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Khoroche (Peter). Ivon Hitchens, new edition, 2007, numerous colour illustrations, original cloth in dust jacket, covers slightly faded, 4to, together with Levy (Mervyn), The Paintings of L.S. Lowry, Oils and Watercolours, reprint edition, 1977, numerous colour and black and white illustrations, original blue cloth in dust jacket, spine faded and slightly rubbed to head, 4to, and other modern art and illustrated reference and related, mostly hardback publications, many original cloth in dust jackets, 8vo/4to (3 cartons)

A suite of Art Nouveau-style 9ct yellow gold and opal jewellery Comprising an openwork pendant and chain, and pair of matching drop earrings, modern, total combined weight approx. 25gms.

A Lalique circular plate, of large form, etched signature to base, decorated with moulded Art Nouveau style flowerheads, 36cm diameter CONDITION REPORT: Lot 25 - It looks to be signed J or S Lalique, the initial could be either, and then there is a indistinct signature beneath which looks to begin with a 'Gu...'. It is a modern Lalique model, not an early example.

CABINET PICTURES BY MODERN PAINTERS, published by Joseph Cundall, 1862, 'Modern Artists' by F. G. Dumas, published by Virtue and ' Art and Letters an Illustrated Monthly Magazine' conducted by J. Comyns Carr, Volume I 1881-82, together with various volumes of engravings published for The Royal Association for Promotion of the Fine Arts in Scotland, including 'Tam O'Shanter' by Robert Burns, 1855, 'The Dowie Dens O'Yarrow' illustrated by J. Noel Paton, 1860 (2), 'Six Engravings', 1863, 'Six Engravings in Illustration of Rob Roy', 1868, 'Six Engravings in Illustration of the Lady of the Lake', 1868, 'Six Engravings in Illustration of The Antiquary', 1867, 'Six Engravings in Illustration Of Old Mortality', 1869 (2), 'Six Engravings in Illustration of The Fair Maid of Perth', 1878 (10) (13)Buyers - for shipping pricing on this lot, visit www.cuttlestones.co.uk/shipping Condition Report:Various conditions, some A/F

A SILVER SAUCEBOAT inscribed; a silver napkin ring; a small silver Armada dish; and a modern box with a silver cover in the Art Nouveau style; 278g (8.9 troy ozs) weighable

[PAINTINGS] a miscellany of modern titles on British & Foreign art, includes The State Hermitage (2 vol. boxed set, repr. 2001).

[BRITISH ART REFERENCE] a selection of modern titles; includes Day's East Anglian Painters (4 vols.); McEwan's Dictionary of British Equestrian Artists; and about 30 other 'usual suspects'.

A silver mounted shaped rectangular small photograph frame, Birmingham 1900, a modern silver mounted photograph frame with Art Nouveau inspired decoration, a silver table lighter formed as an oil lamp (the lid lacking), Sheffield 1924, a Primrose League medal, a George III half crown 1819 and two folding pocket knives including one detailed 'Silver Moose'.

[ART, ARCHITECTURE & RELATED] publications mostly of more modern date.

Set of four modern art plaques

FOUR PIECES OF MODERN ART GLASS

'Alan Davie: Drawings' The book with essays by Patrick Elliott etc. Published by the Scottish National Gallery of Modern Art in 1997 Signed by the artist

'Art of the Modern Potter' The book by Tony Birks Published by The Hamlyn Publishing Group in 1976 for Country Life Books Dustcover

'Alan Davie: Drawings' The book with essays by Patrick Elliott etc. Published by the Scottish National Gallery of Modern Art in 1997 Signed by the artist Together with another book about the work of Alan Davie

A Modern metal wall art, a contemporary silvered glass vase and a collection of assorted modern vases , bowls and effects including a mirrored mosaic vase, etc.

A Modern mirrored metal wall art.

Robert Medley (1905-1995) British. "Square Dance", Oil on Canvas, Signed, Inscribed and Dated 1972 on the reverse, 30" x 25". Provenance; Robert Medley Exhibition, Museum of Modern Art, Oxford.

A pair of modern Art-Deco-style leaded-light stained glass windows, each 94.5 x 42.5cm, (2).

