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Hilary Heron (1923-1977) A LEVEL HEADED MAN, c.1965 wood 56 x 29 x 16in. (142.24 x 73.66 x 40.64cm) Purchased at the IELA Exhibition, 1965 by Micheál Mac Liammoir; His sale, Allen & Townsend, 1980; Where purchased by the present owner Irish Exhibition of Living Art (IELA), National College of Art, Dublin, 13 August to 11 September, 1965, catalogue no. 126 (illustrated) Irish Exhibition of Living Art (IELA) 1965 catalogue (illustrated) Hilary Heron was born in Dublin and spent her childhood in New Ross, County Wexford, and Coleraine, County Derry. She was educated privately at home and at Ivory's one-teacher school in New Ross. She attended the National College of Art, Dublin, where she won three Taylor Prizes from the Royal Dublin Society (RDS). For sculpture in wood, limestone and marble she was awarded the first Mainie Jellett Memorial Travelling Scholarship in 1947. In the same year, she went to Italy and France to study Romanesque carving. She was instrumental in founding the Irish Exhibition of Living Art, and first exhibited there in 1943. With Louis Le Brocquy, she represented Ireland at the Venice Biennale in 1956. In 1950 and 1953 she held two solo exhibtions in Dublin at the Waddington Gallery. In the 1950s she began to work in metal. In 1958 she was commissioned by the Irish government to complete work for an Irish exhibit at New York, and in 1960 her first exhibition in England was shown at the Waddington Galleries in London, where she displayed more than thirty works. One English critic saw her work as assimilating exotic styles with a great feel for nature, remarking that ‘she brings something fresh, diverting, and also very genuine to our inbred world of sculpture’ (Neville Wallis, quoted in Snoddy, p. 253). She travelled in Asia, America and Europe, and her works are in many private and public collections, both in Ireland and overseas, including The Irish Museum of Modern Art.

Gerard Dillon (1916-1971) TALKING TOGETHER ink and pastel with collage element on card signed lower left; with various exhibition labels on reverse 19 x 9¼in. (48.26 x 23½cm) Dawson Gallery, Dublin; Private collection '12 Irish Painters', Arts Council of Ireland, New York, 1963, catalogue no. 20; 'Gerard Dillon Retrospective', Arts Council of Ireland, Municipal Gallery of Modern Art, Dublin, 5 January to 4 February, 1973, catalogue no. 75; Taylor Galleries, 2-18 December, 1982, catalogue no. 1

Frank McKelvey RHA RUA (1895-1974) REGATTA DAY, HOLYWOOD, COUNTY DOWN, 1970 oil on canvas signed lower right; titled on reverse 18 x 24in. (45.72 x 60.96cm) Collection of George and Maura McClelland The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.132 as The Kinnegar, Holywood, Co. Down (full page illustration)

Gerard Dillon (1916-1971) HANDS ACROSS THE BORDER woolen tapestry mounted on raw linen 62 x 44in. (157.48 x 111.76cm) The artist's family by descent; deVere's, 30 March 2004, lot 168; Private collection; Morgan O'Driscoll, 28 Aptil 2014, lot 44; Private collection 'Nano Reid & Gerard Dillon', Highlanes Gallery, Drogheda, 6 November 2009 to 10 January 2010 Framed in pitch pine recycled from the pews of Burnfoot Presbyterian Church, Co. Donegal. The earliest documented tapestry of Dillon's is the large work titled Gentle Breeze, now in the collection of Bord Fáilte. Gentle Breeze was begun in 1950 and exhibited three years later at the Irish Exhibition of Living Art (no. 61), where it was widely recognised as the outstanding entry in that year's show. James White discusses the piece at some length in his monograph on Dillon, drawing attention in particular to the element of painstaking manual labour involved in such a project: "Most modern painters and tapestry designers send their cartoons to the great tapestry factories to be woven there, but Gerard started his own in Roundstone, at a time when he ran out of painting materials and perhaps adequate cash; obtaining a large canvas base and able to acquire wool ends in different colours locally, he set out to master the handcraft practised in cottages around the world for many hundreds of years" (James White, Gerard Dillon: An Illustrated Biography, Wolfhound Press, 1994, page 61). Dillon evidently enjoyed the work, for he is known to have executed at least two other tapestries: Island Tapestry (IELA, 1953, no. 9) and the present work, Hands Across the Border. In subject and composition Hands Across the Border is typical of Dillon's consummate creativity; the flattened shapes of the two figures at once intertwine and flare outwards in a decorative design redolent of folk art. White considered the work to "represent Dillon's feeling for his country, a man born and brought up in Ulster yet totally at home in the West of Ireland"

