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NO RESERVE Modern Art.- Urban (Martin) Emil Nolde: Catalogue Raisonné of the Oil-Paintings, 2 vol., 1987 § Heiderich (Ursula) August Macke: Zeichnungen, Stuttgart, 1993 § Ketterer (R., editor) Ernst Ludwig Kirchner: Drawings and Pastels, New York, 1982 § Hess (Hans) Lyonel Feininger, 1961 § Schulz-Hoffmann (C.) & Judith C. Weiss. Max Beckmann Retrospective, Saint-Louis, 1984, illustrations, many colour, original cloth with dust-jackets; and c.35 others on German art, mostly Expressionism, 4to & 8vo (c.40)

NO RESERVE Oriental Art.- Cambodia.- Pinot (Louis) & others, editors. Le Temple d'Angkor Vat, 2 vol. only in 4 (of 3 in 7), fine heliogravure plates by Léon Marotte, folding maps, vol.I modern cloth, vol.II original printed wrappers, all uncut, slightly rubbed, Paris, 1929-30; and 6 others on Khmer art, 4to (10)⁂ Consisting of Parts I & II of vol.II of Mémoires Achéologiques published by l'École Française d'Extrême-Orient: L'Architecture du Monument and La Sculpture Ornementale du Temple. Part III La Galerie des Bas-Reliefs was issued in 3 vol. in 1932.

SAN FRANCISCO MUSEUM OF MODERN ART. Hand Bookbinding Today. Col. & other illus. Oblong. Nice qtr. green morocco with striped brds. San Francisco, 1978.

Postcards, a modern album of approx. 145 art cards relating to children, hunting & literature inc. Kennedy, Upton (Golly), Tarrant, Shakespeare (chromo's) (6), Parkinson, Sydney Carter, black humour, Richardson, Florence Hardy (set 6), Maybank, Sowerby etc (mainly gd)

Postcards, a modern album containing approx. 145 mixed subject cards inc. good Military Art (mainly regiments), Dupuis, Oilettes, Flags, YMCA, also early Aviation (mainly French), personalities (Graf Zeppelin) etc (mainly gd)

A Wiener Werkstatte Notschrei woven textile designed by Josef Hoffmann, made by Joh. Backhausen & Sohne, decorated with a geometric foliate repeat on a red and brown on a buff ground, unsigned 138 x 126cm. Literature Ruth Gronwoldt Art Nouveau Textil-Dekor um1900, page 202 catalogue number 151 (illustrated page 203) for a comparable example. Kirk Varnedoe Vienna 1900 Art, Architecture & Design, The Museum of Modern Art, page 88 for another example illustrated.

Modern Masterpieces of British Art and Giotto in Assisi

MODERN REPRODUCTION 'BRONZED' MOULDED COMPOSITION ART DECO GROUP, modelled as a lady in pleated skirt and beaded headdress, with seated greyhound at her side, 21" (53.3cm) high

AN IRISH GEORGE III MAHOGANY BREAKFRONT BOOKCASE, part of the original furnishings of Ely House, Dublin, the dentil moulded cornice above a four door bookcase, decorated with Gothic lancet glazing bars above fielded cupboard door base. 282cm high, 346cm wide Provenance: Collection of Fine Art Property of Dr. Thornley Stoker, Ely House, 8 Ely Place, Dublin, 8th November, 1910, lot 863 This handsome Chippendale pattern mahogany bookcase was lot 863 in one of the most spectacular house contents auctions Dublin has ever seen. Taking place in November 1910, it was that of Dr. Thornley Stoker whose fierce reputation has faded, but that of his brother Bram has only gone stratospheric thanks to his creation, “Dracula”. The sale of over 1600 lots represented a life-time of collecting. George Moore leaves a description of Sir Thornley hopping about the antique dealers in Grafton Street ‘Like an old magpie’ prying out spoons and forks. Moore, unsuccessfully, tries to persuade the grumpy old doctor to back Hugh Lanes project for a Modern Art Gallery in Dublin. Moore, a neighbour frequently visits Dr Stoker and well knows his fine collection housed in his palazzo, Ely House, but can’t resist retelling Dublin cynicism as to its genesis. “Up and down Liffey Street, lately, on the trail of a Sheraton sideboard and Naylor has been asked to keep it till an appendices should turn up; the Chinese Chippendale mirror over the drawing-room chimney piece originated in an unsuccessful operation for cancer; the Aubusson carpet in the back-drawing room represents a hernia; the Renaissance bronze on the landing a set of gall-stones; the Ming Cloisonné a floating kidney; the Buhl cabinet his opinion on an enlarged liver; and Lady Stokers jewels a series of small operations performed over a number of years”. Moore declares the collection will never be sold in his lifetime but on his death, there will be a great auction. This bookcase, filled with part of Dr. Stoker’s china collection is given a full-page illustration and is described as ‘Chippendale’. A bookcase of similar design, with the addition of a broken triangular pediment, c.1766, is illustrated in Gilbert, ‘The Life and Works of Thomas Chippendale’ (1978), p.41

