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Modern stained glass window with Art Nouveau style Iris flower to centre. Measures approx 51 x 49cm. Marked ASG MMIV V&G. 2004

A MODERN MIRRORED CONSOLE TABLE IN THE ART DECO STYLE W 136 CM

A MODERN MIRRORED CONSOLE TABLE IN THE ART DECO STYLE W 136 CM

A group of assorted modern art glass items, various to include flasks, bowls, dishes, paperweights etc. (7)(B.P. 24% incl. VAT) CONDITION REPORT: No obvious damage. A couple are marked but indistinct. The large flask has Malta written on it.

An Art-Deco-style modern cruet set of plain tapered form, comprising mustard, pair of salts and two peppers, with blue glass liners and angular handles, Birmingham 1941, in fitted case.

AN ART DECO FRENCH SILVER FOUR-PIECE CHOCOLATE SET, EMILE PUIFORCAT (1897 - 1945), PARIS, EARLY 20TH CENTURY, .950 STANDARD comprising: 2 chocolate pots, a milk pot and a covered sugar bowl, of tapering cylindrical form with reeded rims, the body, spout and cover with curvilinear decoration, turned wooden side handles, 1670g all inclusive, milk pot 14,5cm high (4) PROVENANCE Property of Estate Late Mrs Liselotte Hardebeck Henri Lappara, a much sought after Parisian silversmith, produced high quality work and is particularly renowned for his Art Deco tea services. The Henri Lappara firm was founded in 1893 and specialized in the production of flatware in classic styles, but after 1920 more of these objects became modern and geometrical of form. The firm cooperated with well known and established decorative arts designer, Paul Follot (1877-1841) and took part in various Paris exhibitions, of which the most important was Decor de la Table exhibition at Musée Galliera in 1930, where Henri Lapparra work was shown next to the work of Jean Puiforcat, Henin et Cie, Tetard Freres and Maison Cardeilhac. c. Krekel-Aalberse A., Art Nouveau and Art Deco Silver, New York 1989, p. 66, 69-70, 256. c. Markezana, Y., Les poinçons français d or, d argent, de platine de 1275 à nos jours, Turin 2005, p. 102.

A folio containing modern art work

A collection of modern eau de parfum bottles, scent bottles and atomisers, some in Art Deco style, including an engraved soda glass bottle, a facet-cut amethyst glass bottle, an amber glass atomiser (a.f.), two black glass atomisers (one marked 'Sia'), a black bottle with tulip decoration (bull's head mark), Paloma Picasso, Louis Feraud and Arpege examples, together with a Krona glass paperweight and a Reynold's angel print on circular black glass and gilt frame (11)

An Art Deco silver lidded mustard of conical form (by The Northern Goldsmiths Co. Birmingham 1937), together with a matching open salt, a modern silver salt and pepper of squat circular form and a pair of Victorian silver teaspoons, together with a bronze hand mirror and two brushes.

Art Deco oak fire surround and modern ditto. Condition report: see terms and conditions.

Latham (Robert & Matthews, William, editors). The Diary of Samuel Pepys, volumes 1-11 (complete), 1970-83, black and white illustrations, original uniform green cloth in dust jackets, some covers slightly rubbed to head and foot, together with Thompson (Francis), The Collected Poetry Of..., limited edition 249/500, black and white portrait frontispiece with tissue guard, some light spotting, publisher's original gilt decorated vellum, lacks cloth ties, boards and spine lightly marked, 4to, and Parrish (Stephen & Reed, Mark L., editors), The Cornell Wordsworth, Home at Grasmere, The Salisbury Plain Poems of William Wordsworth, The Ruined Cottage and The Pedlar, The Prelude 1798-1799, 4 volumes, 1975-79, uniform original cloth in dust jackets, covers lightly rubbed to head and foot, 8vo, plus other mostly modern literature, including esoteric, theological and art reference, mostly original cloth, many in dust jackets, G/VG, 8vo/folio (5 shelves)

