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A tonsured Benedictine monk holding a book, - large historiated initial on a single leaf from a Psalter large historiated initial on a single leaf from a Psalter, illuminated manuscript, in Latin, on vellum [probably Rhineland or perhaps England, late thirteenth century] Single leaf, with 20 lines in a good Gothic hand, 1-line initials in blue or liquid gold with blue or red penwork to contrast, numerous highly decorative line-fillers in a wide variety of styles (with flowers, stylised leaves and a repeating series of three-lobed patterns enclosing a small blue geometric shape, perhaps that of a castle), a blue penwork dragon with a red tongue, one 4-line historiated initial 'D' (but apparently not opening anything, perhaps a mistake by the illuminator who was meant to fill the space left with an 'F' to open the next line Fili redemptor mundio ) in orange heightened with circles, enclosing a tonsured monk in dark blue robes standing and holding up a long thin book, all on a brightly burnished gold ground, initial terminating in long thin blue tendril with a gold three-lobed flower, modern pencil notes 3' and d3' on verso, good condition, 178mm. by 135mm. This leaf is from a well-known and richly illustrated liturgical Psalter, which apparently included the Hours of the Virgin and the Office of the Dead. It was broken up, perhaps in France in the 1960s, and leaves first appeared in England in the Folio Fine Art cat.43 (February 1967), Maggs Bulletin 5 (April 1967), and Alan Thomas cats.19, nos.17a-e and 21, nos. 22 and 22a (see The Rendells cat.146, lots 85-6; Sotheby's, 17 December 1991, lot 4, and 7 December 1992, lot 6, and 5 December 2006, as part of lot 52, and 4 December 2007, lot 19, for more recent sales). Three leaves were described in detail in J.M. Plotzek, Andachtsbücher des Mittelalters , 1987, p. 84, no. 8, relating them to Rhenish work of c . 1260. The penwork drollery-creature line-fillers have their closest parallels to the Salvin Hours (British Library, Addit. MS.48,985) and are similar to those in an English Psalter in Krivoklát Castle in the Czech Republic and the Windmill Psalter in the Morgan Library (N. Morgan, Early Gothic MSS, II, 1250-1285 , 1988, p.150). All of the leaves which have come to light have a number of penwork drollery-creatures, but few have any historiated initials (for another see that in Sotheby's, 4 December 2007, lot 19, which made £3750), and to find one with burnished gold is rare.

