alessandro Mendini; Sarah Miles; Stuart Miles; Albert II, Sovereign Prince of Monaco; Sir Patrick Moore; Desmond Morris; Dame Peggy Mount; Bill Mundy; Nina Nannar; Paul Nicholas; Bill Nighy; John Noakes; Graham Norton; Daniel O'Donnell; Paul O'Grady; Jamie Oliver; Tamzin Outhwaite; Nick Owen; Norman Pace; Jane Packer; Cesar Pelli; Marti Pellow; Gervase Phinn; Jonathan Pryce; Suzi Quatro; Gary Rhodes; Anneka Rice; Sir Cliff Richard; Fay Ripley; William Roache; Anne Robinson; Tamara Rojo; Michel Roux; Phillip Schofield; Jenny Seagrove; Martin Shaw; Tessa Shaw; Jeremy Sheffield; Frank Skinner; Carol Smilie; Nicholas Smith; Jeremy Spake; Tommy Steele; Clive Swift; Chris Tarrant; Gwen Taylor; Simon Thomas; Emma Thompson; Linda Thorson; Alan Titchmarsh; Oliver Tobias; Richard Todd; Philip Treacy; Bonnie Tyler; Rory Underwood; Phil Vickery; Carol Vorderman; Rick Wakeman; Karen Walker; Tommy Walsh; Julie Walters; Zoe Wanamaker; John Wardley; Paul Warriner; Pete Waterman; Ruby Wax; Denise Welch; Anthony Whishaw RA; Richard Whiteley; Quentin Wilson; Gary WIlmot; Sir Norman Wisdom; Sir Terry Wogan; Victoria Wood; Kim Woodburn; Michael York; Susannah York; Paul Zenon; Patti Boulaye; Emma Chambers; Jackie Collins; Steve Davies; Trevor Eve; John Glenn; Paul Merton; Hilary Neiland; Dame Diana Rigg

A fine collection oflate 19th Century and  20th Century(1870-1960s)  metal buttons includinggilt, silver, brass, copper, diamante and enamel, one filigree, various designsand shapes including rare horse heads, bambi, leaf shapes aised decoration,various shaped including Art Deco brass cylindrical button, boat and hat etc,sizes include medium/small/petite, mounted on 1 card (fully listed on condition report)  (MET 8 – 88 buttons)CONDITION:MET  8 . Square  Card of  Gilt  Metal, Silver,  Silver  Metal,  Diamante, Enamel etc. 1.      TWO    Rare  Horses   Head  buttons ***2.      ONE   Bambi ***3.      SEVEN   Extraordinary  Leaf  Shaped  buttons ***4.      ONE   Tennis button.5.      ONE   Engine Turned  Enamel ***6.      ONE   Art Nouveau  Silver button ... French  Hallmark Sanglier  (Marked on back of Card) ***7.      ONE   Early  Steel8.      THREE   Albert Parent  Paris  buttons ***9.      TWO    Modern  Diamante1870 -1960  (88 Buttons).

A PAIR OF MODERN FRAMED AND GLAZED ART NOUVEAU PRINTS

Six boxed National Museum Lacquerware Collection prints reproduced from 19th and early 20th century paintings from the collection of The Singapore History Museum, to include 'The Esplanade, Singapore 1905-1910', 'Singapore from the Harbour 1837', 'Singapore River and Government Hill 1849-1853' and 'View of a Canal in China Town, Singapore 1837', six humorous prints from The Illustrated London News, dating from 1948 to 1951 and fourteen issues of 'Modern Masterpieces of British Art' featuring superb colour reproductions from the London and provincial galleries to include examples by Bertram Priestman RA, William L Wyllie RA, H S Tuke and also featuring artworks from various art galleries to include Leeds, Liverpool, London and Manchester and a retro metal magazine rack.

A quantity of costume jewellery and effects, to include dress rings, Art Deco style earrings, modern silver plated necklaces, earrings, brooches, etc. (1 box)

An Art Deco chrome table lamp, square base with raised on/off buttons, curved neck with overhanging square shade, 45 cm high; together with a modern steel and wooden table lamp of waisted form, 26.5 cm high (2)

VARIOUS AUTHORS SUNDRY WORKS, mainly modern non fiction titles, a mix of subjects, History, Art etc,, (contents of two boxes)

Bric-a-brac including Art Nouveau strut picture frame, modern print, brassware, Babycham glass, bottle and plastic deer.