Ronner (Heinz & Jhaveri, Sharad). Louis I. Kahn Complete Work 1935-1974, 2nd revised edition, Birkhauser, 1987, numerous monochrome illustrations, original cloth, very slightly rubbed, oblong folio, together with Heyer (Paul), Architects on Architecture, New Directions in America, 1st edition, Penguin, 1967, numerous monochrome illustrations, original black cloth, very slightly rubbed, folio, together with Lynch (Kevin), City Sense and City Design, Writings and Projects of Kevin Lynch, edited by Tridib Banerjee and Michael Southworth, MIT Press, 1990, monochrome illustrations, original cloth in dust wrapper, large 8vo, and others on modern American architecture, including Minoru Yamasaki, A Life in Architecture, 1st edition, Weatherhill, 1979, Tod A. Marder, The Critical Edge, Controversy in Recent American Architecture, MIT Press, 1985, Philip Johnson/John Burgee, Architecture 1979-1985, Rizzoli, 1985, Ante Glibota & Frederic Edelmann, Chicago 150 Years of Architecture 1833-1983, Paris Art Center, 1985, etc., mainly original cloth in dust wrappers, mostly 4to/folio, generally VG, the majority with library number paper labels at foot of spine (55)

Lee (Jim). Arrested, 1st edition, 2012, numerous colour and black and white illustrations, black boards with inlaid black and white illustration, boards slightly rubbed with minor tear to foot, folio, together with Freedman (Denis, editor), Michael Thompson, Images, slipcased edition, 2005, numerous colour and black and white illustrations, original cream cloth with inlaid colour illustrations, and glassine wrapper in slipcase, folio, and Wesleyan University Press, publishers, A Descriptive Catalogue of The Marine Collection to be found at India House, 2nd edition, USA, 1973, 12 colour and 39 monochrome plates, original gilt decorated plum cloth in slipcase, large 4to, plus other modern art reference and related, G/VG, 8vo/folio (5 shelves & a carton)

Pugin (Welby). Contrasts: Or, A Parallel between the Noble Edifices of the Middle Ages, and Corresponding Buildings of One Present Day..., 2nd edition, Edinburgh, 1898, numerous black and white illustrations, some light spotting, later tan quarter calf to marbled boards, spine slightly faded and rubbed to head and foot, 4to, together with Gibbs (John), English Gothic Architecture..., 1855, colour half title plus numerous black and white illustrations, some light offsetting and toning, contemporary gilt decorated brown cloth, spine and boards slightly faded, folio, and Talbert (B.J.), Examples of Ancient & Modern Furniture, Metal Works, Tapestries, Decorations, 1876, numerous black and white illustrations, some minor toning, original gilt decorated red cloth, spine and boards slightly marked, and rubbed, folio, plus other 19th century and modern architecture, furniture and art reference, mostly original cloth, many in dust jackets, G/VG, 8vo/folio (6 shelves)

Euw (Anton von & Plotzek, Joachim, M.). Die Handschriften der Sammlung Ludwig, volumes 1-4, Germany, 1979-85, numerous colour facsimiles, uniform original green cloth in dust jackets, covers lightly rubbed, folio, together with Arteta (Antonio Ubiet, et al), Vidal Mayor: Estudios, volumes 1 & 2, Spain, 1989, numerous colour facsimiles, both original gilt decorated green morocco in slipcase, folio, and Vrooom (N.R.A.), A Modest Message as Intimated by the Painters of the 'Monochrome Banketje', volumes 1 & 2, Netherlands, 1980, numerous black and white illustrations, uniform original green cloth in slipcase, large 4to, plus other mostly modern art reference and related, mostly original cloth, many in dust jackets, some foreign language, G/VG, 8vo/folio (6 shelves)