The Mckell Medical Almanack, - in German, illuminated manuscript on parchment [Alsace, c in German, illuminated manuscript on parchment [Alsace, c .1445] 12 leaves, single gathering, set out as medical-astronomical prognostications followed or proceeded by calendar for each month, most probably wanting a last leaf with the prognostications for December, else complete, double column of 32 lines in a fine prickly German vernacular bookhand, with capitals touched in red, 2-line initials in alternate red and muted turquoise-blue, rubrics and major feasts in red, each column of prognostications headed by an elaborate crocketed golden arch containing the sun or the moon (as a man's face wearing a cowl peeking out from a golden crescent) above a half-page depiction of an astronomer looking skyward or seated reading (11 in total), each calendar leaf with the occupation of the month within a large gold-edged roundel (approximately 50mm. in diameter), above a similarly sized portrait of the zodiac symbol for the month (often partly illuminated), slightly trimmed at outer edges (with small loss to edge of three illustrations), small spots and cockling in places, erased inscription (perhaps Early Modern ex libris) on last leaf, else very good condition, 205mm. by 105mm., eighteenth- or nineteenth-century binding of white vellum over stiff pasteboards, with single gilt-fillet and small ducal coronet in centre of front board, rebacked, fitted gilt-tooled leather case This is the long-lost Mckell Medical Almanack from the workshop of the celebrated artist Dietbold Lauber, last recorded and seen exactly sixty years ago, and previously available to scholarship only in black-and-white facsimile Provenance: (1) Commissioned c .1445 by a patron in the diocese of Strasbourg (the Calendar leaves having the local saints, Erhard, Gangolf, Udalric and Lendelinus amongst others), from the workshop of the artist Dietbold Lauber in Alsace. (2) Col. David McCandless Mckell (1881-1962) of Cillicothe, Ohio, fellow of the Morgan Library and an American friend of the Bodleian, who collected medieval manuscripts and children's books. This volume was exhibited in the library of the University of Kentucky in March 1958, accompanied by a published study by Rosy Schilling and a separate black-and-white facsimile. The manuscript itself has not been seen since then. Saurma-Jeltsch published her study in 2001 and likewise Mackert in 2012 without seeing it, and both list it as 'untraced'. Text and Illumination: Variants of the text here enjoyed great popularity in Germany in the fifteenth century both as part of larger works, or as a work in itself (as here) similar to the later so-called shepherd's calendars. In some manuscripts it is followed by short treatises on the planets, human temperaments and other medical matters, but as Schilling observed in 1958 the individual layout here suggests that this text always stood alone. It opens with predictions on what will happen in the year depending on which day of the week the first day of January falls on (if Monday the weather will be extreme and there will be little honey and much manslaughter ; if a Thursday the weather will be fine, but there will be little wine ; if a Friday many will have sore eyes ), and includes entries for January advising against bleeding but advising for drinking strong wine with ginger, for February advising bleeding only through the thumb and to eat hot food and drink also warm wine , for March advising to eat roast meat and often bathe, this is healthy and to be bled and cupped often, with further months receiving instructions to consume certain medicinal herbs, eat no meat from the feet of animals, abstain from all smoked meats, not go often to women , as well as offer predictions about thunder, weather changes or meteorites bringing war and death in their wake. It was clearly a prestigious commission for a wealthy patron, and Schilling identified the artist as a member of the workshop of the artist and publisher Diebold Lauber in Hagenau, Alsace. As she notes, the same artist also worked on a Legenda Aurea (now in Berlin, Staatsliche Bibl., Germ. Fol.495), and a Book of Chess (now British Library, Addit. MS.21458). Lauber administered a substantial workshop, which produced over 50 surviving illustrated manuscripts in the German language, dating from between c .1427 and 1470, with a combined total of more than 6000 miniatures. They have been comprehensively surveyed by Saurma-Jeltsch (including the present manuscript, see above). They represent a crucial point in the development of illustrated German literature, and stand at the intersection, not only of art and economic history, but also of religious, linguistic, and literary history. Written in the vernacular and endowed with ambitious programmes of pictorial decoration, the books signal a 'coming of age' of vernacular literature (J.F. Hamburger in Medium Aevum , LXXII, 2003, p. 362). The significant illuminations are: (1) fol.1v, enthroned astronomer with golden crown and ermine cloak, gazing at a golden star above; (2) fol.2r, a three-faced king at table and the water-carrier with a golden ewer; (3) fol.2v, a man warming his hands and feet by a fire over which sausages are smoking, and two pale brown fish; (4) fol.3r, a finely detailed portrait of the astronomer with a turban-like headdress with a two flowing tails, again pointing at a golden star; (5) fol.3v, the astronomer again in the same position wearing a red and blue pointed hat; (6) fol.4r, a man pruning vines and a ram with golden horns straining its neck and poking out its tongue to reach leaves of a bush it stands against; (7) fol.4v, a maiden with flowers and a docile-looking red-brown bull; (8) fol.5r, the astronomer pointing to a star; (9) fol.5v, the astronomer in a blue robe seated and reading a book at a desk, with an angular banderole inscribed Es wert ein Zeichen geschehen ; (10) fol.6r, a nobleman with hawk and horse, and the twins naked with a golden harp; (11) fol.6v, a man mowing grass and a bright red lobster; (12) fol.7r, the astronomer crowned and enthroned, holding a book; (13) fol.7v, the same as a robed figure with tight-fitting hat with a tassel on top; (14) fol.8r, a man harvesting corn and a large yellow lion poking his tongue out at the scene above; (15) fol.8v, a man threshing and the Virgin with gold wings pointing at a tree; (16) fol.9r, the astronomer before a book on a lectern; (17) fol.9v, the same seated with a book under his elbow; (18) fol.10r, a man sowing and a pair of gold scales; (19) fol.10v, pressing grapes and a green and brown scorpion; (20) fol.11r, the astronomer with a flowing headdress; (21), fol.11v, the same clean-shaven, seated and reading; (22) fol.12r, the knocking down of the acorns to feed hogs, and a centaur with bow and arrow looking at a magpie in a tree; (23) fol.12v, killing the hog and a seated ram with golden horns, poking his tongue out. Publications: Rosy Schilling, 'A facsimile of an Astronomical medical calendar in German (Studio of Diebolt Lauber at Hagenau, about 1430-1450): from the Library of Colonel David McC. McKell', University of Kentucky Libraries Bulletin 18, 1958; Rosy Schilling, 'Astronomical medical calendar: German, studio of Diebolt Lauber at Hagenau, 15th century, c. 1430-50', University of Kentucky Libraries Bulletin 18, Occ. Contribution 97, 1958; L.E. Saurma-Jeltsch, Spätformen mittelalterlicher Buchherstellung. Bilderhandschriften aus der Werkstatt Diebold Laubers in Hagenau , Bd. 2, 2001, p. 17; C. Mackert, 'Ein typisches Produkt aus der Spätzeit der Lauber-Werkstatt? Zur Handschrift der 'Leipziger Margarethe'', in Aus der Werkstatt Diebold Laubers, 2012, pp. 299-326; and listed on the online Handschriftencensus : Eine Bestandsaufnahme der handschriftlichen Überlieferung deutschsprachiger Texte des Mittelalters , as no.14903