BLUE NOTE - CDs. Instant collection time for fans of Blue Note with this exceptional collection of around 151 x classic albums. Artists/titles include Cannonball Adderley - Somethin' Else, Ike Quebec - Easy Living, Lou Donaldson - Blues Walk, John Coltrane - The Ultimate Blue Train, Donald Byrd - Blackjack, Jackie McLean - Tippin' The Scales, Kenny Drew - Undercurrent, Kenny Burrell - Midnight Blue and Blue Lights Volume 1 and 2, Dexter Gordon - A Swingin' Affair, Freddie Hubbard - Hub-Tones, Leo Parker - Rollin' With Leo, The Horace Silver Quintet - Song For My Father, Dexter Gordon - Clubhouse, Freddie Roach - Good Move, Stanley Turrentine - Rough 'N' Tumble, Art Blake - Roots And Herbs, Art Pepper inc. Modern Art, The Art Of Pepper and The Return Of Art Pepper, Lee Morgan inc. Candy, Standards, The Sixth Sense and THe Sidewinder, Grant Green inc. Talkin' About, Born To Be Blue and Alive!, Hank Mobley inc. Soul Station, Another/Workout and The Turnaround and Sonny Rollins inc. A Night At The Village Vanguard Volumes 1 and 2, and Newk's Time. Condition is excellent throughout.

JAZZ - BIG BAND/DIXIE/SWING. A grand collection of over 150 x LPs. Artists/titles include Conrad Janis - Dixieland Jam Session, Emile Barnes, Bud Freeman - The Compleat, Ella & Ellis, Various - Tenors Anyone?, Art Tatum, Coleman Hawkins, Various - Recorded In New Orleans, Jack Teagarden, Jazz Unlimited, Cliff Jackson, Commodore Classics, Modern Jazz Hall Of Fame, Jimmy McPartland's All-Stars, The New Orleans All-Stars and Yank Lawson. Condition can vary - the records themselves will often grade between VG+ and Ex+, though please note the sleeves are more varied; some titles may be Ex but others under VG. Viewing therefore is advisable.

JAZZ - BOOKS & DVDs. A superlative collection of around 117 books that will leave you brimming with knowledge on the broad subject of Jazz. Titles/authors include The Cover Art Of Blue Note Records Volumes 1 and 2, Prestige Records - The Album Cover Collection, Miles Davis (Ian Carr), Dictionary Of Jazz (Panassie, Hugues & Gautier, Madeleine, 1959 hardback), Sonny Rollins - The Definitive Musical Guide (Wilson), The Latin Tinge, California Cool - West Coast Cover Art, Richard Cook's Jazz Encyclopedia, Thelonious Monk - His Life And Music, Space Is The Place - The Life And Times Of Sun Ra (Szwed), Whitney Balliett, Collected Works - A Journal Of Jazz 1954-2000, The Jazz Exiles, American Musicians Abroad, Jazz Seen (Claxton, Taschen hardback), Jazz People, West Coast Jazz (Gioia), The Jazz Anthology (Miles Kington) and Four Lives In The Bebop Business (Spellman). Also to include a selection of 17 x DVDs including Jazz On A Summer's Day, Charles Mingus - Live In '64, Blue Note - A Story Of Modern Jazz, Jazz In The Black Forest and Bayou Maharajah - A Film By Lily Keber. Condition is generally very good to excellent.

BLUE NOTE - 'REISSUE' SERIES LPs & COMPILATION LPs. Fantastic entry point to Blue Note with this collection of 15 x LPs. 'The Blue Note Reissue Series' titles are Thelonious Monk - The Complete Genius, Gerry Mulligan/Lee Konitz - Revelation, T-Bone Walker - CLassics Of Modern Blues, Fats Navarro - Prime Source, Booker Ervis - Back From The Gig, Lester Young - The Aladdin Sessions and Art Blakey & The Jazz Messengers - Once Upon A Groove. Also to include Blue Note's Three Decades Of Jazz (three volumes) and 5 LPs in the 'Jazz Classics' series with performances including Art Hodes, Ike Quebec, Sidney DeParis and Edmond Hall. Condition is Ex+ (records) and Ex to Ex+ (sleeves).

SAVOY JAZZ - LPs. Cool collection of 29 x LPs on the excellent US label. Artists/titles include John Coltrane - Countdown, Art Pepper - Discoveries, Milt Jackson - Second Nature, The Tenor Sax Album, Howard McGhee - Maggie, Billy Eckstine - Mister B. And The Band, Dexter Gordon - Long Tall Dexter, Don Byas - Savoy Jam Party, Brothers And Other Mothers, Fats Navarro - Fat Girl, Black California, Honkers & Screamers, J J Johnson -Mad Bebop, The Bebop Boys and The Modern Jazz Piano Album. Condition is Ex+ throughout.

