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2 modern art sculptures

Menus (1900's-1930's), a few modern including Grand Hotel London, Frascati, Langham's, Strand Palace Art Deco, Russel Hotel, North British Edinburgh (4) and Masonic (25)

Tachisme.- Middleton (Derek Osborne, English 'Tachiste' Abstract Impressionist painter, 1917-83) Collection of material, including: his unpublished autobiography "How To Be An Artist", family photographs, autograph inventory of paintings and "Weekly Accounts"; original family photographs; a detailed inventory by him of his paintings between 1956 and 1982; his autograph 'Weekly Accounts', 1945 to 1951; original silkscreen prints (one signed) and reproductions of his work; over a hundred photographs of his work, in two folders, with detailed annotation for a sale following his death; a collection of his unpublished poetry; various CVs, produced both during his lifetime and after his death, with a detailed 'List of Buyers'; publications including gallery programmes and invitations; and a miscellaneous collection of related correspondence and other material, manuscripts etc., some browning, folds, some wear, v.s., v.d., 1940s - 80s (lge qty).⁂ Derek Middleton was an important figure in the abstract impressionist movement of the 1960s. Born in Shanghai in 1917, Middleton studied art in Munich, Florence and Dusseldorf, his work being hung at the Royal Academy in 1953 and 1954. In 1957, he had his first one-man show, at the New Vision; in each of the following three years, he was given one-man shows at the Redfern. Middleton went to live in Paris in 1958, and with the change of country he changed his vision and expanded his artistic range. Whereas his earlier works had retained some elements of representation, his later ones were almost purely abstract. And, increasingly, he became fascinated by the texture of wood, producing sculptures and reliefs notable for their bold design and fine craftsmanship. Examples of Middleton's work are in the British Museum, the Liverpool and Manchester municipal art galleries, the Museum of Modern art Cleveland, Ohio; City Hall, Quebec; and in many private collections in Europe and the United States. Provenance: The present collection of material derives from the papers of Middleton's nephew Colin Burton Stewart.

A Modern Silver Tone Framed Mirror In The Art Deco Style Approx 31 inches square with bevelled stepped glass sides

Early 20th Century Album Of Postcards A varied lot, mixed dates and subject matter to include seaside, comedy, illustration, greetings and topographical. Along with another smaller album of mainly modern postcards and a small box of mixed loose cards and Fine Art theme postcard packs.

Mid Century Modern Brutalist Colored Art Glass and Iron Wall Sconce. Measures 22" H x 11-3/4" W x 6" D. Condition: Rubbing, a few nicks and chips to the art glass otherwise good condition Estimate: $200.00 - $400.00 Domestic Shipping: Third party

NORTH NGUNI NECKRESTSOUTH AFRICA carved wood and pokerwork, with dual neck supports seperated by a central lidded snuff container, resting on three "wheels" decorated with notched triangular motifs, a long base below44cm longProvenance:Jonathan Lowen Bernice & Terry Pethica CollectionPublished:Klopper, Nettleton and Pethica, The Art of Southern Africa, The Terence Pethica Collection 2007, n° 21 Note:"This wonderfully witty headrest combines elements used in making single headrests supported by a lone circle with features from more traditional long Nguni-style headrests, and adds other modern elements to mix. For this support, the carver juxtaposed three circles, each centred on a knob from which radiate four arms of a vertically oriented cross shape, like four wheel spokes. The three wheels rest on a long base, and the other two outer wheels each support a platform (Tsonga style) with a V-shaped hook (Zulu/Nguni style) extending from the end. The central circle supports a hemispherical lidded pot that connects the two platforms. The notched triangular relief decoration on the circles is similar to that on other headrests of the circle type, but here the black and tan contrasts created by pokerwork are in an almost pristine condition. If anything was likely to be kept in the pot, it would have been snuff." (Klopper, Nettleton and Pethica 2007).

A modern Art Nouveau style figural lamp modelled as a forlorn-looking young lady, below two frosted glass floral lamps, height 69cm.