Saint-Augustin, publisher. Dasto 25 Ans De Peinture, France, 2000, numerous colour and black and white illustrations, folio, together with Marchiori (Giuseppe), Modern French Sculpture, 1st UK edition, 1964, 43 colour and 50 black and white plates, original white boards in dust jacket and slipcase, covers slightly rubbed to head and foot, folio, and Tinterow (Gary, et al), Portraits by Ingres, Image of an Epoch, New York, 1999, numerous colour and black and white illustrations, original grey cloth in dust jacket, covers slightly rubbed to head, large 8vo, plus other mostly modern art reference, many original cloth in dust jackets, G/VG, 8vo/folio (3 shelves)

Golombek (Lisa & Wilber, Donald). The Timurid Architecture of Iran and Turan, 2 volumes (Text & Plates), Princeton University Press, 1988, colour and black and white plates and illustrations, together with Paccard (Andre), Traditional Islamic Craft in Moroccan Architecture, 2 volumes, Saint-Jorioz, 1980, colour photographic illustrations throughout, plus Tadgell (Christopher), The History of Architecture in India, 1st edition, 1990, colour and black and white illustrations, all original cloth in dust jackets, 4to, plus Warren (John & Fethi, Ihasan), Traditional Houses in Baghdad, 1st edition, 1982, black and white and some colour illustrations, plus Blair (Sheila S. & Bloom, Jonathan M.), The Art and Architecture of Islam 1250-1800, 1st edition, Yale University Press, 1994, colour and black and white illustrations, both original cloth in dust jackets, small folio, plus other mostly dust-jacketed modern publications on ancient and classical architecture and related of the Middle and Far East, the majority with library number paper labels at foot of spines (52)

Square modern art deco style wall mirror

Modern pale oak art nouveau style glazed display cabinet with decorative leaded panels

A collection of pottery animals, to include a turquoise glazed hippo, stamped for the Metropolitan Museum of Modern Art, a Scandinavian style bird and a retro Beswick ashtray, modelled in the form of a sea horse

Tribal Art. Two similar African carvings in the form of warriors and various modern bowls etc.

Two wall mirrors, one cream painted by India Jane of London, the other modern cast iron and in the Art Nouveau style

A collection of hardback books, including some first and second editions, to include: The Sources Of Modern Art, by Jean Cassou/Emile Langui, 1962 first edition; a 1939 first edition Croise Images, French Library of Fine Arts; a catalogue of Rembrandt's Etchings, by Arthur M. Hind; Carpaccio, by Guido Perocco, 1975 first edition, signed and inscribed.

ARTHUR EDWARD WAITE: DEVIL-WORSHIP IN FRANCE OR THE QUESTION OF LUCIFER, A RECORD OF THINGS SEEN AND HEARD IN THE SECRET SOCIETIES ACCORDING TO THE EVIDENCE OF INITIATES, London, George Redway, 1896, 1st edition, xii, 325pp, original black cloth, lettered in red to top board and spine, top page edge dyed red, contemporary ownership signature to title page, THE REAL HISTORY OF THE ROSICRUCIANS FOUNDED ON THEIR OWN MANIFESTOES, AND ON FACTS AND DOCUMENTS COLLECTED FROM THE WRITING OF INITIATED BRETHREN, London, George Redway, 1887, 1st edition, viii, 446pp plus 39pp publishers adverts at end dated May 57, original decorative blue and red cloth gilt (soiled) contemporary ownership signature to title page, THE OCCULT SCIENCES A COMPENDIUM OF TRANSCENDENTAL DOCTRINE AND EXPERIMENT EMBRACING AN ACCOUNT OF MAGICAL PRACTICES; OF SECRET SCIENCES IN CONNECTION WITH MAGIC; OF THE PROFESSORS OF MAGICAL ARTS; AND OF MODERN SPIRITUALISM, MESMERISM AND THEOSOPHY, London, Keegan Paul, Trench, Trubner & Co Ltd, 1891, 1st edition, viii, 296pp, original black and red cloth lettered in gilt to spine, contemporary ownership signature to title page, THE MYSTERIES OF MAGIC A DIGEST OF THE WRITINGS OF ELIPHAS LEVI WITH BIOGRAPHICAL AND CRITICAL ESSAY, London, Kegan Paul, Trench, Trubner & Co, 1897 2nd edition revised and enlarged, xvi, 523pp plus 24pp published this catalogue of adverts at end, original blue cloth with decorative gilt occult triangle symbol "te tra gram ma ton" to top board and gilt lettered to spine, boards with bevelled edges, contemporary ownership signature to front free end paper + ARTHUR EDWARD WAITE (TRANSLATED): ALCHEMY: THE TURBA PHILOSOPHORUM OR, ASSEMBLY OF THE SAGES, CALLED ALSO THE BOOK OF TRUTH IN THE ART AND THE THIRD PYTHAGORICAL SYNOD , , ,, [by G Gratarolus], London, George Redway, 1896, 1st edition, iv 211pp, original cloth gilt, bevelled edges to boards, contemporary ownership signature to title page, top page edge dyed red (5)