An Art Nouveau-style modern .999 silver photograph frame

Sir William MacTaggart, felt pen drawing entitled Distant Hills, 9.5" x 10" provenance Louise Kosman modern British Art, exhibition,

Christopher R Harland framed modern art print signed in pencil, titled Ripple.

a collection of mixed media art work including framed print titled Garter Day 1998, framed print of Stafford & similar print of Welsh Lady at church together with Mid Century Modern art oil on board signed Nance(4)

An Art Nouveau amethyst and seed pearl pendant on chain, stamped '9CT'; an Art Nouveau peridot and seed pearl brooch/pendant on chain (chain af), a modern 9 carat gold ruby and seed pearl pendant on chain and a 9 carat gold Art Nouveau amethyst and seed pearl brooch, 16.4g gross (4)

A modern Art Nouveau style parcel gilt silver pedestal dish, Jack Spencer, Sheffield 2002, 13cm high, 10.4ozt

Katie Ponder (b.1991). Queen of Diamonds. Digital collage. Signed under mount. 41.1 x 29.7cm. Framed. Katie Ponder is a multi-award winning artist. She graduated in 2014 from Falmouth University receiving a 1st class BA with honors in illustration. She studied at foundation level at Camberwell University of the arts in 2011. Katie was the winner the AOI Book Award for new talent in 2014 and in 2017 she was shortlisted for the Folio Society Award, and winner of the House of Illustration People's Choice Award. In October 2017 Kate was the winner of the Glyndebourne Art Award and her work was used as the cover of the Glyndebourne 2017 On your programme. Her work has been featured in Witches & Pagans magazine, VAROOM, Amelia's Magazine, Firewords, SOFFA, Communication Arts, DPI Magazine and exhibited at Somerset House, The Lyric Theatre and Glyndebourne. Katie's inspirations include Stravinsky, Joni Mitchel, Coco Rosie, Audrey Niffenegger, Poppy (Katie's cat), ballet and yoga. I was delighted to be able to contribute to help TLC - not only is it a worth while cause but I thought the idea of curating a deck of cards in this way was a really inspired idea. I am excited to see all the different designs together. I love playing with symmetry in my work. Working with symmetry and faces looking at each other is something I often do and this fitted in nicely with the traditional layout for card designs. I wanted to do my own modern take on a traditional playing card. I am proud to support Transplant links through contributing my illustration. I really admire how it’s a charity that not only provides life saving treatments, it also educates and enables doctors in deprived hospitals to develop their own skills to be able to treat their patients. I am pleased to think that money raised through the auction will help empower doctors to help their future patients and save many lives.Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Brendan Neiland RA (b.1941). 'Calypso'. Signed, titled and numbered AP XVI/XVI to margin. 58 x 44.5cm. Framed. Brendan Neiland is one of Britains foremost and contemporary painters and printmakers represented in major museums and galleries worldwide including, in Britain, The Victoria and Albert Museum, The Tate Gallery London, The Collections of the British Council and the Arts Council of Great Britain. He has created some of the most memorable images of modern metropolitan existence. His work has been commissioned by leading commercial companies, public service institutions and education establishments and has been the subject of several television documentaries and video programmes. Informed by the practice of photography yet influenced by a sense of the poetics of lights and pictorial structure which can be related to the work of Braque or Magritte, Corot or Vermeer, the art of Brendan Neiland is eloquent of the enigma of existence as it has been manifest in the modern era. At once intimate and grand, celebratory and melancholy, his work often features the soaring glass and steel structures typical of the era’s corporate architecture. At the same time, the work embraces a range of spiritual matters. Able to convey the depths of longing contained within a moments reflection - in the mystery of mirrored light, held in creative equipose between worlds of culture and nature, technology and spirit - Brendan Neiland is an artist whose work appeals to both the public and private realm. Brendan Neiland is represented by the Redfern Gallery. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Yinka Shonibare MBE RA (b.1962). 23 x 20cm. Screenprint with glaze on hand-deckled somerset paper. Signed and numbered 2/30 in pencil to margin. Framed. Yinka Shonibare MBE was born in 1962 in London and moved to Lagos, Nigeria at the age of three. He returned to London to study Fine Art, first at Byam School of Art (now Central Saint Martins College) and then at Goldsmiths College, where he received his MFA.Shonibare’s work explores issues of race and class through the media of painting, sculpture, photography and film. Shonibare questions the meaning of cultural and national definitions. His trademark material is the brightly coloured ‘African’ batik fabric he buys in London. This type of fabric was inspired by Indonesian design, mass-produced by the Dutch and eventually sold to the colonies in West Africa. In the 1960s the material became a new sign of African identity and independence. Shonibare was a Turner prize nominee in 2004, and was also awarded the decoration of Member of the ‘Most Excellent Order of the British Empire’ or MBE, a title he has added to his professional name. Shonibare was notably commissioned by Okwui Enwezor at Documenta 11, Kassel, in 2002 to create his most recognised work ‘Gallantry and Criminal Conversation’ that launched him on to an international stage. He has exhibited at the Venice Biennale and internationally at leading museums. In September 2008, his major mid-career survey commenced at the MCA Sydney and then toured to the Brooklyn Museum, New York and the Museum of African Art at the Smithsonian Institution, Washington DC. He was elected as a Royal Academician by the Royal Academy, London in 2013. Shonibare’s works are included in prominent collections internationally, including the Tate Collection, London; Victoria and Albert Museum, London; National Museum of African Art, Smithsonian Institute, Washington, D.C; Museum of Modern Art, New York; National Gallery of Canada, Ottawa; Moderna Museet, Stockholm; National Gallery of Modern Art in Rome and VandenBroek Foundation, The Netherlands. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