Patrick Swift (1927-1983) STILL LIFE, c.1960-1961 oil on board numbered [104] in red on reverse; with the remains of a portrait on reverse 48 x 30in. (121.92 x 76.20cm) The artist's studio; Private collection; Private Collector Gallery, Cork; Whence purchased by the present owner. 'Patrick Swift 1927-1983', Irish Museum of Modern Art, Dublin 2, December 1993 to 13 February 1994, catalogue no. 43 'Patrick Swift 1927-1983', Irish Museum of Modern Art, Dublin, 1993, no. 43 (illustrated p.72) The exhibition catalogue for the 1993 retrospective situates the present work in the artist's London period from 1955-1962 and notes: Painted in his later sketchy style, this still-life gives a suggestion of light shining in from a window. Swift does not usually attempt to represent the effects of light and shade in a realistic manner, in fact his earlier paintings show his use of light in an arbitrary manner to create particular effects.

AN ART DECO PERIOD OAK TABLE LAMP, CIRCULAR BASE TABLE LAMP AND A MODERN DESK LAMP (3)

A modern art glass perfume bottle of mottle blue design, indistinctly signed, Sutty and dated 2001, a similar perfume bottle and an Austrian oberglas paperweight

A selection of art books, mainly modern, including Banksy, Will McBride, etc.

*JUNE REDFERN,SOUTHERN SHOREoil on linen, signed, titled and dated 2002 verso39cm x 29.5cmFramedLabel verso: Aitken & Dott Ltd, The Scottish Gallery, EdinburghExhibited: The Scottish Gallery, Edinburgh, 'Christmas Exhibition 2002', 30 November - 24 December, 2002Note: June Redfern’s work is widely represented in private and public collections including: National Gallery (London), Leeds Education Authority, Contemporary Art Society (London), Middlesborough Art Gallery, Dundee Art Gallery, Charlotte Englehart Foundation, Bradford Art Gallery, Laing Art Gallery, Kirkcaldy Art Gallery, University of Strathclyde, Michael Peters Group plc, Robert Fleming plc, Arthur Anderson, Texaco plc, Hiscox Holdings, Berkshire Associates, Proctor and Gamble, Spectrum (London), Standard Life, Scottish National Gallery of Modern Art, Aberdeen Art Gallery, Maclaurin Art Gallery, Glasgow Museum and Art Gallery, Lewisham College, Lillie Art Gallery (Glasgow), Paintings in Hospitals, BBC Television and Albertina Museum (Vienna).

* DAVY BROWNTHE WATER OF RENoil on board, dated verso 200661cm x 61cmFramed and under glass. Note: Davy Brown was born in Kilmarnock in 1950. As a young Scottish artist Davy studied at the Glasgow School of Art under David Donaldson and Duncan Shanks. In 1975 he won a modern art scholarship from the Institute of Cultural Affairs in Chicago. This enabled Davy to travel extensively in the USA and Canada. When he returned from his travels he successfully taught contemporary art in Scottish schools. Throughout this time he continued to paint and exhibit his paintings along with other leading Scottish artists in both Scottish art galleries and modern British art galleries further afield. Davy left teaching in 2002 to concentrate on his painting full time. Over the years his paintings, with their very distinctive style, have consistently grown in popularity. For much of this time Davy Brown paintings have been inspired by his love of the Scottish landscapes.