Two small modern silver-faced photograph frames in the Art Nouveau manner, to/w another ornate frame embossed with putti and foliage (3)

Brass Art Nouveau style modern easel mirror and a small quantity of other metalware including two cocktail shakers

A walnut topped occasional table in Art Nouveau style, and two modern tripod wine tables

An Art Nouveau style bronzed table lamp, modelled as a cherub, with mottled glass shade, (wing at fault), 59cm, with a modern Chinese lacquered jewellery box (2). Lighting lots are sold as decorative items only. Prospective buyers must consult with a qualified electrician before use / installation of these items.

A modern art deco style coffee set comprising four mugs and a lidded coffee pot by Sadler for Bygone Times, and a two-tier cake tray by Parrott & Co

Modern 'art' silk rug, mid-20th century, 3ft. 10in. x 2ft. 6in. 1.17m. x 0.76m. The central medallion within a circlet of birds; the ivory field filled with tiny animals, birds, vases of flowers, samovars, all hidden among flowers and foliage. Finely woven in a soft palette.

Ann Hardy Art Deco style watercolour "Modern Country Cottage" 26 x 35cm

Modern Moorcroft Art Pottery ovoid cream ground lamp base, overall decorated with tube lined designs of water lilies, bull rushes and irises, on a wooden base with electric light fitting.(B.P. 24% incl. VAT)

Large modern bracket type mantel clock with brass face, having silvered dial, with presentation plaque dated: 1992, Barcelona Olympics, together with an Art Deco design three train, arch topped mantel clock. (2)(B.P. 24% incl. VAT)

Calligraphy.- Bickham (George) The Universal Penman; or, the Art of Writing..., engraved throughout with 212 numbered calligraphic leaves including 2 titles but lacking frontispiece, many including vignettes, printed on rectos only, half-title torn at foot, rather soiled and stained particularly plates 103, 105 & 134, several marginal tears, plates 69, 144 & 209 with slight loss to images, plate 192 from another copy, plates 211 & 212 with small rust-holes, modern half calf, folio, H.Overton, 1743.

Scott (William Bell) Gems of Modern Belgian [& German] Art: A Series of Carbon-Photographs, together 2 vol., both inscribed by the author to his mistress Alice Boyd "To AB affectionately from WSB..." on front endpaper, bookplate of Spencer Boyd of Penkill, original decorated cloth, gilt, g.e., vol.2 broken and loose, 1872 § Rossetti (William Michael, editor) Ruskin: Rossetti: Preraphaelitism. Papers 1854 to 1862, number 123 of 250 copies on handmade paper, frontispiece after D.G.Rossetti, original buckram-backed decorated cloth, t.e.g., others uncut, a little soiled, 1899 § Bell (Malcolm) Edward Burne-Jones, some spotting, original buckram, 1892 § Ford (Julia Ellsworth) Simeon Solomon: An Appreciation, original cloth, New York, 1908 § Young (Rev. Edward) Pre-Raffaellitism, first edition, pencil signature of E.T.Cook (biographer of Ruskin on front free endpaper), original pink decorated cloth, spine browned, crease to lower cover, 1857 § Madox-Brown (Oliver) The Dwale Bluth..., edited by W.M.Rossetti and F.Hueffer, 2 vol., first edition, etched frontispieces by Ford Madox Brown, contemporary half morocco, gilt, t.e.g., 1876, plates, all a little rubbed, some soiled; and 2 others, v.s. (10) ⁂ Oliver Madox-Brown was the son of Ford Madox Brown and brother-in-law of both William Michael Rosssetti and Francis Hueffer. He was a promising artist and writer but died of blood-poisoning aged 19. Alice Boyd - See also previous lot