•A FOLIO OF MODERN BRITISH LITHOGRAPHS comprising `Phalanx`, 1958, by Bryan Wynter, signed, edition of 50, 47 x 32cm and another similar from the same year, also signed; `Bonnie` by Bernard Cohen, 1965, signed, edition of 75, 45 x 69cm and another similar from the same year, also signed; `La Cathedral Engloutie`, 1959, by Ceri Richards, signed, edition of 50, 50 x 63cm.; and `Flower` by Ronald King, edition of 35, 34 x 48cm. (6) Provenance: Bolton, Prestons Art Gallery, June 25th, 1966, where purchased with 43 other items. Between 6 gns and £52.10s were paid for these six items. ++ Each with some slight handling creases and handling marks etc; Richards with small tears at sheet edges etc

JAMES DIXON (1887-1970) - MODEL BOAT & WALKING STICK, IRISH FOLK ART INTEREST a wooden and leather clad walking stick, inset with a glass roundel and with a metal collar. Also with a model boat and lighthouse, made with pieces of metal and in a glass case. The ship with a label inside From James Dixon, Tory Island, 25.1.57. Case for Boat 32cms across, Walking Stick 92cms long. (2) James Dixon was a native of Tory Island (Co Donegal), and enjoyed a simple life of fishing and farming. He was introduced to painting late in life after meeting the Artist Derek Hill in 1959, self taught he preferred making him own paint brushes and materials, and mostly produced primitive landscape paintings. His naive style was appreciated and he exhibited at the Dawson Gallery in Dublin in 1967, and the Portal Gallery in London. After his death his work was exhibited at Tate St Ives and the Irish Museum of Modern Art (1999-2000) alongside Alfred Wallis. The label with the Boat would seem to predate his meeting with Derek Hill.

Glassware: A diverse collection of early and modern Glass, including two early finger bowls, art glass, frosted glass and Murano type glass, as a lot, w.a.f. (12)

Jackson Pollock Scottish National Gallery of Modern Art framed poster, 53 x 66cm

SIR ALFRED GILBERT R.A. (1854-1934)COMEDY AND TRAGEDY: ‘SIC VITA’bronze, raised on a stepped ebonised wood plinth34cm high (bronze), 39cm high (with plinth)Provenance: The Fine Art Society, LondonNote: New English Sculpture was a dynamic movement at the end of the 19th century which injected energy and naturalism into English sculpture. The medium had been dominated by a neo-classical style seen as rigid and irrelevant to human experience, so much so that Baudelaire even wrote a critique of the Paris Salon in 1846 titled ‘Why Sculpture is Boring’. The term ‘New English Sculpture’ was coined in Edmund Gosse’s article ‘The New Sculpture’ which was published by Art Journal in 1894, where he defined the movement as ‘a close and reverent observation of nature’. Leading sculptors such as Lord Leighton, Alfred Gilbert and Hamo Thornycroft revived the Italian Renaissance art of ‘lost wax’ bronze casting in order to finely render surface details like musculature and facial expressions in a more naturalistic manner. This approach was introduced by Aimé-Jules Dalou, who disseminated the French method of direct modelling during the period he spent teaching at South Kensington School of Art from 1877 to 1880. This combination of traditional and modern continental influences prompted these artists to recast well-worn classical myths in a distinctly original and relatable style. The movement re-established the relevance of sculpture within society by embracing the statuette, which bridged the divide between high art and decorative art without compromising on the standard of craftsmanship. Until the 1860s sculpture was primarily limited to the marble portrait bust or large classical figure, but these smaller bronze casts created a new sculptural category which suited the scale and price desired by homeowners. The cult of the statuette was a popular feature in late Victorian and Edwardian architectural design and enabled the classical heroic figure to fulfil a new decorative role within a domestic setting.