Stephen McKenna PRHA (1939-2017)The LegacyOil on canvas, 150 x 213cm (59 x 83¾'')Signed with initials and dated 1982Provenance: Raab Galerie Collection, Berlin. Exhibited at the Museum of Modern Art Oxford, 1983 and at the Stedelijk Van Abbemuseum Eindhoven, 1984. One of the most significant representational painters to emerge in Europe in the latter part of the 20th century, Stephen McKenna was the son of a Scottish mother and a British Army officer from Co Tyrone. As a young child he witnessed devastated areas of post-war Europe - including London and Vienna - according to his father’s postings. He studied art at the Slade, but was increasingly ill at ease with the abstract idiom then in the ascendant. As the 1960s progressed, his work moved more towards representation. An offer of a studio led him to Berlin in the early 1970s. Not only was his artistic approach more acceptable there, he felt in touch with the entire tradition of European painting, visiting many museums to study the paintings at first hand.In the late 1970s, the international art world, including the art market, rediscovered figurative art, and McKenna found his work suddenly in great demand. He was also at a crossroads. He had become increasingly interested in the Germania-Italia divide in European culture, and he lived for a time in Brussels before moving to Italy. During this in-between period he made a number of works that seem to weigh up the arguments for the different, north-south approaches to life and culture, going through a veritable archive of the classical tradition.The Legacy is an inherited, living tradition. Around this time, McKenna made several works relating to Homer’s Odyssey, and the legacy includes an Homeric bust, a painted Etruscan vase, and the classical tradition in painting and sculpture. Natural abundance, including the glass of wine, suggests the southern reputation for luxuriant indulgence. Iconographically, apes symbolise vices, unfettered appetites, but also the arts of painting and sculpture, as in the phrase, “Ars simia Naturae” - “art is the ape of nature”, a motif that gained currency especially in Flemish painting.The artist’s years in Italy, as he consolidated his work, were among his most productive and happiest, but Ireland was always important to him as well. His father retired to Co Donegal and McKenna often stayed there and painted. Eventually, he settled in Bagenalstown, on the Barrow, and that local landscape became integral to his work. He curated a major exhibition ‘The Pursuit of Painting’ at IMMA in 1997. He himself showed regularly with the Kerlin Gallery and was the subject of many survey and retrospective exhibitions including, most recently, A Painter’s Life at VISUAL Carlow.Aidan Dunne, 2019

MARK FRANCIS (b.1962)Critical Mass IIIOil on canvas, 167.6 x 111.8cmSigned, inscribed and dated 2007 versoNow London-based, Mark Francis from Newtownards, Co Down, has exhibited internationally, and his work has been acquired by, among others, New York’s Metropolitan Museum of Art, Machida Museum, Tokyo, London’s Tate Britain, Museum of Modern Art, Miami, IMMA and the Hugh Lane, Crawford Municipal Art Gallery, Cork. At thirty-three, he was named an emerging artist in The Adventure of Painting at Kunstverein Düsseldorf/Stuttgart. That painting is an adventure, in Francis’s case, is entirely fitting.As a boy, Mark Francis loved rock pools, birds’ eggs, dry rot fungus and his early work was inspired by the natural world. ‘I painted landscape and became disillusioned with that and had to find a different way to get inspired again.’ Nature and science combined informed Francis’s mature work and where life begins, in spores, chromosomes, sperm, ova, he found his subject matter. Bacteria also played its part. What he saw close-up though a microscope inspired him; recent work explores and draws its inspiration from how radio telescopes chart far-off, cosmic zones. But for Francis ‘the grid has always been there’; he was always ‘very interested in networks, mapping’ and from micro to macro - the universe has become for him ‘a pivotal point for exploration’. From rock pool to universe, to cosmos. ‘I always wonder what the edge of the universe is like’ and now, by means of ‘radio telescopes that are pointing to the skies continuously listening for sounds’, the data gathered is his starting point. ‘It could be that the sound of a distant star that exploded millions of years ago’ is now reaching us. ‘We are only now hearing them.’In painting sound waves, DNA structures, Francis paints what the eye can not see. What the viewer does see is the artist’s imagined response to these complexities and structures and ‘[t]he grid is probably, for me, the most, sort of, universal image, which shows how everything in the universe could be connected. So within this imaginary grid you can get notions of order from chaos’ in what Francis calls the extended field.‘Patterns play a very important part in most of my paintings’ and this can be seen in the vibrant, rhythmic Critical Mass III, with its ‘field of vertical lines with forms placed on top’. The horizontal and the vertical draw on the grid but the image is sensuous and complex, uniform and random. It’s beautifully ordered. Black circular and elliptical shapes of different sizes dance against a luminous red background with its thin vertical lines, blurred, faint horizontals. The ordered, lower section connects with the upper one - the thin lines continue downwards, change colour conveying a more open network.We are seeing, in Francis’s words, ‘things you can’t see but can be relayed through critical apparatus’ and his belief that ‘Everything that happens within the universe, whatever happens here to towards the end of the star system is all sort of connected, interconnected’. Though an abstract artist, abstraction, here, is closely connected with ‘the conduits that connect everything in the universe’ and in Critical Mass III, Mark Francis has made an absorbing, engaging and radiant work. Niall MacMonagle, 2019