[Evans (Arthur Benoni)] The Cutter, in Five Lectures upon the Art and Practice of Cutting Friends, Acquaintances, and Relations, first edition, with initial imprint (otherwise blank) leaf, hand-coloured etched frontispiece and 5 folding aquatint plates by and after John Augustus Atkinson, 8pp. publisher's catalogue at end, some light soiling and browning, modern calf-backed marbled boards, roan label (original paper label mounted on front pastedown), uncut, joints a little rubbed, 8vo, for J.Carpenter, 1808.

A SELECTION OF PRINTS, PICTURES AND ETHNIC WALL ART to include an indistinctly signed pastel sketch, abstract watercolours, aboriginal style oil on board, old print of Queen Victoria and folio of plotting maps and modern pictures to include an example by Richard Lawrence

Large modern art work with floral decoration in heavy oil signed F De Villereurk

A framed and glazed print by David Hockney (b.1937) "The Metropolitan Museum of Modern Art", 76cm high x 111cm wide

Postcards, Horses & Donkeys, assortment of vintage and modern cards, inc Art studies, photographic etc, mixed sizes, standard (350) oversize (150) (gen gd) (500)

MIXED, complete and part sets, inc. Comic Images, Fleer, Topps, collectors cards; chrome, glamour, art, Casper the Friendly Ghost holograms, Disney, Mickey Mouse, Donald Duck, Minnie Mouse, Goofy, Pluto, scenes from Disney films; Fantasy Football, Topps cartoons, horror, trucks, Sonic the Hedgehog, Tekworld etc., in four modern albums, G to MT, Qty.

POSTCARDS, UK & foreign, some modern, inc. views, children, trains, statues, Shanghai, art, USA, religion, coastal, buildings, beauties, some with embroidered highlights, comedy, a few actresses, Bonzo (1) etc; greetings cards, late 1800s onwards, Christmas Birthday, Easter New Year etc., good VR, Qty.

Modern art deco style lady figurine with jeweled bodice

CARVED LIMESTONE PANEL OF SAINT MARTIN OF TOURS 14TH/ 15TH CENTURY depicting St. Martin on horseback with his sword raised, handing his cut cloak to a beggar, carved with the initials S M, with a modern wall mounting bracket 35cm wide, 38cm high Note: The depiction of St. Martin of Tours was a popular subject for religious devotional items during the medieval period, and surviving artworks show that this particular scene was regularly portrayed during the 14th and 15th centuries, in a variety of media. St. Martin was a French soldier in the fourth century, who in an act of kindness cut his cloak in two and handed a beggar a portion of it at the gates of Amiens. Examples of this scene exist in not only religious institutions throughout the world, such as a piece carved in pietra serena in Nova Scotia, but in important museums including the V&A and the Cleveland Museum of Art.

An original advertising poster 'The Derbyshire Advertiser Art Supplements', by Wellesley A Parker, copyright photos of Old Derby by Keene Ltd Derby, inset within modern frame, 89x109cm

A modern nickel-plated desk lamp in the Art Deco style, the oval shell design shade on curved arm 53cm high supported on a stepped oval base,

After Mucha, Art Nouveau style print, modern, 57 x 43cm and another print, Moet & Chandon, (2).