Ruskin's Works. John Ruskin. New York: John Wiley & Sons. 1887. 12 vols. A good set. 1. Stones of Venice vols I-II. 2.Stones of Venice II-III. 3. Modern Painters Vol I. 4. Modern Painters Vol II-III. 5. Modern Painters vols III-IV. 6. Modern Painters, vol. V. 7. Seven Lamps of Architecture. 8. Elements of Drawing and Perspective etc. 9. Ariadne Florentina, Art of England, Mornings in Florence, etc. 10. Time and tide by the Weare and Tyne, Unto this Last... (Political Economy), Munera Pulveris, The Eagle's Nest. 11. The two Paths etc... 12. Sesame and Lillies. 8vo. Three quarter calf, Marbled boards, and edges. Some scuffing. Binding is very strong. [12].

A pair of modern metallic gold furnishing prints in the Art Nouveau style depicting Fairies.

An Art Deco glass ceiling light, shade plus modern ceiling lights

An Art Deco walnut cased Smiths eight day chiming mantel clock, height 22cm, and a modern Timemaster mantel clock (2).

After ERTE; a modern gilt painted Art Nouveau style candelabrum, a pricket candlestick, three cherub's heads, and a wall sconce (6).

A modern Art Deco style bronze figure on a marble plinth, "A Lady In Autumn Winds", height 28cm.

** Eva Rothschild (b. 1972) - Cactus, 2002 rolls of gaffer and masking tape, painted black and glued to an iron armature, leather pom-poms 80 x 40 1/2 x 8 in., 203 x 103 x 20 cm Provenance: Stuart Shave/Modern Art, London. Exhibited: London, South London Gallery, Eva Rothschild , 13- August - 4 November 2007. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

** Eva Rothschild (b. 1972) - N.G.O, 2007 hanging leather sculpture, in 5 parts 75 in., 190.5 cm (overall height) Provenance: Stuart Shave/Modern Art, London. N.G.O (possibly referring to the acronym for Non-Governmental Organization) is a beautfully fabricated hanging sculpture of five individual elements each intricately woven with leather strands to form a ball at its centre, its tassles left to hang towards the floor. The work's sense of craftmanship is visually arresting, but N.G.O also recalls a landmark work from her predecssor Eva Hesse. Vertigionous Detour of 1966 (Hirschhorn Museum, Washington DC), was a pivotal moment in the development of what has beome known as post-minimalist art. N.G.O may continue such developments, updated for the contemporary viewer with her signature 'gothic' colours and oblique sexual connotations. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