ALICE MAHER (b.1956)SwimmersOil on canvas, 244 x 133cmSigned and dated 1996 versoHillsboro Fine Art Label versoBorn in County Tipperary in 1956, Alice Maher grew up in the rural townland of Kilmoyler. After initial studies at Cork’s Crawford School of Art, Maher went on to earn a Master’s degree from Ulster University. Having received a prestigious Fulbright scholarship in 1986 Maher engaged in a formative period of study at San Francisco’s Art Institute. In the following decades Maher became one of the leading figures in contemporary Irish art. Her oeuvre is extremely diverse (and includes drawing, painting, sculpture, film, photography, print and digital media) but cohesively unified by a set of very particular conceptual concerns.Swimmers (1996) exemplifies Maher’s penchant for interpreting mythological or fabular subjects in a uniquely subversive way. This work was shaped by her fascination with the Roman Goddess Venus, who is said to have been born from the foam created when the castrated testicles of Uranus were flung into the sea. Rather than emulate the tired tropes of Western Art in which Venus is depicted as a passive, prettified subject (à la Botticelli’s Birth of Venus c. 1480) Maher multiplies the goddess into a multitude who avoid the male gaze by concealing themselves below the water line. Only the head and eyes of the troop of swimmers are visible and some have even turned their backs on us. While there is certainly humour in Maher’s work she eschews whimsy or frivolity and seeks to restore the archetypal potency of the goddess figure.Swimmers demonstrates how within Maher’s oeuvre, particular motifs and symbols can connect works executed in very different media. This painting is significant in that it is linked directly to two sculptural installations that Maher also produced the same year she made this painting. The first of these was an impressive aquatic sculptural installation initially produced for an expanse of water in a Paris public park but later exhibited elsewhere. Entitled Les Filles d'Ouranos the work comprised of fifteen heads (similar to those in this painting) made from a buoyant foam that float upon the surface of the lake. The other work connected to this painting (also entitled Swimmers) consisted of four bronze heads that evoke art historical representations of Ophelia. This intriguing painting demonstrates Maher’s career long interest in mermaids, nymphs and various archetypal women of the water. In addition to her singular visual vocabulary Maher is also renowned for her distinctive approach to materials. This is notable in her recurring use of found biological elements (including bees, snails, brambles and human hair) which are incorporated into art objects that are at once elegant and uncanny.Several significant exhibitions of Maher’s work have taken place in recent years including a major retrospective at the Irish Museum of Modern Art in 2012 entitled Becoming. Maher’s work has been exhibited in numerous international contexts and her work is held in several significant public collections including the Irish Museum of Modern Art; The British Museum, Crawford Gallery, Deutsche Bank, the Fogg Museum, the Hammond Museum L.A, and the Museum of Fine Arts Boston. Boston, and the Arts Councils of Ireland and Northern Ireland. Maher is a member of Aosdána and the RHA.Pádraic E. Moore, March 2019

A quantity of mainly art related books together with a quantity of five Penguin Modern Painters Books

Modern leaded and coloured glass overdoor in Art Deco style, the centre panel decorated with a transfer print of an early golfing scene, housed in a stained softwood frame, 27ins x 39ins

Modern leaded and coloured glass overdoor in Art Deco style, the centre panel decorated with a transfer of a portrait of a race horse with owner and groom, in a stained softwood frame, 27ins x 39ins

Small collection of books on cookery including ' Modern Cookery ' by Eliza Action, ' The Art of Cookery Made Plain and Easy ' by A. Lady (Hannah Glass) 1767 (at fault), ' Mrs Beeton's Household Management ', a dictionary of cookery etc.