* JAMES HOWIE (SCOTTISH 1931 - 2011), ESTUARY oil on board, signed and dated 1990-1991 verso 122cm x 150cm (approx 48 x 60 inches) Framed Provenance: Acquired The Bruton Gallery, May 1991 by the current owner. A copy of the sales invoice is available to the purchaser. Note: When in 1982 the renowned Glasgow artic critic Denys Sutton was invited to choose the finest 25 painters of the 20th century his choice included Augustus John, Graham Sutherland, Francis Bacon and a comparatively unknown Dundonian, Jimmy Howie, who eschewed the conventional art scene. Later that year John Schlesinger made a television programme about him in which Howie explored his attitude and relative lack of commercial success: ''Either one paints as a vocation or as a career, it is probably impossible to mix the two.'' Howie was later offered and refused a chair in a leading Scottish art college on the grounds that the teaching would interfere with his painting. Jimmy Howie was born in Dundee in 1931, the son of a printer at DC Thomson, and he loved the city dearly. He attended the Harris Academy and then the city's college of art, where he concentrated on learning complex techniques in glazing. After two years of national service, latterly as a sergeant running an educational facility in Liverpool, he spent time in Ibiza and then in an advertising agency in Jamaica and worked for a while as a gesso boy - preparing canvases with glue and chalk - in London, learning in particular the art of canvas stretching and frame making. In 1983 when he spent a year on the waterless Spanish island of Formentera where he mixed his own paints, made his own gesso from rabbit skin and chalk and experimented with traditional glazes. His signature works were large canvases with colours drawn from the soft pallet of the semi-wilderness but often with large dark areas for contrast. Some termed these works gloomy and introspective but their ambers often glowed and their greens shone and others felt that they seemed to turn up the volume on life itself. Such works sold well. He was widely praised by many and would usually hold one show a year, though he only produced around half a dozen works a year, and refused to play the ''art game''. He was happier sitting in his studio in Dundee listening to a test match as he reworked, yet again, one of his masterpieces, than being out at art parties and never made nearly as much money as he might have. He made no pretence of his almost biological need to paint, and more than once compared it to his other great need - to dance. But Jimmy was no mere unworldly artist for he was well read and politically aware and, although naturally cheerful, he was furious at some of the art initiatives that came to Dundee due to what he once termed the ''dodgy men in silly glasses sent to put us right''. Public collections include Glasgow University, Dundee Art Gallery, The Scottish Arts Council & The Scottish National Gallery of Modern Art.

* GEORGE DEVLIN RSW RGI RBA ROI ARWS FRSA (SCOTTISH 1937 - 2014),ARRANGING THE FLOWERSoil on canvas, signed61cm x 66cmFramed and under glass.Artist's printed label verso with title, price of £4750 and artist's address of Rosebank, 6 Falcon Terrace Lane, Glasgow.Note: Works in National Collections Scottish National Gallery of Modern Art; National Portrait Gallery, Edinburgh; Scottish Arts Council; Aberdeen Art Gallery; Lillie Art Gallery, City of Dinan, France. Corporate Collections inlude De Beers (South Africa and Switzerland); Robert Fleming Holdings; Dutch Water Board; London Stock Exchange; Arthur Andersen and Co; Scottish Television; Univerities of Leicester, Glasgow and Strathclyde, Essex, Dunbartonshire, Argyll and Tayside; Edinburgh City Collection; Royal Bank of Scotland; Clydesdale Bank; Lloyds TSB; Bank of Scotland; J. O. Hambro; Mason Owen; Dunedin Trust Management; Dunfermline Building Society; Argyll Group; Scottish Friendly Society; United Distillers; Teachers Whisky; Edrington Group and Clan Donald Centre; Cunard (QM2), Dunbartonshire Educational Trust.

* JOSEPH DAVIE,HEROoil on canvas178.5cm x 150cmFramedNote: Joseph Davie was born in Glasgow in 1965. He studied at Glasgow School of Art during the 80's, when testosterone and figurative painting seemed to go hand in hand. What is so different about Davie is the subtlety and ambiguity of his work. Georgina Coburn (the freelance arts correspondent) has described his work as lyrical, enigmatic, edgy, dreamlike and compelling. She writes : ''Gently provocative Davie delights in the surreal juxtaposition of ideas and materials. The meeting of contradictory characters, cultures or visual elements such as colour, pattern or form, create intriguing dialogues in his work. Davie's wonderfully ambivalent zinc and copperplate etchings, watercolours, oils on canvas and mixed media works inspire an imaginative response. His whole approach to the figure is brilliantly subdued and refreshing. He conveys a sense of the monumental and iconic not through obvious physical scale but in terms of human aspiration.'' His work is in numerous public collections including Glasgow Museum of Modern Art, The Kelvingrove Museum, Historic Scotland and the BBC.