A pair of modern art glass and chrome wall lights

Modeled in pink sitting on a pedestal, holding a small brown dog.First version original Royal Doulton Art Deco figure. The name Lido Lady may have been taken from a Noel Coward song satirizing the modern fashion for the lido lifestyle or beach resort. Royal Doulton backstamp. Artist: Leslie HarradineIssued: 1927-1936Dimensions: 6.75"HManufacturer: Royal DoultonProvenance: Alan SetainCountry of Origin: England Condition: Good

Signed and numbered, kinetic lines in magenta, green, blue, forming visual patterns. Framed.Original signed and numbered by hand and in pencil, kinetic lines in magenta, green, blue, forming visual patterns. Framed.A framed serigraph signed and numbered in pencil by Venezuelan artist Carlos Cruz-Diez, (1923-). Colored lines in magenta, green, blue, forming visual patterns. Framed and presented in a white matte. Paris- and Caracas-based artist Cruz Diez's work is represented in the Museum of Modern Art (MoMA), the Tate Modern, London, the Musee d'Art Moderne de la Ville de Paris, and many other museums and galleries. He is considered among the greatest living artistic innovators, and one of the pioneers of kinetic and Optical Art, or Op Art, employs optical illusions, giving the impression of movement, hidden images, and vibrating patterns. Artist: Carlos Cruz DiezIssued: 1994Dimensions: 27"W x 39"H print 30.5"W x 43"H framedCountry of Origin: Venezuela Artist: Carlos Cruz DiezIssued: 1994Dimensions: 27”W x 39”H print 30.5”W x 43”H framedEdition Size: 130 Edition Number: 8Country of Origin: Venezuela Condition: Age related wear.

A pair of modern rectangular silver photograph frames, Carr's, Sheffield 2010; and a modern silver Art Nouveau style example, also Sheffield 2010, all as new and boxed, the pair 22cm high (3)

Pantomime.- Dance.- Thurwood (John) Harlequin Doctor Faustus: with The masque of the deities. Compos'd by John Thurmond, dancing-master. With additions and alterations, first edition, half-title, title with woodcut ornament, woodcut head- and tail-pieces and decorative initials, modern dark brown half morocco, spine gilt, [Fletcher, Forty rare books relating to the Art of Dance, 25], 8vo, Printed for W. Chetwood, 1724.⁂ The rare detailed synopsis of the most famous of Thurwood's pantomime's for Drury Lane. It gives details of the stage effects ('Thunder and lightning....Mephostophilus flies down upon a Dragon vomiting fire') and the series of dances performed.

Catlin (George, 1796-1872) Wah-ro-née-sah, The Surrounder, Chief of the Tribe, watercolour over graphite, heightened with white, inscribed 'Chief of the Ottoes' in the lower section and numbered '117' in the upper right corner, on cream wove paper without a watermark, sheet 245 x 162 mm. (9 5/8 x 6 3/8 in), unframed, [circa 1832]Provenance:Acquired directly from the artist, circa 1840s or slightly later;Captain William Henry Shippard;Then by descent to the present ownersLiterature:cf. Catlin, George, 'A Descriptive Catalogue of Catlin's Indian Gallery', 1840, no. 117⁂ An early and previously unrecorded study of the 'Chief of the Ottoes'. Catlin produced a fully worked oil painting of the sitter in 1832, probably from when he was at Fort Leavenworth (modern day Kansas), which is now held in the Smithsonian American Art Museum (see object no. 1985.66.117). "[I] painted thus many of my pictures in water colours during my 8 years travels, and most, though not all of them I enlarged onto canvass, wishing my collection to be all in oil painting" [1]Another watercolour of Wah-ro-née-sah is held in the Gilcrease Museum collection (no. 0226.1542 (117)), but dates from the early 1840s and is much smaller than the present "cabinet picture"; this variant was most likely executed after the work currently offered, and intended to be used as an illustration for the second edition of James Cowles Prichard's 'Natural History of Man'. Other examples of Catlin's watercolours held in the Gilcrease collection are however more suitable comparisons to the present work, particularly the earlier portraits associated with Catlin's visit to the tribes living around Cantonment Leavenworth in Kansas in 1830 (for example see museum nos. 0226.1570 (279) and 0226.1559 (243)). These portraits all share the same careful modelling of the heads with wash laid over graphite underdrawing, alongside a much looser sketchy execution of the torsos. Joan Carpenter Troccoli has suggested that Catlin may have travelled with a sketchbook in which he made preliminary watercolour studies of his subjects, which he later mounted and finished'. [2] Catlin described Wah-ro-née-sah as "quite an old man; his shirt made of the skin of a grizzly bear, with the claws on"; he lived in spacious timber lodges perched on a ridge overlooking the Platte River, and his bear claw necklace suggests he was a member of the Bear Clan, which shared leadership of the Otoes with the Buffalo Clan. [3][1] Truettner, William H., The Natural Man Observed, 1979, p. 131[2] Troccoli, Joan Carpenter, First Artist of the West, George Catlin Paintings and Watercolours from the collection of the Gilcrease Museum, 1993, p. 20[3] Gurney and Heyman (Ed.), George Catlin and His Indian Gallery, Smithsonian American Art Museum, exhb. cat., 2002, p. 126