* SHEILA MACFARLANE (SCOTTISH b 1943 - ), A VIEW FROM THE WINDOWS OF EDINBURGH SCHOOL OF ART oil on board (circa 1964) 100cm x 120cm (40 x 48 inches) Inscribed on edge of frame. Note: Collections include: The Arts Council of G.B. Oxford University, The Whitworth Art Gallery, University College, Wales, The Kelvingrove Art Gallery, Bradford Art Gallery, Oldham Art Gallery, Atkinson Art Gallery, Fife Education Dept, Bedfordshire County Council, London College of Printing, Croydon College of Design and Technology ,Book Club Associates, London, Wenneger Graphics, Boston.U.S.A. Angus Council, Dundee University, The Scottish Arts Council, The Hunterian Gallery University of Manchester, The Scottish National Gallery of Modern Art. Victoria Art Gallery,Bath, Rochdale Art Gallery, Aberdeenshire Education Dept, Bolton Metropolitan Council. Aberdeen Art Gallery.

* WILL MACLEAN MBE RSA RSE Hon D.Litt (SCOTTISH b.1941), ADAM'S CLAN, FROM 'A NIGHT OF ISLANDS' (1991) etching and aquatint from the edition of 40 signed beneath the backing board 'Will MacLean R.S.A' 74.5cm x 52cm Mounted, framed and under glass Note: Will Maclean RSA, Professor of Painting in the University of Dundee, is one of the outstanding Scottish artists of his generation. He was born in Inverness where his father, a former sailor, was harbour master, and he spent his childhood between Inverness and Skye. His art is rooted in his knowledge of the Highlands, the Highland people and their history and in his own early associations with sailors and the sea. These things make it relevant and immediately accessible, yet it remains uncompromisingly modern in its forms and in its concerns.

GWEN HARDIE, BODY 08.06.13.2 oil on canvas, signed and titled verso 40.5cm x 51cm (oval) Unframed, as intended Note: Hardie is the youngest artist ever to be awarded a solo show at The Scottish National Gallery of Modern Art in Edinburgh, Scotland (1990).Gwen Hardie is represented in many private and public art collections in Britain, Europe and America including two major works in The Scottish National Gallery Of Modern Art. Since moving to New York in 2000, she has shown with The Lennon Weinberg Gallery, Dinter Fine Art and has been awarded Residencies at Yaddo in 2004, 2005 and 2006 in a Bogliasco Fellowship at The Liguria Study Center in Italy. She lived in London between 1990 and 2000 and had 6 solo shows with galleries such as Annely Juda Fine Art, Beaux Arts and Fischer fine Art. In 1997 her painting was awarded a prize at the John Moores biennial, Liverpool and was included in the New British Painting'' which toured America in 1986. Hardie left her native Scotland in 1984 when she was awarded a DAAD Scholarship to study with Georg Baselitz in Berlin. A documentary was broadcast on Scottish Television about her in Berlin in 1987. At Edinburgh College of art she was awarded the Richard Ford Award to study the paintings of Velasquez at the Prado Museum and received a first class honours degree in 1983. '' Three of Gwen Hardie's paintings are currently included in ''REALITY; Modern and Contemporary British Painting'' at The Walker Art Gallery (until 29th November 2015) alongside the work of Walter Sickert, Lucien Freud, Francis Bacon, L S Lowry, Jenny Saville, Ken Currie, George Shaw, David Hockney, Alison Watt, Paula Rego and other important 20th century and contemporary artists.

An Art Deco style ruby and diamond pierced set ring, stamped 18k CONDITION REPORT - Modern 18k only, overall good condition, white gold

A silver bangle, with hammer beaten decoration, a modern Danish silver bracelet, a locket, an Art Deco ring, pearl necklace, a pair of earrings and a stick pin