SIR ALFRED GILBERT R.A. (1854-1934)PERSEUS ARMINGbronze, raised on a verde antico marble plinth36.5cm high (bronze), 40cm high (with plinth)Provenance: The Fine Art Society, LondonNote: Alfred Gilbert was born in London and joined the Royal Academy in 1873 before going on to study at the École des Beaux-Arts and becoming one of the most influential sculptors of his generation and the New English Sculpture movement. Gilbert’s international career took him to Rome from 1878 until 1884 where he learnt the 'cire perdu' or ‘lost wax’ technique of bronze casting and was one of the first artists to reintroduce it in England. Gilbert sought to reinvigorate classical myths in order to make them more relatable to a modern audience, stating to Joseph Hatton about Benvenuto’s Cellini’s bronze Perseus and Medusa that ‘’amazed as I was by that great work it still left me somewhat cold, insomuch that it failed to touch my human sympathies’’. Gilbert’s Perseus Arming was commissioned by Sir Henry Doulton and won an honourable mention at the Paris Salon in 1883. Rather than depicting Perseus in the dramatic aftermath of slaying the Gorgon Medusa, Gilbert’s Perseus Arming is instead a sensitive portrayal of the young hero anxiously checking his winged sandals. Gilbert stated ‘’I conceived the idea that Perseus, before becoming a hero was a mere mortal and that he had to look to his equipment’’ which was a radical departure from the traditional iconography associated with the heroic masculine figure. Gilbert adopts the classical figura serpentinata and free-standing bronze statuette, which were both celebrated features of Italian Renaissance sculpture, but modernise the subject matter by humanising Perseus as an endearing and vulnerable adolescent. This psychological dimension was a key aspect of the New Sculpture movement and can also be seen in Gilbert’s Comedy and Tragedy which is often exhibited alongside Perseus Arming. Comedy and Tragedy captures the exact moment a theatre prop boy is stung by a bee as he rushes to the stage with a comedy mask. The boy is suspended on one foot as he twists to examine his injury, perfectly framing his anguished face in the gaping grin of the comedy mask. This dynamic pose reflects the New Sculpture’s emphasis on dynamic compositions as the narrative is most effectively appreciated in the round. The Latin subtitle Sic Vita meaning ‘Thus is life’ is perhaps an autobiographical aside referring to Gilbert’s mounting financial worries, dissatisfied clients and marital problems as he conceded “I was living a kind of double life at that time…with Tragedy in my private life, living my Comedy publicly”.

ELKINGTON & CO., BIRMINGHAM‘CELLINI’ ELECTROTYPE CHALICE, CIRCA 1852gilded metal, bears maker's marks ELKINGTON’S/ DEPARTMENT OF SCIENCE AND ART21cm highProvenance: Paul Reeves, LondonNote: An example of this electrotype impression of a late 16th century German cup was bought by the South Kensington Museum (now the V&A) in 1852 from Elkington and Co. of Birmingham who had copied it from a cup in the British Museum (museum number .103). The museum bought electrotypes during the 19th century as part of its growing collection of reproductions. Electrotype copies were used as design aids for artists, artisans and students in the government schools of design, hence the inscription ‘Department of Science and Art’ on the base. This collection enabled people to look closely at both modern and historic objects that might otherwise be inaccessible. These reproductions were intended to improve the quality of Britain's manufacturing products by getting good design into workshops and improving the taste of the general public. Electrotypes were shown at international exhibitions and were sold or exchanged with museums and colleges around the world. The V&A’s electrotype register tells us that this cup was copied by Elkington in 1852 and was therefore one of the earliest electrotypes produced for the museum by the company. The V&A now has three copies of this same cup in its collection, all produced by Elkington at around the same time, however more versions than this were produced of which the current lot is an example.

ATTRIBUTED TO ERNEST ARCHIBALD TAYLOR FOR WYLIE & LOCHHEAD, GLASGOWSCOTTISH ART NOUVEAU BRASS AND LEADED GLASS CEILING LIGHT, CIRCA 1900the square ceiling plate with shaped outline and central domed boss suspending eight chains, the shade of corresponding shaped cube form set to each side with a stained and leaded glass panel depicting stylised flowering plants, the whole with four green glass pendant drops below31cm across, 92cm highProvenance: Paul Reeves, LondonNote: Initially apprenticed in the Glasgow shipbuilding industry, E.A. Taylor trained as an artist at the Glasgow School of Art, where he met Jessie M. King around 1898. He worked for Wylie & Lochhead from around this time where his furniture designs brought him great acclaim, with exhibitions at the 1901 Glasgow International Exhibition and, with his fiancée Jessie King a series of stained glass panels for the Turin International Exhibition of Modern Decorative Art in 1902. This magnificent Glasgow-style light demonstrates his skills as a stained glass designer, something he was to demonstrate again when he became a full-time designer for the Salford based stained glass manufacturer George Wragge Ltd. from 1908-1911.