A collection of approximately 75 early 20th century Japanese postcards of Japanese "modern art" interest including cards by Y Torii of Shoten, Shodeido of Tokyo, Tokunda & Co of Toyko, Kanda of Tokyo, Naniwaya & Co of Tokyo etc., also approximately 64 Japanese "antique art" interest including Shimbi Shoin of Tokyo and Ono-Banzaikan of Tokyo, cards include works after Shuncho Miyagawa, Utamaro Kitagawa, Yeizan, Shunzan, etc., (139)

A Modern Diamond Set Pendant, of Art Deco geometric style, stamped "K18 750 DO.30"; An Art Deco Style Diamond Set Pendant, of graduated design, on large suspension ring. (2)

A Modern 9ct White Gold Amethyst and Diamond Set Pendant, oval four claw set, below circular drop, on a 9ct white gold chain; An Art Deco Style Pearl Set Pendant, on associated chain. (2)

A collection of thirty Art Nouveau and other decorative bindings, to include six volumes of 'Science In Modern Life' designed by Talwin Morris and some published by Blackie and Sons

Basil Blackshaw HRHA RUA (1932-2016)Reclining Female NudeOil on paper, 28 x 38cm (11 x 15'')Signed and dated (19)'85 by the artist versoProvenance: From the collection of the late Gillian Bowler.Mike Catto has written; ‘The nudes of Basil Blackshaw have a certain air of detachment about them.’ (Art in Ulster 2, 1977, p43). I disagree with this interpretation because although I can see where such a reading comes from there is too remarkable a degree of connection evident between artist and model in these nude representations. The sense of distance or detachment is at odds with the impact of the works. They have been consciously embodied by Blackshaw in this manner. He is a strong portraitist and is adept at capturing likenesses but his nudes are not executed in this vein. In these it is the figure’s moment and opportunity to shine through in terms of expression. These nudes are faceless, nameless, yet paradoxically full of character. They are collectively reliant on their expressive poses and the artist’s treatment of paint and compositional structure. Blackshaw is definite in his approach; “…I want to avoid association with the subject. I want it to be a purely visual experience for the viewer…I want it to please the eyes rather than bring up associations in the mind. When I paint a nude I don’t want them to see a girl thinking or sitting, I want it be just a figure. I like the way Baselitz turned his figures upside down, when you see a man eating an orange, turn it round and it becomes something else. I wish I’d thought of it.” (‘Afterwords’, Ferran, 1999, p128). Brian Ferran has noted; ‘Although his model is before him, his more important associations are the previous twenty paintings which he has made of the same model…These are densely complex paintings which possess personality and a dynamism of their own.’ (Ferran, 1999, p122). The artist has commented; ‘I want to be divorced a bit from the actual subject; not to make a replica but to make an equivalent.’ (McAvera, IAR, 2002). The most insightful and detailed assessment of the artist’s approach, is however, captured by the person closest to the subject, his life model Jude Stephens; ‘His approach was to create a representative image, almost totally destroy it, and then recreate it. Within hours or even minutes of my departure, I knew that he would return to the studio and obliterate the image, for only when I left could he produce the painting for which he strove. In a sense the essence he sought only existed in his memory. He often apologised about this pattern of thesis, antithesis and synthesis, reassuring me that he needed me to sit for him even though the resulting work would inevitably meet with rough treatment, because without an image to destroy there could be no image to recreate.’ (Jude Stephens in Ferran, 1999, p85). ‘Reclining Nude’ has an elemental, almost archaeological feel to it. The figure occupies the composition but in a pose that suggests movement and a sense of becoming. Her form emerges from the left of the page and stretches back towards the right. The cut-off composition emphasises the sense of a found or emerging form. Her feet are beyond the confines of the page as is her left hand. Her facial features see little delineation, her hair is akin to a dark shadow extended behind her head and indeed her entire form is captured only to the point of sufficient suggestion of presence and not beyond. Nevertheless the figure does however have a strong manifestation even in this elemental existence. The painting is powerful and dynamic within its severely limited palette range. It is at once linked to the classical tradition and yet thoroughly modern. ‘Blue Nude’ 1985 was painted the same year and it also possesses a power of mastery of the figure. The blue of the title is the dominant colour with the background a deep midnight blue which casts its hue upon the model. Marianne O’Kane Boal