Dora Gordine (British, 1906-1991), a bronze portrait head of a child, with dark brown patination, mounted to a wooden plinth base, signed by the artist and stamped Valsuani foundry mark, the head alone 20cm high 32 x 14cm (12 x 5in) Literature: Illustrated in Dora Gordine by Brenda Martin. Publ. Bond & Coyne Association 2005. Dora Gordine : sculptor, artist, designer by Jonathan Black and Brenda Martin 2007 Born in Estonia, Dora Gordine (1895 - 1991) achieved critical acclaim in 1926 with her bronze Head of a Chinese Philosopher exhibited at the Salon des Tuileries. She married Richard Hare and in the 1930s they built Dorich House in Kingston, South West London where she lived until her death in 1991. Dorich House is now a museum housing a permanent collection of her work and her husband's extensive collection of Russian Imperial Art. Her work is also on display in Tate Britain and Tate Modern. A modeller rather than a carver Gordine's work engages key themes of portraiture, iconic "racial" heads, and the occasional mask. She was a contemporary of Jacob Epstein and exhibited with him in 1928 at the Leicester Gallery. Baby's Head, one of her pieces at that exhibition, is close in concept to Epstein's earlier models of Baby Asleep. Dora Gordine's work at the Tate reflects her importance as a major presence in 20th century European sculpture.

§ Claire Barclay (British, b.1968) Still Still, 2009 mixed media wall mounted sculpture 120 x 90 x 30cm (47 x 35 x 12in) Provenance: Kettle's Yard, Cambridge Claire Barclay studied at the Glasgow School of Art and lives and works in Glasgow. She is known for her assemblage sculptures that draw upon every day objects. Her work is in Tate Modern, the Glasgow Centre for Contemporary Art; Kettle's Yard, Cambridge; and Jesus College, Cambridge.

Asprey & Co., 'The Thirst Extinguisher', a rare electroplated cocktail shaker, circa 1932, in the form of a period fire extinguisher, the revolving base with eight cocktail recipes, stamped manufacturer's marks with number 3212S and REGD. NO. 833773 38cm (15in) Literature: Simon Khachadourian, The Cocktail Shaker, Wappingers' Falls, NY, 2000, p. 63 Over the last few years the cocktail has become increasingly popular, enjoying quite a renaissance. The origins of the cocktail shaker can be traced back to 7000 B.C. but its golden days were very much of the 1920s and 1930s, particularly after Prohibition when the shaker became the symbol of a good life. They were produced in all kinds of shapes, sizes and form to disguise their true identity including buildings, zeppelins and airplanes. The iconic designs of the 1930s with the perfect mix of form and function have seen the cocktail shaker become a collector's piece; both the Victoria and Albert and the Museum of Modern Art New York have designs on permanent display.

§ Peter Humphrey (British, 1913-2001) Abstract in colours signed lower right "P Humphrey" oil on canvas 67 x 90cm (26 x 35in) Peter Humphrey was a founding member of the Coventry Art Circle along with Harry Norman; the Circle had links with Surrealist painters in Birmingham, and had high-level art critics among their members and developed styles based on cubism, abstraction and other modern movements. In his later years Peter Humphrey himself had an art 'system' based on various lines cutting segments of a circle. We are grateful to Ron Clarke for his assistance with the catalogue entry. Condition appears fine.

§ Tony O'Malley, HRHA (Irish, 1913-2003) Abstract in blue, grey, white and black signed lower right with monogram "OM 1963" oil on board, in a white painted frame 29 x 39cm (11 x 15in) Tony O'Malley is regarded as one of Ireland's leading painters. The Irish Museum of Modern Art displayed a major retrospective of his work in 2005. Perhaps a little dirty but fine.

§ Valerie Thornton (British, 1931-1991) The Guild Hall, Lavenham, Suffolk signed lower right "Valerie Thornton '77" and numbered 39/250 etching and aquatint 37 x 50cm (14 x 20in) Valerie Thornton studied at the Regent Street Polytechnic School of Art from 1950-1953. In 1954 she went to Paris and studied printmaking with the renowned print maker Stanley William Hayter at Atelier 17. Thornton then moved to New York studying at the Pratt Institute. Her first exhibition was held in 1960 followed by shows in England and America. Valerie Thornton loved the churches of East Anglia and in the 1970s made etchings of ecclesiastical and architectural subjects, travelling extensively in France, Italy and Spain. Valerie Thornton's work is in the Victoria and Albert Museum, the Fitzwilliam Museum, Cambridge, and the Museum of Modern Art, New York. Condition appears fine.