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)THE ALMONRYEtching, signed26cm x 18cm (10.25in x 7in)Provenance:Allinson Gallery, Storrs, ConnecticutNote: This edition is 82 in this state. Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)THE CRESSETEtching22cm x 30cm (8.75in x 11.75in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)THE FORDEtching, signed16cm x 28cm (6.25in x 11in) and another etching by the same hand ‘Epiphany’ (2)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)SELLENGER - 1917Etching, signed and inscribed14.5cm x 17.5cm (5.75in x 7in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)MEMORY OF CLAVERINGEtching, signed in pencil14.5cm x 23.5cm (5.75in x 9.25in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERICK LANDSEER MAUR GRIGGS (BRITISH 1876-1938)ST BOTOLPH’S BRIDGE NO. 2Etching, 2nd state of three, signed in pencil with initials25.5cm x 21cm (10in x 8.25in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)MEPPERSHALL CHAPELEtching, 3rd and final state, signed, dated 1918 and inscribed ‘To J. Short – For his steady kindness and help’16.5cm x 12.5cm (6.5in x 5in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.

FREDERIC, LORD LEIGHTON (1830-1896)THE SLUGGARDbronze, with dark brown patina, inscribed to the base THE SLUGGARD and signed FRED. LEIGHTON, on a hardwood stand55cm high overallProvenance: The Fine Art Society, LondonNote: Sir Frederic Leighton was one of the pioneering figures in New English Sculpture, who during his eighteen year period as President of the Royal Academy, succeeded in elevating the status of British sculpture through teaching and exhibitions. Leighton became known as the father of New English Sculpture as a result of his guiding influence over the new generation of sculptors like Alfred Gilbert who recalled that the students at the Academy ''all had an ideal to emulate Leighton in his aims in Art''. The original figure of 'The Sluggard' is a life-size bronze sculpture and one of Leighton's seminal artworks. The clay sketch was exhibited at the Royal Academy's Exhibition in 1896 with a fig leaf over his genitalia in order to avoid sexualising the sculpture when on display to the Victorian public. The muscular youth languidly arches his back in an elegant contrapposto pose in the manner of classical Greco-Roman sculptures which celebrated the athletic male nude as the pinnacle of perfection. The work was initially titled Athlete Awakening From Sleeping in reference to the quick clay sketch Leighton made of his life model Giuseppe Valona who rose to stretch after a particularly long sitting making this sculpture an intriguing marriage of idealism and naturalism. 'The Sluggard' has been interpreted by Benedict Read as Leighton freeing himself from the shackles of sculptural convention as his work abandons frozen classical prototypes for a distinctly modern pose.

THE STUDIO MAGAZINELONDON: STUDIO XVI, 1893-1915. VOLUMES 1-64 4to, various bindings, worn; and 16 volumes of “The Studio Year Book of Decorative Art” dated between 1900 and 1934, modern green cloth gilt (80)

PRIVATE PRESS AND ILLUSTRATED14 BOOKS INCLUDING MORRIS, WILLIAMArt and the Beauty of the Earth. London: Chiswick Press, 1898. 8vo, original boards; [Idem] An Address…Delivered at the Distribution of the Prizes to Students of the Birmingham Municipal School of Art… London: Chiswick Press, 1898. 8vo, original boards; King, Jessie M., illustrator. The Grey City of the North. Edinburgh: T. Foulis, 1910. Tall 8vo, original illustrated wrappers; Crane, Walter, illustrator. A Book of Christmas Verse. London: Methuen and Company, 1895. 8vo, original pictorial cloth; Ellis, F.S. – Walter Crane, illustrator. The History of Reynard the Fox. London: David Nutt, 1897. 8vo, inscribed by Mrs Ellis, original cloth gilt; Crane, Walter. The Book of Wedding Days. London: Longmans, Green and Co., 1889. 4to, original red cloth with silver illustration; Housman, Laurence. Of Aucassin and Nicolette. London: Chatto & Windus, 1925. 8vo, original boards; Chisholm, Louey. The Enchanted Land. London: T.C. & E.C. Jack, 1906. 8vo, original cloth gilt; Gilbert, Henry – Walter Crane, illustrator. King Arthur’s Knights. Edinburgh: T.C. & E.C. Jack, [n.d.] 8vo, modern grey morocco gilt; and 5 others (14)

WALTER FRANCIS CRITTALL (DESIGNER, 1887-1956) AND ERNEST BECKWITH (MAKER, 1872-1952)ARTS & CRAFTS WALNUT OPEN ARMCHAIR, 1925the latticed back above shaped open arms and drop-in seat raised on square tapered legs linked by stretchers63cm wide, 98cm high, 51cm deepProvenance: Paul Reeves, LondonLiterature: Rogers, John C., 'Modern English Furniture', Country Life 1925, illus.Note: W. F. Crittall, known as ‘Pink’ apparently due to his Communist sympathies, joined his father’s metalworking firm and his design work lead to a major breakthrough in steel window design which is still the basis for their manufacture today. His interest in the welfare of his workers and improvements in their living conditions led to an involvement in the Design & Industries Movement. Established in 1915, the D.I.A. was founded by members of the Art & Crafts Movement Exhibition Society. Its aim was to promote design in industry by organising exhibitions, publishing magazines and books. For over forty years Crittall collaborated with Ernest Beckwith, a cabinetmaker from Coggeshall, Essex, to make a series of pieces of furniture, mainly for the homes and businesses of the Crittall family. He considered this furniture making as a hobby and his notebooks contain hundreds of designs for articles of furniture, only a small proportion of which were ever built.