3¼in sq Magic Lantern Slides, art lecturer's set, captioned, mainly focusing on Modern British and Contemporary art, in four wooden boxes, late 1950s, G

Three modern large art glass vases, two glass oil lamps, a set of red glass goblets etc.

William James Glackens (Pennsylvania, New York, Connecticut / France,1870 - 1938) Still life painting of three vessels with the central glass vase having a bouquet of wildflowers, ferns. Signed lower right. Oil on canvas. Provenance: Private Florida Collection. Glackens studied at the Pennsylvania Academy of the Fine Arts and later moved to New York City, where he co-founded what came to be called the Ashcan School art movement. This group of artists, dubbed by the press "the Eight Independent Painters" or The Eight, chose to exhibit their works without pre-approval by the juries of the existing art establishment. He became known for his dark-hued paintings of street scenes and daily life in the city's neighborhoods. His later work was brighter in tone, and showed the influence of Renoir. Museum collections: Art Institute of Chicago, Museum of Modern Art, New York, Carnegie Institute, International, Corcoran Gallery and/or Art School, Washington DC, Whitney Museum of American Art. Sight Size: 19 x 23.5 in. Overall Size: 30.25 x 34.25 in.

Russell Cowles (1887 - 1979) Watercolor/Goauche. Signed upper left. While living in Sante Fe, New Mexico during the early 1930s, Cowles associated with artists such as John Marin, Marsden Hartley and Andrew Dasberg, each early American Abstract Expressionists drawn to the area and Taos. This period marks a time when American abstract expressionist artists were gaining world-wide notoriety and laying the groundwork for the modern art movement of the mid twentieth century. Sight Size: 7 x 10 in. Overall Size: 12 x 15 in. This item is framed behind glass.

In-Ting Ran (Taiwan, Province of China, China, 1903 - 1979) "Red Sails in the Sunset, Formosa 1958" Watercolor/ink on paper painting of figures on a coast bringing in a sailboat. Signed and dated lower left. Ran In-Ting was selected to membership in a number of prestigious art associations, including the Royal Watercolor Society in England, a French Watercolor Society and the European Art Critical Commentary Society declared him to be one of the ten greatest watercolor painters in the world. In 1962 Ran In-Ting was included in a list of the greatest artists of modern times in the International Geneva Yearbook. Ran passed away in 1979.Sight size: 12.25 x 19 in. Overall Size: 22 x 28.5 in. Framed behind glass.

A very rare early Art Deco Leslie Harradine figure. Painted in a striking dark blue colorway, it embodies the traditionally depicted naughtiness of the French Mademoiselle with an early modern twist, wearing a dress with a matching tri-corn hat and shoes. Behind her on a tree stump sits a tiny winged cherub.Issued: 1924 - 1938Dimensions: 7"HManufacturer: Royal DoultonCountry of Origin: England Condition: Good

A large quantity of modern art materials to include acrylic paints, pencils, brushes and palettes, some unopened.

W J Miles, Modern Practical Farriery, a complete system of the veterinary art, one volume, William Mackenzie, London, 31cm high

A collection of eighteen reference books on antiques and the decorative arts, to include silver, pottery, lighting, etc., including 'Moorcroft' by Paul Atterbury, 'Art Nouveau & Art Deco Silver' by Annelies Krekel-Aalberse, 'Mid-Century Modern' by Judith Miller. (18)

GUIDE FOR THE 1902 INTERNATIONAL EXHIBITION OF MODERN DECORATIVE ART, TURIN, thirty-two pace official guide with pull-out map, including 'Scozia' Note: The First International Exhibition of Modern Decorative Art was held in Turin from May to November 1902. The ‘Scottish Section’ was designed by Charles Rennie Mackintosh. In addition, one of the three rooms was dedicated to his and Margaret Macdonald’s work; in one half of the space they created the room setting for the famous ‘The Rose Boudoir’. The Guide fully covers the Exhibition and has a section titled ‘Scozia’ which mentions Rennie Mackintosh and his wife Margaret Macdonald, the head of Glasgow School of Art’s Francis H. (‘Fra’) Newbery, and the Glasgow School artists Herbert McNair, Frances Macdonald and Ann MacBeth, as well as others