* PETER HOWSON OBE,CROWN OF THORNSoil on canvas, signed60cm x 44.5cmFramedLabel verso: Flowers East, LondonNote: Peter Howson has established a formidable reputation as one of his generation's leading figurative painters. Many of his paintings derive inspiration from the streets of Glasgow, where he was brought up. He is renowned for his penetrating insight into the human condition, and his heroic portrayals of the mighty and meek. His art is described by Robert Heller as "founded in Humanity, especially the human face"Howson was born in London in 1958. He studied at Glasgow School of Art from 1975 - 1977, and returned in 1979 to complete a Masters degree . In 1985 he was made the Artist in Residence at the University of St Andrews and also a part-time tutor at Glasgow School of Art. In 1992 he was commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia . He was appointed official British war artist for Bosnia in 1993 and a few years later in 1996 was awarded Doctor of Letters Honoras Causa, University of Strathclyde. In 2011 Howson completed a dramatic rendering of the martyrdom of St John Ogilvie for the renovated St Andrew's Cathedral in Glasgow. The two year process of working on the commission was the subject of a major BBC documentary. Howson was appointed Officer of the Order of the British Empire (OBE) in the 2009 Birthday Honours for sevices to the visual arts, and in early 2014 he completed a 300 mile walk in order to raise awareness of autism.His work is represented in numerous public collections including The Metropolitan Museum of Art and The Museum of Modern Art (MOMA), New York; the Tate Gallery, London; the Victoria & Albert Museum, London; the British Museum, London; The Imperial War Museum, London; The Gallery of Modern Art, Glasgow; and The Scottish National Gallery of Modern Art, Edinburgh.

* LEON MORROCCO RSA RGI,TWO PORTRAITS IN A MIRRORoil on board, signed and dated '68, title and artist's address inscribed verso104.5cm x 120cmFramedLabel verso: The Scottish Gallery, Edinburgh. Stock no 4899.Note: Leon Morrocco RSA RGI (b.1942) is a highly skilled draughtsman whose paintings in oil, gouache and pastel, feature landscapes and still lifes inspired by his travels to Spain, France, South America and Australia.Leon Morrocco was born in Edinburgh in 1942, the first son of the artist Alberto Morrocco. He studied at Duncan of Jordanstone College of Art, Slade School of Art in London and Edinburgh College of Art. In 1968 he won an Italian government scholarship to study at the Accademia di Brera in Milan. He was lecturer in Drawing and Painting at Edinburgh College of Art from 1965 to 1968, and then at Glasgow School of Art from 1969 to 1979. In 1979 he moved to Australia as Head of the Department of Fine Art at the Chisholm Institute in Melbourne. He retired in 1984 to devote all of his time to painting. In 1991, he returned permanently to Britain. His work can be found in many notable public and private collections, including the Scottish National Gallery of Modern Art, H.R.H Princess Margaret, Leeds Art Gallery, The Nuffield Foundation, The Scottish Arts Council, Lillie Art Gallery, the Australian Government Collection, Queensland Art Gallery and numerous prestigious corporate collections.

* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (b.1958),BATHERSpastel, signed55cm x 74cmMounted, framed and under glassNote: Note : Adrian Wiszniewski was born in Glasgow in 1958. He studied architecture at the Mackintosh School of Architecture and then attended Glasgow School of Art from 1979 to 1983. He belongs to the group of Glasgow based artists known as The New Glasgow Boys (Wiszniewski, Howson, Conroy, Campbell & Currie) who led the revival of figurative painting in Scottish art during the 1980s with the landmark exhibition 'Vigorous Imagination' at the Scottish National Gallery of Modern Art. Wiszniewski's work can be found in major private, corporate and public collections around the world including M.O.M.A. (New York), The Tate (London), The V&A (London), Setegaya (Tokyo) and The Scottish National Gallery of Modern Art.

An art nouveau gilt metal mantel clock fitted with modern quartz movement – case a/f..

Modern mahogany barometer together with 2 leaded glass wall lights in the Art Deco style.

WARING (J B): 'Masterpieces of Industrial Art and Sculpture...', London, Day & Son, 1863, 3 vols, large folio, deluxe edition in full red morocco gilt lettered, aeg, contained in modern solander box: numerous fine chromolithographed plates and titles. (3)

L. CAMERANO E MARIO LESSONA "Prime Nozioni", Ottava Edizione, published Milano, 1882 together with J. D. GUIGNIAUT "Religions de l'Antiquité", published Paris 1838, four volumes (6,7,8 & planches), M.G. LEVI "Dizionario Classico di Medicina", published 1840 and four further books published in French and Italian(Provenance: the property of the Raymond Barker family late of Fairford Park Gloucestershire) CONDITION REPORTS The Art Gymnastic books both are modern re-prints circa 1960. The spines have some wear and ripping to the leather and the card covers are bowing. Insides have general wear and tear conducive with age and use.