** Mat Collishaw (b. 1966) - Pure Sensation, 2003 household paint on ceramic tiles, mounted on to ply wood, in 6 parts each 40 x 42 1/2 in., 101.6 x 108 cm Provenance: Stuart Shave/Modern Art, London. In all, Collishaw produced 7 large scale mosaic works for his exhibition at Modern Art in 2003, of which Pure Sensation is one. The selection process for the original photographic material to be scaled up does not necessarily follow an identifiable logic; he seems to have been more interested in locating images that may not have had sufficient representation with the annals of art history. The overriding focus of this body of works, therefore, is process-driven. The artist describes the series as follows: "During the inception of digital photography it occurred to me that the pixelated format of the electronic image bore a strong resemblance to the ancient technique of forming images with mosaic tiles. The digital image required a meticulous analysis of its subject and was more analogous to the use of code in translating information than the subjective interpretation of a painter. Each patch of skin or braid of hair had a particular colour or tonal value that was recordable and empirically precise. I developed a computer program that scanned an image and determined the exact shade of grey on a scale of 1 to 100. The tones were painted onto ceramic tiles that were arranged in a way that was prescribed by computer, with no room for human intervention." IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

** Ricky Swallow (b. 1974) - Standing Figure, 2012 bronze withbrown/black patina, from the edition of 2 (plus 1 AP), with integral cast plinth 25 x 6 x 5 in., 63.5 x 15 x 13 cm (height) Provenance: Modern Art/Stuart Shave, London. One of the most memorable pavilions at the Venice Biennale of 2005 was the Australian, for which Ricky Swallow exhibited a group of large sculptures carved in wood depicting skeletons, skulls, bicycle helmets and rattlesnakes. Seemingly borrowed from Old Master paintings, Swallow updated the Trompe L'Oeil aesthetic for today's audience. Since then, his interest in art history has branched out into Modernism and beyond, in step with his increasingly varied use of medium and experiments with process.

Michael Landy (b. 1963) - H.2.N.Y (Two drawings), 2006 each white gouache on black paper, the first titled 'Homage in action', the second 'Putting and Missing' 8 x 11 1/2 in., 20.3 x 29.3 cm (each sheet) Provenance: with Thomas Dane, London. These two works form part of a series of works the artist produced in 2006 inspired by Jean Tinguely's famous auto-destruct machine entitled 'H.2.N.Y'. On 17 March 1960, Jean Tinguely staged his infamous sculpture-performance Homage to New York in the garden of the Museum of Modern Art, New York. The piece destroyed itself in only 27 minutes, a source of lifetime fascination and inspiration for Landy. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

** Julie Mehretu (b. 1970) - Untitled, 2006 watercolour, pen and ink on paper 27 x 35 in., 68.6 x 88.9 cm (frame) Provenance: Carlier | Gebauer, Berlin. Of Ethiopian heritage, now living and working in New York, Mehretu's highly individualistic abstract language is born out of conflict and human strife. Her compositions are often marked with linear structures and hard-edged blocks that have an architectural quality to them. There is always a sense of drama or tension in the composition, which at times can spill over into outright confrontation. But the overall product is often beautiful and harmonious; it is as if she is telling us that Art, and the world of aesthetics, can overcome the human predilection for schism and hostility. She herself describes the works on paper from this period as: " Right now it just feels like this big knot of all these different tendencies. It s coming out in my drawings a lot; they look like these nests or gnarled webs. Space is deflated and conflated. I m still trying to understand it myself." [J. Mehretu, quoted in L. Chua, Artists in Conversation: Julie Mehretu , BOMB Magazine, no. 91, Spring 2005]. Julie Mehretu has become one of the most recognisable artists of the last 15 years, with multiple solo exhibitions in both commercial and institutional galleries worldwide. Selected group exhibitions include Poetic Justice , 8th Istanbul Biennial (2003); Whitney Biennial; São Paolo Biennial and Carnegie International, Pittsburgh (2004); the Biennale of Sydney and the Museum of Modern Art, New York (2006); From Picasso to Julie Mehretu , British Museum, London (2010) and Document XIII, Kassel (2012). Solo exhibitions include Walker Art Center, Minneapolis; REDCAT, Los Angeles and Albright-Knox Art Gallery, Buffalo (2003); St Louis Art Museum (2005) and MUSAC, Léon, Spain (2006); City Sitings , Detroit Institute of Art and Black City Louisiana Museum of Modern Art, Humlebaek, Denmark (2007); Grey Area , Deutsche Guggenheim, Berlin (2009) and Solomon R. Guggenheim Museum, New York (2010). In 2015 she was honoured with the US State Department's 'National Medal of Arts'.