Kate Wylie (Scottish, 1877-1941) Still life of Anemones signed lower right "Kate Wylie" oil on canvas 44 x 34cm (17 x 13in) Kate Wylie was a flower painter and her work is in the Glasgow Museums. Born in Skelmorlie, Ayrshire, she painted in oil and watercolour portraits, flower studies and landscapes, and is now best known for her flowers. Kate Wylie trained at Glasgow School of Art and often painted on the Isle of Arran where she had a cottage at Blackwater Foot. In 1942 a memorial exhibition of her work, and that of Janet Aitken and Elma Story, was held at Glasgow Society of Lady Artists. A little dirty - modern frame needs replacing.

§ Peter Rees Roberts (British, 1923-1998) A Panorama of vignettes of Cambridge oil on panel comprising of two equal sized panels 145 x 540cm (57 x 211in) Provenance: Commissioned for Lloyds Bank, Cherry Hinton, Cambridge, in the 1970s. During the 1970s and 1980s Rees Roberts executed murals for several shipping companies including the Norwegian Viking and Cunard lines. He completed murals for Williams & Glyn's Bank in the City, for Lloyds Banks in Cambridge and Farnham, and for hospitals in Ealing and Guildford Peter Rees Roberts was known in particular for his mural works and for his career as a freelance national press artist in the 1950s. He studied drawing and illustration at Wimbledon School of Art from 1939 to 1941. After being medically rejected for war service, be began to study mural painting under Professor Ernest Tristram at the Royal College of Art, which had transferred to Ambleside for the duration of the war. His paintings from the Ambleside years continued the tradition of earlier Royal College mural painting students such as Evelyn Dunbar and Cyril Mahoney. Like Dunbar, Rees Roberts painted scenes of workers in rural industries, his 1942 tempera panels of The Bobbin Mill at Ambleside being his most ambitious and successful work at the RCA. Stanley Spencer was a strong mural painting influence at the time, but Rees Roberts said that he was more affected by the Mexican artist Diego Rivera. His large painting of a gasworks, also from his time at Ambleside, is a stylised composition of men and machinery that has echoes of films such as Metropolis or Charlie Chaplin's Modern Times. While at Ambleside, Rees Roberts met Ursula McCannell, another Royal College student, and they married in 1945. Shortly before their meeting, Ursula had made a stone head of a handsome man with strong aquiline features - rather prophetically it could almost be a portrait of him. Rees Roberts in turn painted a tempera panel of Ursula in the style of Raphael, a particularly beautiful portrait that marked his feelings for her. After a holiday at Mousehole in Cornwall, they settled in Farnham near Ursula's parents and Peter taught for a while alongside Otway at the Farnham School of Art. After the war, Rees Roberts exhibited at several London galleries including the Modern Art Gallery, the Leger, the Redfern and the New English Art Club. He began to paint more in oils and his pictures, often of Cornish fishermen, became darker and more in tune with the neo- romantic mood of the time. His 1945 self-portrait, The Painter in Mousehole, has a brooding intensity that is reminiscent of the heroic men in Ursula McCannell's early paintings of the Spanish Civil War. The 1948 Picasso exhibition in London made a strong impact on Rees Roberts and his style moved closer to that of his contemporariesRobert Colquhoun and Robert MacBryde. These Cubist-inspired, densely abstracted figurative paintings of the late 1940s gradually became simpler, with an increasingly brighter palette. Through the 1950s and early 1960s Rees Roberts exhibited at the Royal Academy and regularly with the London Group, Unframed. Colours are good. Two holes at the top drilled for fixing.

§ Bernard Meninsky (British, 1891-1950) Garden Flowerbeds signed lower right "Meninsky" pencil, charcoal and watercolour 28 x 37cm (11 x 14in) Provenance: Nora Meninksy and bequeathed to the Contemporary Art Society Louise Kosman Modern British Art, 8 Burgess Terrace, Edinburgh. Condition is fine.

A modern art panel, Roman tessera in style, Art Nouveau wall plaque.