Art Deco diamond set necklet with five suspended oval drops set with rose cut diamonds, modern box

Large box of modern hardbacks on Graphic and Impressionist Art, various subjects on Antiques etc.

Valuable box of modern works principally on art from around the world

Modern art oil and ink on paper by artist Simon Mouncey entitled 'Angel Food'

Modern art oil and ink on paper by artist Simon Mouncey 2016 entitled 'Complicity'

A pair of Moser iridescent specimen glasses; a modern Daum leaf dish; an Art Nouveau vase by Powell; other glassware

Art History - Ruskin (John), Modern Painters, John Wiley & Sons, New York 1878-1879, volumes I, II, IV and V only, quarter-calf, octavo; The British Schools of Art: A Selection of Examples Engraved In Line By Eminent Artists, Descriptions by H. Murray, F.S.A., Virtue and Co., London [1872], green morocco, the covers embossed and gilt with putto emblematic of the arts, folio; The Magazine of Art, Cassell Petter & Galpin, London [c.1889], full period green leather, octavo [6]

Art History - Ruskin (John), Modern Painters, second edition, George Allen, London 1892, five-volume set, full vellum bindings, further embossed with meandering gilt tendrils, the spines conforming with blue leather title labels, large 4to; General Index, Bibliography and Notes bound en suite, George Allen, London 1888 [6]

†STANISLAUS SOUTTEN LONGLEY, RBA, RI (1894-1966) A TENDER NIGHT signed, inscribed on a label with the title and price £35.15.0 on the backboard, watercolour, 39.5 x 33cm Exhibited: The Fine Art Society Ltd, London 1935. ++In good condition in modern frame as when acquired from Savage Fine Art Nothampton

Two boxes of assorted modern studio and art pottery to include bowls, chargers etc

An interesting collection of books and pamphlets mainly relating to 20th century art including Ciaran Lennon, collection of Penguin modern painters series book, Anthony Whishaw related material, etc

DAVID LAN-BAR, (Polish, 1912-1987) 'Untitled' oil on canvas, with Museum of Modern Art label and inscription verso, 97cm x 130cm, framed.

An early 20th century silver mounted glass decanter and stopper, London 1928, 31cm tall, together with a modern silver decanter label, an ornate silver plated salver, 30cm diameter and an Art Nouveau silver plated and glass centrepiece, 31cm wide (4)

Lorna Bailey - a hand painted modern art picture by Lorna Bailey, mounted and framed in a good quality modern frame, image size 37.5 cm x 27 cm, signed by the artist lower right. Estimate £250 - £350

Two modern bangles including a red Art Deco style marked 'Monet'