** Katy Moran (b. 1975) - Richelle, 2007 acrylic on canvas 15 x 18 in., 38.2 x 45.8 cm Provenance: Stuart Shave/Modern Art, London. Katy Moran is one of a group of new British painters to emerge in the mid-2000s, having graduated from the Royal College of Art in 2005. Since then she has been included in numerous group exhibitions in museums worldwide, and has held successful solo exhibitions at Modern Art/Stuart Shave in London, Andrea Rosen in New York and institiutional solo shows at Wexner Center for the Arts (Ohio, USA), the Douglas Hyde Gallery (Dublin) and Parasol Unit (London). IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Modern British School, early-mid 20th century- Study of a female nude with raised arms; pencil and wash with touches of white, 32.4x20.2cm Provenance: The art collection of the former St Gabriel's College, Camberwell CONDITION REPORT: mounted in a glazed wooden frame printed labels attached to reverse 'Gwen John 1876-1939/Nude with Arms Raised/Pencil and Grey Wash heightened with White' and 'No: 23/ Artist: John, Gwen/Title: Wash Drawing/Collection: St.Gabriels'/Bequest:/Other Inf:' printed label for Ernest Brown & Phillips Ltd, The Leicester Galleries, London attached to the reverse off white coloured card mount may or may not be stuck down as unexamined out of frame small paper defect to the top edge of her left thigh otherwise in good condition

An Art Deco bone china part teaset, Stuart shape, a large cloisonne-enamelled vase, 18in. and a modern Chinese figural ornament

A modern Art Deco style rectangular wall mirror with marginal plates, 100cm x 72cm

An Art Deco barometer and a modern barometer

MISC. BOOKS ETC. INC. 'MODERN PACKAGING' AND OTHER MAGAZINES, ART & ARTISTS '69

Azzawi, Dia (Iraqi) (1939), abstract composition in red, blue, black, white and green, oils on canvas, signed and dated 1981 lower right, framed, Art Shoppe Abu Dhabi Gallery label verso, 80cm by 100cm Note: Artists Resale Rights apply Notes: Azzawi is one of the leading pioneers of modern contemporary Arabian art and is currently based in London