TWO LARGE MODERN ART CANVAS PRINTS

ZBIGNEW MAKOWSKI (POLISH B. 1930)Dlaczego, 1961watercolor and ink on board29.8 x 41.5 cm (11 3/4 x 16 3/8 in.)dated lower right; signed on versoPROVENANCECollection of Bernard Davis, PhiladelphiaMiami Museum of Modern Art, Miami, FloridaPrivate Collection, Maryland (acquired by the current owner from the Museum circa1963)EXHIBITEDMakowski, Miami Museum of Modern Art, 1963LOT NOTESThe exhibition of Makowski's works in 1963 took place at the Miami Museum of Modern Art, located at North Bayshore Drive in Miami on Biscayne Bay. The museum was owned by the eccentric millionaire and art collector from Philadelphia, Bernard Davis. Davis had a keen eye for exceptional modern art, and was also an early patron of Arshile Gorky.

ZBIGNEW MAKOWSKI (POLISH B. 1930)Palladas, 1961ink on board29.8 x 41.7 cm (11 3/4 x 16 3/8 in.)signed and dated lower rightPROVENANCECollection of Bernard Davis, PhiladelphiaMiami Museum of Modern Art, Miami, FloridaPrivate Collection, Maryland (acquired by the current owner from the Museum circa1963)EXHIBITEDMakowski, Miami Museum of Modern Art, 1963LOT NOTESThe exhibition of Makowski's works in 1963 took place at the Miami Museum of Modern Art, located at North Bayshore Drive in Miami on Biscayne Bay. The museum was owned by the eccentric millionaire and art collector from Philadelphia, Bernard Davis. Davis had a keen eye for exceptional modern art, and was also an early patron of Arshile Gorky.

SALVADOR DALI (SPANISH 1904-1989)Dance around the Tree, 1946ink on paper38.3 x 30.8 cm (15 1/6 x 12 1/8 in.)signed and dated with monogram lower leftPROVENANCEJulien Levy Gallery, New York (stamp on verso)Heath Gallery, Atlanta, GACollection of Onik SahakianFEXHIBITEDModern European Master Works on Paper, a benefit exhibition for Emory University Museum of Art and Archaeology, Heath Gallery, Atlanta, GA, October 11-18, 1986 (label attached) 

Vera Spencer (Czechoslovakian, b. 1926): a still life with pink flowers and foliage, oil on board, signed lower left, 35 by 45cm, framed, 38 by 48cm. Spencer studied at the Slade School of Art, exhibited at the ICA in 1954 and was allied to the Modern Movement of the early 1950s.

A collection of thirty three photo postcards relating to Oundle School, 1920 - 1930, some from Leayton's Oundle Series, showing views including The Great Hall, The School, The Cloisters, School House, Dryden House, Sidney & Grafton House, Laxton & Crosby House, the Old School Chapel, the Library, The Art Room, Engine and Dynamo Room, Sanatorium, Boathouses, and the Cricket Field and Pavillion, contained in one modern blue album, each approx 9 by 14cm.

Modern contemporary art titled "The Served" pencil drawing. Fitted within a gilt frame.

A modern walnut cased Vienna regular mantel clock (35cm high), a French gilt metal and porcelain mounted mantel clock (32cm high), a mahogany cased Art Nouveau inlaid balloon shaped mantel clock (24.5cm high) and a George III mahogany mantel clock case. (a.f.) (4)

Longines; A Vintage Gent's Wristwatch, the signed dial with line markers and seconds subsidiary dial (lacking hand), the case back engraved "Engelhard 1947-1977 Mr. T. Lem For Loyal Service", on a strap; Together with A Ladies Lucerne Art Deco Wristwatch Head, (no strap) stamped "14" and a modern wristwatch. (3)

*Postcards - Bridges. A collection of approximately 940 postcards of bridges, a mixture of Edwardian and more modern postcards, including some real photo postcards, photographic reproductions, oilettes and other art cards, predominantly UK but also including bridges in Europe and North America including a series of six real photo postcards of the Golden Gate Bridge, San Francisco, some postally used, plus a small quantity of other postcards, all contained in two postcard album ring binders (approx. 1000)