The Work of War Artists in South Africa, A.C.R. Carter, 1900, pub. The Art Journal and "Modern Masterpieces" Vol II by Frank Rutter

§ Joan Gillchrest (British, 1918-2008). ‘Watching the Sailing Boats at Lands End’. Oil on board. Signed with monogram lower left. Signed label verso with title. Also gallery label from ‘Beside the Wave’ of Falmouth verso. 23cm x 17.5cm. Framed.Joan Gillchrest was one of the best known naive painters of Cornwall of the twentieth century. Hailing from an illustrious family (neé Joan Gilbert Scott, her great-grandfather George was the architect of St Panras Station while her uncle, Sir Giles, designed Battersea and Bankside power stations - the latter now Tate Modern - as well as the iconic red telephone box) she studied art in London before moving to Cornwall in the late 1950s. She lived in Mousehole ARTISTS RESALE RIGHT MAYBE ADDITIONALLY PAYABLE ON THIS LOT UP TO A MAXIMUM OF 4% OF THE HAMMER PRICE. VISIT THE DACS WEBSITE FOR MORE INFORMATION.. § Some very light surface ware and scratches, overall condition good no major faults found

A box of art and modern postcards

A modern crystal glass floral table lamp, moulded trunk, cast base; another Art Nouveau stained glass

Books and magazines - Sculptures of the 20th Century, Museum of Modern Art, Montague Howard; Old London Silver; English Furniture; Dogs Encyclopedia, magazines, etc

Jazz Records, collection of approximately thirty-five LPs, EPs and 78s of mainly Jazz with artists including Gerry Mulligan, Art Tatum, Modern Jazz Quartet, Stan Getz, Tony Kinsey, Les McCann, Art Blakey and more - various years and conditions

Pair of Medina blue art glass vases, together with a similar blue glass scent bottle and two other modern art glass vases. (5)(B.P. 24% incl. VAT)

Modern Moorcroft art pottery tube lined baluster floral table lamp with shade. (B.P. 24% incl. VAT)

NO RESERVE George Cruikshank.- Field & Country Sports.- Chifney (Samuel) Genius Genuine, ?first edition, half-title, a very little faint browning and soiling, sold only for the author, n.d. [after 1803] § LeBeaud (M.) Principles of the Art of Modern Horsemanship..., translated from the French, bookplate of John M. Schiff, 2pp. publisher's catalogue, foxing, Philadelphia, 1833 § [Random (Charles)] "Lt.-Col. Baron de Berenger". Helps and Hints How to Protect Life and Property..., first edition, author's presentation copy, 8 etched plates, 4 by George Cruikshank, 3 by Robert Cruikshank, 2 folding lithographed plates, engraved illustrations and vignettes throughout, bookplate of Samuel Hoare, contents separating a little, 1835, first contemporary calf, board margins ruled in gilt, spine gilt in compartments, others original cloth, last a little worn, all rubbed; and 3 others, related, 8vo (6) ⁂ The inscription to last: "Harding Esqre | with the Compliments of The Author". John M. Schiff (1904-87) investment banker; racehorse trainer and breeder.

MODERN ART DECO STYLE GLASS PERFUME BOTTLE

A LARGE MODERN ART DECO ORNAMENT OF A CRYING ELEPHANT

A collection of vintage items to include; a heart shaped large shell box containing crochet doilies; a beige Edwardian parasol with Art Nouveau pattern round the edge, one loop undone, with two beige tassels; three modern gold tassels and tie backs with a bauble design x two on each one; a 1930's black crepe shawl, embroidered with flowers and a bird design and silk tassels; a Artisan black apron with a deep edge of embroidery, flower design and a black waistcoat, metal buttons and a broderie anglais dress (toddles with underslip and turquoise ribbon thread through) 1930/40's, scallop edging (7)