A rare Miniature Room set in the style of Josef Hoffmann and Koloman Moser’s Viennese Succession movement, circa 1908, the wooden (probably birch) cube with double hinged lid and lift-out front panel held closed by hooks and eyes, the exterior decorated with geometric stencilled star pattern fitted with two pairs of black, hinged, window shutters and a turned wooden bell-push as light switch to right side. Interior walls painted in orange with yellow and black chequer and dot frieze. Ceiling with hanging lampshade of strings of green glass beads with light wired to battery compartment wardrobe. Floor with chequer patterned carpet in beige and black. Suite of wooden furniture all painted in grey with white dot border decoration comprising wardrobe with bevel glass mirror door, bed with pillows, mattress, embroidered sheet and blanket with black and green geometric patterned sides and green bobble decoration, bedside pot cupboard and planter, dressing table with metal looking glass, square box table and two stools, two seat sofa with embroidered cushions,  two arm chairs with embroidered cushions and seated bisque doll wearing black and white chequer dress , blue card folding screen with hand-painted, white, green and black geometric decoration, two plain white ‘sheer’ curtains hung on metal rings on curtain rail. Walls decorated with two hand painted pictures (woman with cat and winged angel – the latter slightly reminiscent of Gustav Klimt’s painting ‘Hoffnung II’), two embroidered pictures and one bevel glass mirror, all in metal frames hung by cord, 8 5/8x8 5/8 x 8 5/8 inches (22x22x22cm). History and Provenance: At the end of the 19th century young progressive artists in Vienna set up the break-away movement known as the Secession. Amongst its prominent members were the architect Josef Hoffmann (1870-1956) and the designer Koloman Moser (1868-1918). Both were ‘admirers of English applied art; the mood in the world of Viennese applied art around 1900 was Anglophile and progressive’. Work of the British designers, C.R. Ashbee and C.R. Mackintosh who were viewed as the inheritors of the Ruskin-Morris tradition, featured in their 1900 exhibition and influenced subsequent design developments in Vienna. Ashbee’s work was exhibited regularly in Vienna during the first decade of the 20th century. In 1903 Hoffmann and Moser founded the “Wiener Werkstätte, Produktivgenossenschaft von Kunsthandwerkern in Wien” after Hoffmann had been to England and very probably visited Ashbee’s socialist co-operative, “The Guild of Handicraft”. ‘The declared aim of the Wiener Werkstätte was to vanquish the evils of machine manufacturing and the mass production to which it had given rise. It also wished to re-establish direct contact between consumer and producer.’ Artists wished to unify art and life and interior design offered the opportunity to put this into practice. One of the most notable examples was the Purkersdorf Sanatorium designed by Josef Hoffmann and Koloman Moser in 1904-1906 – ‘a synthesis of form and function, of aesthetics and economy, of the outer form…and the activities pursued within’ – where contrasting squares of colour occur throughout. The use of chequered patterns became a sort of Hoffmann trade mark and they featured again, for example, in his design for the Cabaret Fledermaus in 1907. In 1908 Hoffmann designed the exhibition pavilions for the Kunstschau in Vienna that featured the work of Gustav Klimt and his followers as well as the Wiener Werkstätte. Within that exhibition was a special hall, room 29, which was devoted to Kunst für das Kind (Art for the child) and included a number of dolls houses designed and made by students at the Kunstschule für Frauen und Mädchen under the direction of Professor Adolf Böhm. So far it has not been possible to establish whether the doll’s roomset offered here was actually one of those exhibits but it was undoubtedly inspired by and made as a tribute to the work of Josef Hoffmann and Koloman Moser at around this period. It was acquired by the English furniture designer and retailer Ambrose Heal and found its way to England. The period at the turn of the twentieth century was exactly the time when Ambrose Heal (1872-1959) was at his most productive and in contact with the latest design developments across Europe. Before he had set up his own cabinet workshops, his very first bedroom suite designs were manufactured by C.R. Ashbee’s ‘Guild of Handicraft’ in 1897. Ambrose Heal (he was knighted in 1933 and elected a Royal Designer for Industry in 1939) was the man who was responsible for establishing the high design standards for which the Heal family furnishing business in London became known. He had begun using chequer patterns in his designs as early as 1900 but from 1902 it featured prominently not only on furniture but as a border to the company’s advertising. He would therefore have followed with interest its subsequent adoption and development by Hoffmann. Another interesting parallel is that from 1908 onwards Heal’s began to specialise in children’s furniture so that they were invited to furnish an ‘Ideal Modern Nursery’ at the ‘Children’s Welfare Exhibition’ held at Olympia in 1912. An inventory carried out in  February 1914 at Ambrose Heal’s home, ‘The Fives Court’, Pinner, by Maple & Co. for the purpose of insurance, listed under the contents of the drawing room “Viennese small wood dolls house & toys £2 2s 0d”. It has remained in the family ever since.

Modern Diecast, cars, buses, industrial and commercial vehicles by Corgi, Triumph, Dinky, Lledo and others, including an Art Model ART158 Ferrari 275 P Le Mans 1964, Bizarre BZ083 Cooper Monaco 22 Ecurie Ecosse LM61 and a Corgi 19302 Bedford S-Weetabix, in original boxes, VG-E, boxes F-E (30)

MODERN ART, to include Tessa Beaver signed limited edition print 11/200, approximate size 53.5cm x 40cm, abstract watercolour, limited edition 'Initiative' 197/200 print J Williams, oil on paper, etc (5)

Two items of small silver, to include a modern pill box and an Art Deco style silver tea strainer, Sheffield

A modern Art mottled type glass lamp base, in the manner of Daum, unmarked, 50cm high

Two boxes of assorted books, mainly antiques and fine art to include Collecting Miniatures, Ruskin Pottery, Victorian Painters, British Prints, Modern and Contemporary Prints etc. (2)

PHILLIPS, Ceramic Art, silks, medium & standard silks, duplication, in modern album, fraying, FR to VG, 350*

POSTCARDS, modern selection, UK & foreign, in modern slip-in photo albums and loose, inc. Holland, USA, Spain, Canada, Bolivia, Norway, Greece, Berlin, Switzerland, Ireland; Devon, Yorkshire, Kent, Derbyshire, Scotland, Norfolk, Guernsey, Cambridge, Pembrokeshire, Wales, Cornwall, Somerset, Dorset; views, resorts, animals, buildings, scenic, St. Sc., interiors, lakes, sea views, art, castles etc., G to VG, Qty.