An iittala Karelia glass suite designed by Tapio Wirkkala, comprising; four tall goblets, three smaller goblets, nine footed bowls, and six smaller footed bowls, an iittala Romantica clear glass decanter and stopper designed by Tapio Wirkkala and a collection of iittala clear glass bowls unsigned, 23cm. (decanter) (a lot). Literature Tapio Wirkkala Eye, Hand & Thought Museum of Art & Design Helsinki, 2000, exhibition catalogue, page 312 plate 245 for a comparable example. Provenance Private collection of modern ceramics and glass

A Rosenthal Studioline TAC1 coffee service designed by Walter Gropius, glazed white, comprising; teapot, cover and infuser, milk-jug and sugar basin, six cups and saucers and four TAC2 coffee cups, saucers and side plates with grey decoration impressed marks, 24cm. wide Literature Art Nouveau, Art Deco & The Thirties, Brighton Art Gallery & Museum, page 84 catalogue number 205 for this service in black illustrated. Provenance Private collection of modern ceramics and glass

A Whitefriars Kingfisher Blue glass Banjo vase designed by Geoffrey Baxter, cast in low relief, paper number label to base 31cm. high Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons Richard Dennis Publications, page 139 plate 158 for a comparable Banjo. Geoffrey Beard Modern Glass, Studio Vista, page 98 for a comparable example illustrated.

A pair of Elkington cloisonne enamel vases by Albert Auguste Adolphe Wilms, model no.312, tapering cylindrical from, enamelled with an aesthetic roundel of a white heron and a wading bird on the shore by bull-rush and grasses, on pale blue ground with butterflies, flag iris and stylised flowers stamped Elkington & Co 312 16.5cm. high (2) Literature The Fine Art Society The John Scott Collection Modern English Designers from the 1860s and 1870s, 11th June-3rd July 2014 page 94-95 catalogue number 71 for a comparable vase.

‡ Brian Blow (1931-2009) a patinated bronze panel, signed with felt tip BB to reverse, signed B and dated 91 in the cast 31 x 30cm. Brian Blow was born in London and trained at the Sir John Cass School of Art and at the Hornsey School of Art where he studied etchings. His work is heavily influenced by his love of modern jazz.

Four W.M.F Secessionist candlesticks designed by Albin Muller, each on diamond shaped foot, cast in low relief with foliate roundel, and an Osiris pewter double inkwell and pen tray candlesticks unmarked, candlesticks 22cm. high, inkwell 36cm. wide (5) Literature Paul Carter Robinson 20th Century Pewter Art Nouveau to Modern, Antique Collector's Club, page 32 plate 1.53 for a comparable pair of these candlesticks illustrated.

A Whitefriars Tangerine glass Drunken Bricklayer vase designed by Geoffrey Baxter, and another Whitefriars Willow glass Drunken Bricklayer vase 21cm. high (2) Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons Richard Dennis Publications, page 140 plate 160 for comparable Drunken Bricklayer vases. British Design from 1948 Innovation in the Modern Age, Victoria & Albert Museum exhibition, 2012, V&A Publishing, page 135 catalogue number 1.122 for both sizes of Bricklayer illustrated.

An Art Deco style 'Chryselephantine ' figure of a dancing lady (modern)