William Morris to Whistler, by Walter Crane, London: George Bell & Sons Ltd, 1911, large paper limited edition numbered 125 of 350, publisher's blind-stamped blue cloth with gilt title to spine, presentation bookplate to Arthur E. Harvey from The Worshipful Company of Carpenters, contents generally good and bright with some spotting to outer page edges, shelf-lean and some discolouration/wear to spine. Together with The Craftsman's Plant-Book, by Richard G. Hatton, London: Chapman & Hall, 1909, embossed green cloth; Architecture Industry & Wealth, Collected Papers by William Morris, new edition, London: Longmans, 1902, red cloth; Modern Mural Decoration, by A. Lys Baldry, London: George Newnes, 1902, gilt blue cloth; Art, by Auguste Rodin, London: Hodder & Stoughton, 1912, gilt green cloth; Michael Angelo, London: George Newnes, no date, quarter-cloth; Drawings of John M. Swan R.A., London: George Newnes, no date, quarter-cloth; Reproductions of the Woodcuts in the Dream of Poliphilus, new edition, W. Griggs, 1893, cloth, as found; Drawings of Alfred Stevens, London: George Newnes, no date, quarter-cloth; Drawings of W. Curtis Green, London: B. T. Batsford, 1949; Sir Edward Burne-Jones, A Record and Review, by Malcolm Bell, London: George Bell & Sons, 1894, as found; Art and Craft Education in the City of Birmingham, by Harold H. Holden, Birmingham: 1942, cloth; Drawings of Sir E. J. Poynter, London: George Newnes, no date, cloth; Twentieth Century Sculpture, by E. H. Ramsden, London: Pleiades Books, 1949, cloth; My Book of Inventions, London: Edward Arnold, no date, cloth (15)

[§] JACK KNOX R.S.A. (SCOTTISH 1936-2015)FROM 'THE BATTLE OF SAN ROMANO' SERIES - C.1968 Signed, oil on canvas80cm x 81cm (31.5in x 32in)Note: This work is from an important series in Knox's career, influenced by his viewing of Uccello's 'Rout of San Romano' at the National Gallery in 1968. He was highly impacted by the immense sense of activity expressed within the painting. The result was a series of canvases where various symbolic objects and fragments are arranged on an expanse of white. The objects themselves came from templates, and even fragments of flotsam washed up on the beach near his home in Carnoustie. In his composition he elevates them from the mundane to the esoteric. Works from this series can be found in significant institutional collections throughout Scotland, including the Scottish National Gallery of Modern Art, the Royal Scottish Academy, Aberdeen Art Gallery and Museum, and the McManus Gallery in Dundee.

Three engravings, drawn and engraved by W. Grainger for the 'Royal Encyclopedia', each headed An exact representation of the Manual Exercise, according to modern Military Discipline, See Treatise on Military Affairs and another ensuite headed An exact representation of the three Rank Firings with officers Fusee and Sword Salute, according to the last new regulation. See the Treatise on Military Affairs William Grainger, engraver; Charles Cooke, bookseller, Paternoster Row, 1790, 36.5cm x 22cm; and two additional engravings headed Offensive and Defensive Positions See the Art of Fencing and Various positions of Disarms -- See the Art of Fencing William Grainger, engraver; Charles Cooke, bookseller, Paternoster Row, 1789, 36.5cm x 22cm

After Fernand Leger. A poster for the Modern Art Exhibition New York 1998, another poster titled Rocketeer, and various other prints. (6)

A MODERN ART DECO STYLE FIGURATIVE TABLE LAMP

Alan Emmett (1938-2008), three modern carved wood models of birds, comprising: a wren, naturalistically modelled and painted, the round base signed and dated to the top ALAN EMMETT Sep 1998, 11.5cm high; a sparsely decorated little owl, signed and dated to the underside ALAN EMMETT Sept 2002, 33.5cm high; and a cock blackbird, naturalistically modelled and coloured on gnarled wood base, signed and dated ALAN EMMETT Jan 2003, 22.5cm high Provenance: From the Estate of the late Alan Emmett, wood carver and a founder member of the British Decoy & Wildfowl Carvers Association (BDWCA). On his death the Association dedicated a memorial trophy in his name - the Alan Emmett Memorial Trophy, which is awarded each year by the BDWCA for the best newcomer. Mr Emmett was trained by the late Bob Ridges a much celebrated master of the art of decoy carving.