A modern silver mounted easel photograph frame; together with an Art Nouveau style example (2)

A modern Waterford cut crystal easel photograph frame, 22 x 17cm; together with two Art Nouveau style silver plated examples (3)

A box of miscellaneous metalwares to include; Art Nouveau pewter tray, modern cased cutlery, pewter tankard etc

A collection of books related to art, pottery and glass etc to include - Modern Art Now, Art of the Modern Potter, Art of Noir, Glass Network magazines

*Hill (21017 Private P.J.). A group of 29 drawings, circa 1915, a total of 22 watercolours and 7 pen and ink drawings on 23 sheets, including portraits of Tommys, billets in Cromwell Gardens, 'Chalk pit' guardroom, sailing boats on the Thames, studies of groups of soldiers, etc., 12.5 x 17.5 cm, all but one sheet in modern mounts Hill studied at Lambeth School of Art, St Oswald's Place, Upper Kennington Lane. He served with 36th Company (D), 20th City of London Battalion of the County of London Regiment). (1)

*WWI Art. A large collection of photographs and prints of First World War interest, including 4 lithographs by Captain Gerald Spencer Pryse, 6 colour woodcuts by Maurice Busset, 3 etchings by Private William H. Mulready Stone, groups of prints taken from 'British Artists at the Front', after artwork by C.R.W. Nevinson, Paul Nash, Eric Kennington, many prints in modern mounts, various sizes (approx. 100)

Motor Car and Coach Painting by Charles Oliver, 244pp, 1924. The editorial includes advertisements and Durus Enamels colour charts. Also, Private & Commercial Motor Body Building by H. J. Butler, 248pp, 1932 and Modern Motors, (their construction, management & control), a four volume set by H. Thornton Rutter, c1927. The best quality of the 1920s encyclopaedic sets, with easy style text and excellent photographs and line drawings of vintage period vehicles and good quality art paper. Everything bound in blue cloth with gilt titles to the spines and front covers, some rubbing and scratching otherwise sound. (6)

A modern Art Deco style aqua marine and diamond dress ring, having rectangular cut light blue stone in four claws above brilliant cut set shoulders on an 18ct gold band, approx. 3.6g and size N

A pair of modern 14ct white gold and diamond earrings, in the Art Deco taste, having a sweep of brilliant cuts and centred with a larger example, approx. 3.2g (2)

A collection of vintage pocket and wristwatches, including a 9ct gold cased Art Deco lady’s example, a modern gent’s Tissot, a rolled gold half hunter, a continental silver lady’s pocket watch on silver chain and others, AF (parcel)

Album of Contemporary Postcards and Framed Collection of Late Edwardian Greetings Cards. Small landscape orientation album with over 60 assorted modern postcards of various genres including fine art, erotic art, illustration etc. Also a small framed collection of 9 mixed greetings cards, various subject matter.

Ladies Bulova Art Deco Design Automatic Watch with gold plated and steel case. Silver sunburst dial with gold hands and batons/ numerals. Automatic 23 Jewel Swiss movement. Comes on modern leather strap. Cosmetically good, at time of lotting appears to be in working order.

Art Nouveau Tiffany Style Modern Table Lamp; Naturalistic bronze Patinated support. Beige opalescent leaded shade. Height 21''

Art Nouveau Tiffany Style Modern Standard Lamp; Reeded bronze support. Beige opalescent leaded shade. Height approximately 6ft.

A BOXED MODERN REPRODUCTION SCHUCO EXAMICO 4001 CAR, complete with key and instructions, with an unboxed Gaiety Castle Art diecast clockwork Morgan three wheeler car, missing rear wheel, steering wheel and key, with an unmarked white metal kit built model of a racing car, requiring restoration, may not be complete and a modern reproduction cast copy of a Barclay Monoil WW1 soldier riding a motorbike

A LARGE SELECTION OF MODERN ART GLASS VASES, BOWLS, JUGS ETC (22 APPROX)

A PAIR OF FRAMED + GLAZED MODERN ART PRINTS