George Russell AE (1867-1935)In Some Ancestral ParadiseOil on canvas, 54 x 82cm (21¼ x 32¼'')Monogrammed; inscribed versoGeorge W. Russell was born in County Armagh in 1867 and moved to Dublin with his family at the age of 11. Russell became a student at the Metropolitan School of Art in the 1880s and went on to receive further training at the RHA. It was as an art student that Russell first encountered William Butler Yeats, who later recalled how Russell was perpetually bored in life drawing class, far preferring to devote time to painting imaginary compositions gleaned from imaginary worlds. Both Yeats and Russell shared many esoteric interests and maintained a lifelong and occasionally tempestuous friendship. It was also in these years as an art student that Russell began experiencing vivid apparitions. These mystic visions are comparable to those of William Blake and were similarly a vital impetus to Russell’s work as a painter and poet. A compulsion to understand these visionary occurrences aroused Russell’s interest in the occult and eventually led him to the Dublin Lodge of the Theosophical Society. Theosophy is an esoteric philosophy that prompts its followers to seek direct knowledge from the mysteries of life and nature. Russell rapidly became a central figure in the movement and many of his earliest writings were published in journals such as the Irish Theosophist. It was in these journals that Russell first used the pseudonym AEON later shorted to AE. An extremely prolific painter, AE’s work may be found in public collections throughout Ireland, with particularly notable examples in Trinity College Dublin and Armagh County Museum. While his visionary paintings are comparable to those of Symbolist Gustave Moreau, his landscapes -such as In Some Ancestral Paradise- show the influence of Impressionism, particularly in the use of short and thick strokes of paint to suggest dappled sunlight. AE was an avid supporter of Hugh Lane’s efforts to establish a gallery of Modern Art in the city of Dublin and would have had opportunities to view Impressionist paintings such as those by Claude Monet via this affiliation with Lane. AE’s oeuvre is comprised primarily of landscapes, portraits and of course fantastical or visionary subjects. However, this painting attests, landscapes and visionary scenes often coalesce; and one is never quite certain if the subject depicted is of this physical world or some supernatural realm. AE was fascinated by folklore and believed that the sídhe populated many of the more untouched parts of rural Ireland which he visited frequently in his role as a spokesman for The Irish Agricultural Organisation Society.Pádraic E. Moore, February 2019

May Guinness (1863-1955)Portrait of a WomanOil on canvas, 84 x 61cm (33 x 24'')Exhibited: Dublin, IMMA, 'Analysing Cubism', February/May 2013; Cork, Crawford Gallery, Cork, June/September 2013; and Banbridge, F.E. McWilliam Gallery, September/November 2013.Literature: 'Analysing Cubism 2013', full page illustration, p.31.This undated work is likely to have been painted after 1922 when Guinness had thoroughly familiarised herself with modern French painting. She studied with the cubist Andre Lhote from 1922 to 1925 but had already spent many years in France. Born in 1863, Guinness first visited Paris before 1910 where she studied art with the Dutch artist Kees Van Dongen, an expressionist painter. She continued to visit the city regularly and to develop her understanding of modernism right into her sixties and beyond. This portrait depicts a young woman wearing a bright strikingly modern costume of coloured stripes with a pink band of material across her head. Her hands are held dutifully in her lap while her detached expression suggests the ennui associated with posing for long periods. Although called a portrait the work can be considered in terms of its abstract design and use of form. Guinness was strongly influenced by French expressionism or Fauvism and especially by the work of Henri Matisse and Van Dongen. This is evident in this painting. The thinly applied paint with its flat texture suggests the technique of fresco painting. It is a style that Matisse used in a number of his paintings most notably in his Portrait of André Derain (1905, Tate) which was shown in the inaugural Fauve exhibition at the Salon d’Automne in 1905. Guinness painted murals at her family home, Tibradden House in the 1920s (now destroyed) in which she may have deployed a similar effect. The strong pinks and oranges of the shadows cast on the face in Portrait of A Woman are typical of Fauvist art which exaggerates the effects of light and shade to create highly decorative and expressive paintings. Guinness was well aware of this idea. Her one-woman exhibition in London in 1922 was called ‘Decorative Paintings and Drawings’. In this painting she builds up the composition in blocks of strong colour to create a consciously modern work of art that exudes the artist’s energy and freshness of vision.Dr Roisin Kennedy