Alan Emmett (1938-2008); two modern carved and painted wood models of birds, comprising: a Bewick's swan, modelled landing on water, on a rectangular base, signed and dated ALAN EMMETT Sep 2000, 41cm in length; and a study of a gannet's head, signed and dated to the underside ALAN EMMETT Dec 02, on a short pole and carved wood base, 17cm high Provenance: From the Estate of the late Alan Emmett, wood carver and a founder member of the British Decoy & Wildfowl Carvers Association (BDWCA). On his death the Association dedicated a memorial trophy in his name - the Alan Emmett Memorial Trophy, which is awarded each year by the BDWCA for the best newcomer. Mr Emmett was trained by the late Bob Ridges a much celebrated master of the art of decoy carving.

Alan Emmett (1938-2008); a modern carved and painted wood model of a black-tailed godwit, modelled supported on a long wood pole on an oval carved wood base, neither signed nor dated, 34cm high Provenance: From the Estate of the late Alan Emmett, wood carver and a founder member of the British Decoy & Wildfowl Carvers Association (BDWCA). On his death the Association dedicated a memorial trophy in his name - the Alan Emmett Memorial Trophy, which is awarded each year by the BDWCA for the best newcomer. Mr Emmett was trained by the late Bob Ridges a much celebrated master of the art of decoy carving.

Alan Emmett (1938-2008); a modern carved and painted wood model of a duck decoy, the keel with rope and weight, signed and dated to the underside ALAN EMMETT Feb 2006, 41cm in length Provenance: From the Estate of the late Alan Emmett, wood carver and a founder member of the British Decoy & Wildfowl Carvers Association (BDWCA). On his death the Association dedicated a memorial trophy in his name - the Alan Emmett Memorial Trophy, which is awarded each year by the BDWCA for the best newcomer. Mr Emmett was trained by the late Bob Ridges a much celebrated master of the art of decoy carving.

Alan Emmett (1938-2008); a modern carved and painted wood model of a large hen mallard duck, naturalistically modelled standing on a gnarled wood base, signed and dated ALAN EMMETT Jan 2000, 28.5cm high Provenance: From the Estate of the late Alan Emmett, wood carver and a founder member of the British Decoy & Wildfowl Carvers Association (BDWCA). On his death the Association dedicated a memorial trophy in his name - the Alan Emmett Memorial Trophy, which is awarded each year by the BDWCA for the best newcomer. Mr Emmett was trained by the late Bob Ridges a much celebrated master of the art of decoy carving.

A pair of modern Tiffany style table lamps, bronze effect circular fluted bases supporting coolie glass shades in the art deco style with green. blue and cream panels, overall height 50m. (2)

Two Large Modern Art Sculptures, the Tallest 77cm high

A Tray of Curios to Include Gilt Decorated Elephant, Tribal Souvenir Figural Masks, Miniature Cased Mandolin, Modern Art Sculpture, Vase etc

A Framed Modern Art Oil on Board, 112cm Long

A modern armchair with Art Nouveau style upholstery

AN 'AUSTIN' MODERN ART DECO STYLE FIGURE OF A LADY

* STEPHEN BARCLAY (SCOTTISH b 1961), HISTORIC TREE oil on linen, signed, dated 1992 and titled verso 112cm x 106cm Framed. Note: Stephen Barclay first came to prominence in the 1980s as one of the internationally acclaimed ``New Glasgow Boys". He studied at The Glasgow School of Art between 1980 - 1985 winning a 1983 Scholarship to study at Hospitalfield, Arbroath and the 1984 Adam Bruce Thomson Award. His paintings have been exhibited worldwide and are held in numerous major public and corporate collections including The Metropolitan Museum of Art in New York, The Fleming Collection (London), The Deutsche Bank Collection, The Laing Art Gallery, The Cleveland Gallery, Bolton Museum & Gallery, Texaco Oil and The Gallery of Modern Art in Australia. Barclay's work very rarely appears at auction although a few small sketches and studies have sold in recent years and in January 2018 McTear's sold "Walled City II" (a 130 x 160cm oil on canvas, lot 21) for £1400 (hammer).

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)