Modern bronze of Art Deco style semi clad dancing lady on marble base, 56cm diameter

A collection of silver jewellery comprising modern art earrings, a silver book mark or paperclip and a suite of 925 white stone and amethyst earrings and brooch (6)

* RYAN MUTTER,THE LAUNCHoil on canvas, signed 120cm x 100cm Framed. Note: Born in 1978, he studied at the Glasgow School of Art, where he graduated in 2001. He has now won many distinguished awards, including four from the Royal Glasgow Institute of Fine Arts.His inspiration comes from Britain's industrial heritage and its connection between man and the sea. In Glasgow alone shipbuilding provided work for 70,000 men in more than 50 yards spread along 11 miles of quayside. But today these yards sit empty, a shadow of their former self. The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant. This is what drives Ryan as he looks to capture and remind people of how important this work force was in the development of the modern world.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), SELF PORTRAIT, HOGMANAY, 1968 oil on board, signed, further signed, titled and dated 1968 verso 92cm x 122cm (approx 36 x 48 inches) Framed Provenance: Exhibited Germany, Kunsthalle Jesuitenkirche, Aschaffenburg, John Bellany - a Scottish Odyssey, Sept. 2006. Previously offered by Bonhams (Edinburgh) 19th April 2012, lot 121 with estimate of £50,000 - 70,000. (http://www.bonhams.com/auctions/19863/lot/121/) Note: "Self Portrait, Hogmany, 1968" was painted shortly after Bellany's traumatic but inspirational visit to Buchenwald. Note: It is well documented that Bellany used hardboard until 1969. ''In 1969 Bellany painted his second triptych Homage to John Knox. It brought together the principal themes in his work at the time and was heavily influenced by Max Beckmann's painting Departure. This was the last time Bellany painted on hardboard. He now began painting on canvas, which he found frustrating for the first six months until he got used to the 'tooth' of the surface. The change altered his technique. His use of glazes and meticulous handling were replaced by a more modern and overtly expressionist style'', These early Bellany oil on boards are relatively rare and invarably command a premium at auction. "Self portrait - Hogmanay was painted towards the end of Bellany's time at the Royal College of Art. Several new and important motifs can be seen in the painting, the parrot, the skeleton and the element of self portraiture. Bellany always had plastic parrots dotted around his studio. The exaggerated beak is a theme repeated by Bellany with seagulls and puffins in later works. Around the time of the painting Bellany went to Germany with friends, the artist Alexander Moffat and poet Alan Bold, where they visited artists on the east side of the Berlin Wall, an experience that was to prove a useful lesson in social realism for all three. While they were there they went on a tour of Buchenwald concentration camp. John Bellany's work is included in many of the world's great collections including the Museum of Modern Art, New York, and Tate Britain, London.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013),TSUNAMIoil on canvas, signed150cm x 119cm (approx 60 x 47 inches)Framed.Note: Of the 2004 Indian Ocean tsunami Bellany said: "It had a devastating effect on me as it did on everybody. But I was seeing these horrible images so often on TV that eventually nothing was going in. "The first two or three times, I was in a terrible state, but after a while I was numbed by them. "They seemed to lose their power, which is terrible. The only thing I could do was to paint." For Bellany, the son of a fisherman who was born and brought up in the seaside village of Port Seton, East Lothian, the images of devastation in the coastal areas had a special resonance. In search of peace and quiet, the artist retreated to his house in Tuscany, Italy, where he spent an intense fortnight painting a number of large canvases. Bellany, brought up in a strict Calvinist family, and whose work remained deeply influenced by religion, said: "The pictures from the TV got into my system, into my soul, and it was like these paintings brewed in me, and then I put them out." He added: "I painted the pieces very quickly. The intensity carried me through." Bellany was reluctant to provide an exact commentary on the paintings, preferring that the images be allowed to speak directly for themselves. But the impact and the destruction that the tsunami caused is clear. Survivors stare out of the canvas, while a father holds a tiny baby in his arms, the body limp as though asleep. In the background, fishing boats lie on their sides, thrown by the force of the wave inland on to the beach, while the human cost is seen in bodies wrapped in cloth and tied tight with a clothes line. In the distance, a blue streak of sea acts as a constant reminder of nature's destructive power. The artist said: "Although the tsunami was utterly horrific, one of the greatest tragedies the world has ever known, there was a poetry in what happened. The way those people dealt with it, the dignity of those who survived it, the grace with which they held their children, I was tremendously impressed by all of that.Bellany's work is included in some of the world's great collections including the Museum of Modern Art, New York, and Tate Britain, London.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013),FISHERWOMAN, PUFFIN & BASS ROCKoil on canvas, signed91cm x 91cmFramed.Note: Bellany’s work is included in some of the world’s great collections including the Museum of Modern Art, New York, and Tate Britain, London.