Josselin Bodley (1893-1974)oil on canvas,'Constantine' (Pont de Sidi Rached Bridge, Constantine, Algeria),signed, titled and dated 1928,18 x 15in.Exhibited Galerie Bernheim Jeune, Paris - 'Peintures de l'Afrique du Nord, du Pays Basque et de Venise' 5-16 November, 1928. Josselin Bodley (1893-1974)As much as any English artist in the first half of the twentieth century, Josselin Reginald Courtney Bodley's life and most resonant art were defined by his experiences in and near France. Though little has been written on his distinctive artistic contribution, it was moulded by a poetic appreciation of ancient architecture and its surrounds, by direct exposure to developments in painting in Europe refracted through a refined English sensibility - and by intense exposure to war. His most evocative and effective work synthesises tradition and stylistic modernity in magically realist visions of historical remnants and rural settings, rendered with exquisite care in a controlled and characteristic palette, and infused with a spectral, deeply atmospheric sense of the past. In the words of The Times art critic (4 November, 1933), his paintings offer a 'character that is very pleasing [and are] markedly linear in composition, sharply drawn, and executed in pale colours of great delicacy.' War and other sometimes dark histories leave their marks still, one feels, in the haunted presence of these buildings, in the absence of figures and the charged sense of place, in the typically bare trees and silent, unyielding skies. Yet there is a great tranquillity too - a secular equivalence to the calm rapture of early Flemish painting perhaps - an immanence opposing the ravages of time. Without the continual support of new books, articles and exhibitions, the cultural memory is surprisingly short and, perhaps because he was not prolific and his paintings surface only rarely, Bodley's achievements are now largely overlooked. However, in the inter-war period, he was considered amongst the most promising artists of his generation, a painter who bridged a gap between the still vibrant avant-garde approaches issuing from France and a typically guarded English insularity. Though standing apart from important artistic groups emerging in Britain in the 1930s, he was at this time represented by four of the most adventurous galleries in the Western world; by Bernheim Jeune in Paris who held five exhibitions of his work between 1928 and 1934; by Leicester Galleries in London with whom he exhibited first alongside Henry Moore in 1933, and then also in 1935 and 1937; by Marie Harriman Gallery in New York and by Alfred Flechtheim in Berlin. His paintings were purchased by museums across Europe and the USA. Unusually for an English painter shaped by French artistic modernity, he was also a decorated war hero. Enlisting first as a Second Lieutenant in The King's Royal Rifle Corps at the outbreak in 1914 he remained militarily active throughout much of WWI - despite being wounded at Ypres in 1915 - leaving the army in 1919 with a Military Cross and the rank of Captain. His earliest surviving paintings date from this period and their atmospheric subject matter of ruined buildings and blasted leafless trees on the frontline prefigure much of the still, melancholic resonance of his finest mature work (see 'Shelley Farm, St. Eloi' and 'Polygon Wood, Ypres' at BBC Your Paintings / Josselin Bodley). Later in life he also received one of France's highest civilian honours - for artistic achievements and cultural activities - becoming a Chevalier of the Legion d'Honneur. The artist was born into a patrician family, whose lineage included the sixteenth century founder of Oxford's Bodleain Library, Sir Thomas Bodley, and was the second son of John Edward Courtney Bodley. His father, a college and masonic friend of Oscar Wilde's at Balliol, worked first as secretary to the Liberal Minister Sir Charles Dilke but - after Dilke's political hopes were ruined in a famous divorce scandal - gradually emerged as the period's most important English historian of France. Through his father's wide circle of influential contacts and those of his brother Ronald and his sister Ava, Bodley was linked to some of the most important political and cultural figures of his generation. Ronald became a noted Arabist - recording his time amongst the tribesmen of North Africa in a life that reads somewhat like that of T. E. Lawrence in the Middle East - and Ava was married first to the diplomat Ralph Wigram and then to John Anderson, Churchill's Home Secretary and Chancellor of the Exchequer during WWII.Much of the artist's early life was spent in France with his father, visiting the great and the good and unconsciously absorbing the atmosphere of the architectural riches of the French countryside. School at Eton followed this privileged but nomadic boyhood, after which Bodley left England for a garret flat in Paris, intent on a career as an artist - though such hopes were postponed by the outbreak of WWI. He returned again afterwards, and paintings of the 1920s can be seen experimenting with and evolving through his direct exposure to the various competing styles of the period. Works in this phase manifest subtle shades of influence from post impressionism (Lot ??), decorative cubism, purism (Lot ??) and surrealism. As his work developed through the 1930s - when the artist was based in England - there is a strong sense of something equivalent to the New Objectivity in German painting (see in particular examples of Franz Radziwill's work such as 'Church in the Vendee' 1932). It was a clear and modern vision with technical and formal links to Edward Wadsworth's tranquil harbour paintings of the 1920s, to the contemporaneous landscape work of Harry Epworth Allen and particularly to the development of Tristram Hillier's less overtly surrealistic and architectural compositions of the 1930s. This small collection of eloquent and evocative works - depictions of the living past that still carry great pictorial and poetic charge - offers a long overdue insight into the oeuvre of an original, talented and noteworthy artist.

Two Kosta Boda Art Collection glass vessels, signed K. Engman, modern, the first an orange and blue glass moon flask, engraved marks to base, model no.49650, the second with similar inscription, the mottled green, yellow, white and orange bowl set on an orange and turquoise glass stem and foot, engraved marks and model no.59147, 35.5cm and 28.5cm

Modern silver plated four branch table candelabrum in Georgian style, together with an art nouveau style silver plated multi flute epergne. (2)

EXHIBITION INVITATIONS ETC: PATRICK HERON. Two signed Patrick Heron Waddington Galleries 1970 private view invitations, a 1967 Demarco Gallery & 1968 Museum of Modern Art, Oxford exhibition booklet & the book 'Patrick Heron' published by John Taylor 1988. Provenance: From the estate of a personal friend & acquaintance of many St Ives artists.