δ Edith Mary Lawrence (1890-1973)FranceThe scarce linocut printed in colours, 1931, a good impression, signed and inscribed from the edition of 50 in pencil, on buff oriental laid tissue paper, with full margins, sheet 239 x 333mm (9 3/8 x 13 1/8in) (framed)Provenance:Ex-lot, 'Modern & Contemporary Art', Tennants, 28 October 2017. Acquired from the artist's auction estate by the present owner. δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

REBECCA JOSELYN (BRITISH, CONTEMPORARY)'BAG' VASE, SHEFFIELD 2017 silver and gilt15cm high, 12cm across (5.9in high, 4.7in across)Note:Rebecca Joselyn is based at Yorkshire Art Space in the heart of Sheffield City Centre. She has worked on a number of awards and commissions. This includes a large oil container which was on show in the Museum of Modern Art in Kuwait, and the packaging for the world's most expensive coffee. She has featured in articles in the Sunday Times 'Home' and Financial Times 'How to Spend It', and her work is now in a number of important collections including the Pearson Silver Collection and the collection of the Duke of Devonshire.

A modern Art Nouveau style metal and composition lamp and a pair of oak stools

Two interesting carved hardstone sculptures of modernist form, one depicting a figure with raised arms, the other a child's face, 35 cm and 32 cm high respectively, three interesting pieces of modern art sculpture to include a stained glass panel, a stone study of a head and a further red veined marble sculpture of a bust, together with a small breakfront display cabinet

Three Carlo Moretti modern design Murano Italian art glass vases.

A collection of modern design art glass.

Sholto Johnstone Douglas (1871-1958) Portrait of Mary Catherine, Lady Stapleton (1849-1924) Signed, oil on canvas, 134cm by 100cm Mary Catherine (neé Gladstone) was the daughter of Adam Steuart Gladstone of Hazelwood, Hertfordshire. She married first Sir Francis Stapleton, 8th Baronet (1831-1899) but was widowed in 1899. In 1902 she married William Dalziel Mackenzie (1840-1928) Member of Parliament for Reading and later Truro and Woodstock. She lived with Mackenzie at his family seat, Fawley Court in Buckinghamshire, which was reputedly the inspiration for Toad Hall in Kenneth Graeme's Wind in the Willows. Sholto Johnstone Douglas was born in Edinburgh and studied in Paris, Antwerp and the Slade School of Fine Art. He was the third cousin of the 9th Marquess of Queensbury who as well as inventing the rules of modern boxing was also a key figure in the downfall of Oscar Wilde. During Wilde's trial for ''gross indecency'' he was released on bail and Sholto Johnstone Douglas stood surety for the bail money. See illustration

§ Edward Wadsworth (British, 1889-1949) Composition on a Blue Ground II, 1933 tempera on board, under perspex and mounted onto a wooden board 40.50 x 36cm (16 x 14in) Provenance: The collection of Sir Michael Ernest Sadler, KCSI, CB (1861-1943) At some time acquired by Hertfordshire County Council Exhibited: The Brussels International Exposition, British Exhibit of Modern Art, 1935 Literature: Jonathan Black, 'Edward Wadsworth; Form, Feeling and Calculation, The Complete Paintings and Drawings', Philip Wilson Publishers, London, 2005, p.188, cat.no.312 Other Notes: We are grateful to Jonathan Black for his kind assistance with this catalogue entry. Tempera on board with two thin additions of wood at the right and bottom edges. On each side of the work is a screw hole from a previous framing method. There are several dents and losses at the edges of the work with losses to the paint layer. The pink areas of paint have been created by building up the paint layers in a type of 'spattered' technique. These areas are friable which is particularly noticeable where the purple paint has been applied over the top, leading to small scale losses and flaking. The painting is unvarnished. Overall it is in a good condition.

§ Walter Horst Nessler (German/British, 1912-2001) Jersey signed 'Nessler' (lower left) oil on canvas 39.50 x 50cm (15 x 20in) Other Notes: 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.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.