Liberati Francesco. La perfettione del cavallo. Roma, Francesco Corbelletti, 1639. In-4° (mm 202x143). [8], 56, 9-24 [i.e. 72], 73-82, [2], 33-143, [1], 153-183 [i.e. 233], [1] pagine. Al frontespizio stemma del duca di Bracciano, inciso su legno. Al verso della carta T4 grande marca tipografica silografica con motto 'amica numinis et lumina'. Capilettera, testatine e finalini silografici. Numerose illustrazioni silografiche raffiguranti i marchi di cavalli di proprietà dei casati e dei principi italiani, impresse tra le carte K4v-T4v. Evidente gora all'angolo superiore esterno dei primi fascicoli, con perdita di parti di lettere del frontespizio, antico restauro al frontespizio, fioriture e aloni. Legatura moderna in mezza pergamena con angoli, titolo stampato in nero al dorso. Prima edizione del più autorevole trattato romano di ippologia, illustrato da 286 incisioni su legno, raffiguranti i marchi dei cavalli appartenuti alle più illustri famiglie italiane. Le carte V1v-Z4r accolgono la traduzione italiana Dell'arte di cavalcare di Senofonte. 4° (202x143 mm). [8], 56, 9-24 [i.e. 72], 73-82, [2], 33-143, [1], 153-183 [i.e. 233], [1] pages. Woodcut coat of arms of Duke of Bracciano on the title-page. Large woodcut printer's device on verso of leaf T4, with motto 'amica numinis et lumina'. Woodcut intials, head- and tailpieces. Numerous woodcut illustrations showing the brands of horses owned by Italian families and stables. An evident waterstain to the upper outer corner of the first quires, with consequent loss of part of some letters to the title-page, ancient repair to the title-page, foxing. Modern three-quarter vellum, title printed in black on the spine. First edition of the major work of the Rome equerry, illustrated with 286 woodcuts showing the brands of horses owned by Italian families and stables. Between leaves V1v-Z4r is printed the Italian translation of the Art of Horsemanship by Xenophon.

POSTCARDS, modern selection, inc. adverts, children, railway, art, exhibitions, theatres, shipping, political, a few sport, animals, music etc., G to EX, 600*

Two modern Art Deco style composition figures, one of a woman on a green onyx base, 8 1/2"h and the other a woman dancing AF

A modern reproduction Art Deco style lamp in the form of a flapper dancer with globe, height 52cm, a modern casting of a Ferdinand Preiss bronze dancer, an Art Deco spelter Polar bear (probably from a clock garniture), an Art Deco style painted metal aeronautical globe, an Art Nouveau style perpetual date calendar and a slip-cast figural nude marked 'England' verso (6).

Hulten (K.G. Pontus). The Machine as seen at the end of the mechanical age, New York, Museum of Modern Art, 1968, numerous black & white illustrations, original colour printed embossed aluminium covers (designed by Anders Osterlin), with hinged spine, contained in original card box with printed spine, 4to, together with Nash (Paul), Paintings Drawings and Illustrations, edited by Margot Eates, 1948, numerous colour and black & white illustrations, front free endpaper (partly toned) with contemporary ink inscription, original boards, dust jacket, rubbed with some wear, 4to, plus Hughes (Ted), Remains of Elmet A Pennine Sequence, Photographs by Fay Godwin, 1979, numerous black & white illustrations from photographs, original cloth-backed boards, dust jacket, 4to, and approximately 140 others art related, including some paperbacks From the library of Alan & Joan Tucker. (approximately 143)

Art Reference. A large collection of modern art and antiques reference, plus illustrated juvenile literature, including Edward Ardizzone, Quentin Blake, Walter De La Mare, mostly original cloth in dust jackets, G/VG, 8vo/4to (6 shelves)

Peters (Harry T.). Currier & Ives, printmaker to the American People, & America on Stone, the other printmakers to the American People, 2 volumes, reprinted, 1976, numerous black and white illustrations, uniform original cream cloth, boards and spines lightly marked and rubbed to head and foot, large 8vo, together with Schiller (F.), Fridolin, or The Road to the Iron-Foundery; A Ballard, 1824, 8 black and white engravings by Henry Moses, some light spotting and offsetting, bookplate to front pastedown, contemporary blue half calf bound by Clyde, boards and spine rubbed, 4to, and Merchant (W. Moelwyn), Shakespeare and the Artist, OUP, 1959, black and white illustrations, original gilt decorated cloth, spine slightly faded, large 8vo, plus other 19th century and modern art reference and related, including The Art Journal, 5 volumes, 1853 (x2), 1868, 1877, 1879, some leather bindings, mostly original cloth, some in dust jackets, G/VG, 8vo/4to (6 shelves + a carton)

Renouf (Jane). The Lake Artist's Society, a centenary celebration, 2004, limited edition 23/150, signed by the author to title page, numbered and signed certificate of authentification, numerous colour and black and white illustrations, original gilt decorated red quarter morocco in dust jacket, large 8vo, together with Wark (Robert R.), Drawings by Thomas Rowlandson in the Huntington Collection, California, 1975, numerous colour and black and white illustrations, original cloth in dust jacket, covers slightly faded and rubbed to head and foot, 4to, and other modern art reference and related, mostly original cloth in dust jackets, G/VG, 8vo/folio (6 shelves)