A modern Art Deco style mirror, depicting nude women amongst feathered decoration, 56cm high x 33cm wide

Four modern art glass vases, large press moulded green glass of baluster shape flared neck large dimpled body, large straight sided green vase with applied and trailed white, yellow and black decoration, polished pontil to base, two hand blown clear glass vases with brown smoke twists within, rough pontils to base. 19cm -31cm high. (4)

Approximately 180 Early XX Century Postcards. Regularly the cards have humorous themes with animal interest subjects abound art. In a modern album.

§ Martin Bradley (British, b.1931) Totem signed lower right "Martin Bradley" poster paint on hand-made and hand-blocked paper, unframed 93 x 63cm (36 x 25in) Provenance: Victor Musgrave, Gallery One Victor Musgrave (1919–1984) was a British poet, art dealer and curator. Described by David Sylvester as a 'true pioneer', Musgrave was the first gallerist to show Bridget Riley's work and he was a champion of Art Brut. Musgrave ran 'Gallery One' between 1953 and 1963 - first in Litchfield Street, then moving to D'Arblay Street in Soho. The gallery gave Yves Klein his first solo exhibition in London and also presented work by Fluxus artists. In the 1950s, he had several exhibitions of work by Francis Newton Souza. Other Notes: Martin Bradley was born in London. He attended St Paul's School, but ran away to sea aged 14, serving as a cabin boy. He held his first solo exhibition in 1954 at Gimpel Fils, subsequently exhibiting at Gallery One, owned by Victor Musgrave, and the Redfern Gallery in London. In the early 1960s he exhibited at the Rive Gauche Gallery in Paris. Bradley is known for abstract and symbolic artworks influenced by the calligraphy of China and Japan, as well as Buddhism, to which he converted. Bradley's works are held in the Tate Gallery collections, London, and the Museum of Modern Art in New York. His works have been collected by Dame Barbara Hepworth, Sir Roland Penrose and Sir Herbert Read, and he has exhibited at the Paisnel Gallery in London. Unframed and needs flattening.

An Art Deco style bronzed group, of greyhounds, on a marble plinth, 43 cm wide Condition report Modern

BURY, Lieut. -Col. Viscount (ed.), Manual of Rifling and Rifle Sights (1864); CHURCHILL, Robert, Game Shooting (1955); COURTNEY, Andrew, Muzzle Loading Today (1981), two copies; CURTIS, W.S. (introduction), An Essay On Shooting (1975); DUKE OF BEAUFORT, K.G. (ed.), The Badminton Library of Sports and Pastimes, Shooting: Moor & Marsh (1909); DUKE OF BEAUFORT, K.G. (ed.), The Badminton Library of Sports and Pastimes, Shooting: Field & Covert (1920); GORCOCK, Jeffrey, Grouse Shooting Made Quite Easy (1998); HASTINGS, Macdonald, The Shotgun (1981); HEATON, Henry William, Notes on Rifle-Shooting (1993); LANCASTER, Charles, An Illustrated Treatise on the Art of Shooting (1906); MATTHEWS, Paul, The Paper Jacket (1991); "PURPLE HEATHER", Something about Guns and Shooting (1891); RUSSELL, Lieut. Alex, The Illustrated Handbook of Rifle Shooting (1989), two copies; WALSH, J.H., The Modern Sportsman's Gun and Rifle in Two Volumes (1988), two volumes (17)