Five various Portuguese figures of birds, together with a modern Art glass vase

WILLIAM PRATT RA (SCOTTISH 1855 - 1936), THE FISHERMAN oil on canvas, signed and dated 1896 41cm x 31cm Framed Note: William Pratt was born in Glasgow in 1854 and studied at the Glasgow School of Art. A painter of country subjects, landscapes, marines, portraits and genre scenes, he furthered his studies at the Academie Julian Paris. William Pratt was influenced by the Scottish painter Sir David Wilkie RA and the Irish artist William Mulready RA. William Pratt enjoyed considerable success during his career, exhibiting at the Royal Academy in London and in Paris at the Salon, where he won an 'honorable mention' in 1902. His work is represented in the Gallery of Modern Art in Venice, and his paintings can be found in the Dumbarton, Crail, Glasgow and Paisley Museums in his native Scotland, as well as the National Museum in Northern Ireland. Pictures by this artist have sold at some of the top auction houses including Christie's.

GERTRUDE MARTINEAU (BRITISH 1840 - 1924), HEATHER NEAR AVIEMORE watercolour on paper, signed and titled verso 15cm x 26cm Mounted, framed and under glass Label verso: The Modern Gallery, London exhibition label; Aviemore Highlands Exhibition 1906, Catalogue No. 102, dated on label 15/3/06 Note: The watercolourist and woodcarver Gertrude Martineau, along with her younger sister Edith (1842-1909), were members of a small group of female artists associated with the Pre-Raphaelites. Although Gertrude spent much of her time in London she often visited the family's summer home in Rothiemurchus, near Aviemore, Scotland, spending her time there painting as well as teaching art and woodcarving.

CHINESE EXPORT OIL ON PAPER, C. 1850-1900, H 23", W 17", "PORTRAIT OF A LADY WITH FAN": Image size: H 22 3/4", W 17 1/6". Likely made in Guangzhou. Unknown artist. Modern gilt frame. Wah Cheong Art Gallery, Hong Kong framer's label.

PETER CHANG (born 1944); 'German bracelet', multi-coloured acrylic resin and aluminium, made 2006, 18 x 17 x 5.5cm; sold with artist's original signed and dated drawing in pencil, 30 x 21cm (2). Provenance: Purchased from The Scottish Gallery, Edinburgh, 2007. Literature: Metalsmith Journal, 28, 2 (2008). Exhibited: The Walker Art Gallery, Liverpool, Unnatural Selection: Jewellery, Objects and Sculpture by Peter Chang, 2007; Munich, Modern Masters International Fair, 2008. Bought by the Firths to celebrate their Golden Wedding anniversary. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration.

ALISON BRITTON (born 1948); a large slab built stoneware jug with blue and white brushed and trailed decoration, incised signature and dated 1987, height 30cm. Provenance: Purchased from The Contemporary Applied Arts Gallery, London, 1987. Literature: Illustrated on the front cover of Ceramic Review 107 (September-October 1987). Exhibited: National Museum of Modern Art, Kyoto and Museum of Modern Art, Tokyo, Contemporary British Crafts (organised by The British Council), 1988-89; Aberystwyth Arts Centre, touring to Newport, Aberdeen, Carlisle, Stoke-on-Trent, Cardiff, York and Rotterdam, Alison Britton: A Retrospective (organised by Aberystwyth Arts Centre), 1990-92; Barrett Marsden Gallery, London, Complexity and Ambiguity: The Ceramics of Alison Britton, 2000. Alan wrote: 'This seeming erratic yet balanced form was featured on the cover of Ceramic Review a short time before the exhibition opened. We decided that we should buy a piece and when I went to CAA for the opening found that the institutions had not purchased this piece. I decided to do just that. At about 4.50 pm I told the staff I was starting the queue and went and stood on the doorstep. The following two hours seemed like a fortnight'. Pat later wrote: 'When this pot came home, it had spent more time away than it had here'. CONDITION REPORT: Appears good with no obvious signs of damage, repair or restoration. Please see catalogue entry - "incised signature and dated 1987" to base. Very small bubble firing imperfections as expected to be seen and part of the texture.