**A COMPOSITE SOUTH GERMAN FIELD ARMOUR, PARTLY NUREMBERG, CIRCA 1550-60 comprising burgonet with one-piece skull boxed in six vertical panels and rising to an acute central point, fitted at its brow with a broad rounded peak attached by pivots (replaced) having radially-fluted domed heads, at its flanged rear edge with an obtusely-pointed neck-guard (associated) formed of one lame embossed to simulate two, and at each side with a hinged cheek-piece fastened to its mate at the chin by a pierced stud and swivel-hook (the latter replaced), decorated at its centre with a six-sided pyramidal boss enclosed within a circle of ventilation-holes, and flanged outwards at its lower edge (patched in the case of the right one) to receive a neck-guard matching that at the rear; collar of four lames front and rear opening at the right of the neck, the lowest rear lame fitted at each side with a hinged stud for the attachment of a pauldron, and the lower edge of the front edge struck with two dots between an 'X' and an inverted 'V'; breastplate with a medially-ridged main plate projecting forward over the belly, struck just below the centre of its shallow neck-opening, between an 'X' and a 'V', with a maker's mark consisting of an escutcheon containing the initials 'CL' over a plane leaf, and fitted at each arm-opening with a moveable gusset, at the right of the chest with a folding lance-rest attached by two screws inserted internally, and its lower edge with an upward-overlapping waist-lame flanged outwards at its lower edge to receive an associated fauld of three lames suspended on a later pair of hasps, and cut at the centre of the lowest of them (associated) with a shallow arch separating a pair of tassets each of four lames; matching backplate struck at the centre of its broad nearly straight neck-opening with the same marks as recorded on the breastplate, and flanged outwards at its lower edge to receive a culet of two lames; spaudlers each of eight lames (the first two associated and reworked) that extend down to the elbow where they connect by means of internal leather to a large couter, shaped to the point of the elbow and open at its rear, and a tubular lower cannon (associated) with a medially-ridged outer plate; besagues of circular form (restored) each rising at its centre to a six-sided pyramidal boss issuing from a low-relief trefoil; fingered gauntlets, medially-ridged and boxed at each side, each formed of a moderately long flared and pointed cuff struck with the quality-control mark of the city of Nuremberg and fitted with a separate hinged inner plate, six metacarpal-plates, a knuckle-plate decorated with a roped transverse rib, a shaped finger-plated and scaled finger and thumb-defences, the latter attached to the inner end of the last metacarpal-plate by a lateral hinge; cuisses, each formed of a long gutter-shaped main plate, medially ridged and boxed at each side, and fitted at its convex upper end with an extension-plate, and at its lower end with a winged poleyn of four lames; and greaves each of full-length tubular form (composite and patched at some points), made of two plates opening at their outside, the rear one cut at the heel with a large slot to accommodate a spur, and the front one cut at its lower edge with an arch to accommodate a round-toed sabaton of ten lames (restored using old metal); the main edges of the armour formed with roped inward turns largely accompanied by recessed borders blackened with modern black paint, and the left of the breastplate and the front of the collar etched in modern times with a coat of arms surmounted by a crested pair of barred helms; the whole accompanied by an assortment of mail gussets; a pair of modern spurs with rowels of six point; a modern crest of wood and simulated leather in the form of griffin painted red, black and gold Provenance American Art Association, 23-24 November 1923, part of lot 251, purchased by The Metropolitan Museum of Art, New York, acc. no. 23.270.1, deaccesioned to Denver Art Museum, 1953