Greenhill (Thomas) - Nekrokedeia: or, the Art of Embalming, 3 parts in one, first edition , folding engraved allegorical frontispiece with inset portrait, printed 'Explanation ' on facing page, folding engraved map and 13 plates including one folding, blank f. at beginning and end, frontispiece slightly dust-soiled with minor fraying at fore-edge, map trimmed to engraved border at fore-edge, a few plates trimmed tight to platemark, some light toning and foxing noticeable at margins, slight staining visible to edges at terminal ff., modern buckram, 4to, for the author , [1705]. "Greenhill's central purpose was to reverse the decline of embalming by advocating its restoration within aristocratic burial practices, and by making it the exclusive preserve of surgeons, rather than undertakers and quacks The work offers rich evidence on attitudes to death, of early eighteenth-century antiquarianism and Egyptology, and the medical politics of the day, in an accessible and interesting blend" (ODNB).

Book-binding.- [Hanneet (John)], "J.A. Arnett". - Bibliopegia: or the Art of Bookbinding, 'The Second Edition with Considerable Additions', wood-engraved frontispiece and 9 plates, small ink stain to lower corner of frontispiece, all plates oxidised and spotted, occasional spotting elsewhere, contemporary morocco, rubbed and scuffed, 1836 § Blades (William) The Enemies of Books, second edition, half-title, portrait frontispiece, 6 plates, original decorative wrappers bound in, modern green crushed morocco, g.e., 1880; and 3 others, Bibliography, including 2 vol. of bound 19th century book catalogues, v.s. (5)

-. Scamuzzi (Ernesto) - Egyptian Art in the Egyptian Museum of Turin, New York , 1965 § Otto (Eberhard) Egyptian Art and the Cults of Osiris and Amon, 1968 § Humbert (Jean-Marcel) L'Égyptomanie dans l'Art Occidental, Paris , 1989, illustrations, original cloth, dust-jackets ; and c.30 others, mostly modern books on Egyptian Art, v.s. (c.35)

A Modern metal wall art, a contemporary silvered glass vase and a collection of assorted modern vases , bowls and effects.

ST DENIS ART DECO GLASS VASE - LEGRAS & CIE a frosted and clear glass vase, designed with flowers and leaves and gilded decoration. Also with a cameo glass vase, a Loetz style iridescent vase and a variety of other glass including Whitefriars (replicating glass from antiquity) and a modern glass jug signed Mark Taylor 1994. St Denis vase marked, S Denis-Paris, LC monogram. 8 1/2ins (21.5cms) high. (19)

Art Nouveau style embossed silver mounted photo frame, modern and a small circular silver photo frame, (2).

Modern Art reference. Various exhibition catalogues including Ben Nicholson, Henry Moore and Elisabeth Frink (1990, signed title, lower cover slightly nibbled); also [MASSON, ANDRE] LIMBOUR (Georges) Masson Dessins, Paris: Les Editions Braun & cie, no date, 16 plates (some foxing); Arthur Tooth exhibition catalogue 1930 of sculpture by John Skeaping and Barbara Hepworth, with prices; another for Maurice Lambert 1929; various Alex. Reid & Lefevre Ltd catalogues including 1933 catalogue of Primitive African Sculpture, and Ingres to Cezanne; several others

HAIGH (James) The Dyer's Assistant in the Art of Dying Wool and Woollen Goods, new edition, London and York 1800, 8vo, stained title, somewhat toned, upper board detached, modern marbled case; DANDOLO (Count) The Art of Rearing Silk Worms, London: John Murray 1825, title cropped, frontispiece, folding plates and tables, some spotting, modern half calf

Hunting. PAGET (Major Guy) The Melton Mowbray of John Ferneley, Leicester 1931, 4to, edition de luxe no. 171 of 220 copies, signed, with a mounted original drawing by the Ferneleys as frontispiece, t.e.g. others uncut, morocco backed boards; OSBALDESTON (Squire) His Autobiography, London: John Lane 1926, 4to, no.2 from an extra-illustrated edition of 100 copies on hand made paper, cloth backed boards; SPARROW (W Shaw) Angling in British Art, 1923, 4to, no. 104 of 125 copies, signed, and with signed etching by Norman Wilkinson, cloth (soiled); MILES (W J) Modern Practical Farriery, circa 1880, 4to, plates, half morocco rubbed, others (a box)