Dave Gibbons, Comic Artist, One off diptych artwork entitled 'Whaat' commissioned for the Image Duplicator exhibition in 2013 in London to coincide with the Lichtenstein exhibition at the Tate Modern, the art consists of two large format prints in two perspex box frames, both have been signed & dated on reverse, since the exhibition the piece has been on exhibition at the Cartoon Museum in London, the overall size measures 41 x 94 inchesProvenance: The art has been consigned directly by Dave Gibbons, and a letter will be provided to the successful purchaser. Dave Gibbons was the artist for The Watchmen & The Rogue Trooper character from 2000AD, Gibbons has also recently published Kingsman. A percentage of the sale will be donated to the Hero Initiative.A couple of years ago, the Tate Modern art gallery on LondonÉs South Bank put on a major exhibition of Roy LichtensteinÉs work. I was invited to appear on a BBC TV programme about the exhibition, where I took the opportunity to speak out, as I had done in the past, about my dislike, on both aesthetic and ethical grounds, of the appropriation of comic strip images by pop art. The feeling amongst the comics community has always been pretty much unanimous: we feel patronised and we feel that several of our revered elders have been, frankly, robbed. To us, their creativity and skilled labour has been discounted by considering their work as being merely, in the jargon of the art world, found and they have received no credit or recompense for what amounts to celebrated and expensive copies of their creations.However, it was Rian Hughes, another vociferous critic of the art establishment's attitude who, prompted by the TV show, came up with the brilliant idea of our comic community using its own medium to make public our disapproval. Under the title IMAGE DUPLICATOR, the response from creators was very heartening and we staged an exhibition of several dozen images in the gallery space at Orbital Comics in London.For my part, I created a digital image, appropriated from a comic book panel originally created by Irv Novick, that I entitled WHAATË. This was printed and sold as a tabloid size poster. I also produced a unique, large size print of the image, split into two parts, mounted in clear acrylic and measuring some 41Ë x 94Ë (104 x 238 cm).This gallery-scale print is now being offered for sale in a public auction. I have signed both parts and will provide documentary evidence of its authenticity.All profits from the sale will be donated to the Hero Initiative, as were the proceeds from the earlier exhibition. Your support would be greatly appreciated.Dave GibbonsJune 2015A percentage of the sale will be donated to the Hero Initiative, a US registered charity, which provides a financial safety net for comics creators who may need emergency medical aid, financial support for essentials of life, and an avenue back into paying work.Ë

Prints, Theatre, a boxed edition entitled Theatre Art Prints Series Modern Stage Design 1935, comprising approx. 110 5" x 8" black & white photos of various stage and costume designs, original box, possibly complete with original leaflet (gd/ex)

ART & LITERATURE - a modern miscellany.

Garden Sculpture:Maida Crowe A carved Forest of Dean stone figure 203cm.; 80ins high Maida Crowe was born in Axminster, Devon in 1915. After a private education, she studied at the City and Guilds of London Art School from 1957-1962. She became a member of the Free Painters and Sculpture movement working in both wood and stone. Established in 1952, FPS was originally associated with the ICA (Institute of Contemporary Arts). Founding members featured many high profile and influential artists, including Roy Rasmussen, Lyall Watson and Maurice Jadot. FPS played a significant part in the establishment of abstract art in the 1950~s and 60~s and was the first of a number of post war movements that freed artists from the orthodoxy of rigid and purely technical judgements. In 1981 there was an exhibition of sculpture by Maida Crowe in Southwark Cathedral. Roy Rasmussen in the preface to the History of Free Painters and Sculptors commented; |Her wood carvings were at home in any modern collection, and graced many FPS exhibitions. But the deeper implication of her sculptures was religious, and for her it was appropriate that they should be shown in the place where she worshipped. She worked mainly on a scale of two to six feet. Her sculptures were not overtly religious, she did not use obvious religious symbols. A woman who was comfortable and tolerant in the company of diverse opinions, she could reveal a sparkling humour.| |She was passionately involved in the endless debate over forms of modern expression. She described her own work as an inward search.| She showed at the RBA as well as in the provinces and had solo exhibitions at the Cockpit and Loggia galleries. A copy of Maida Crowe~s book of her work; First and Last: A Search for Meaning, A Spiritual Journey Through Sculpture in 1994 is included in this lot which gives a full account of the carving of this statue and the placing of it in her garden.

Gerrit Thomas Rietveld, (1888 - 1964) Red and Blue Chair Laminated wood with original provenance 88cm.; 34½ins high by 80cm.; 31½ins wide by 66cm.; 26ins deep Gerrit Thomas Rietveld (1888-1964) was a Dutch furniture designer and architect. One of the principal members of the Dutch artistic movement called De Stijl, Rietveld is famous for his Red and Blue Chair which was designed in 1917 and represents one of the first explorations by the De Stijl art movement in three dimensions. The original chair was constructed of unstained beech wood and was not painted until the early 1920s. Fellow member of De Stijl and architect, Bart van der Leck, saw his original model and suggested that he add bright colours. He built the new model of thinner wood and painted it entirely black with areas of primary colours attributed to De Stijl movement. The effect of this colour scheme made the chair seem to almost disappear against the black walls and floor of the Schröder house where it was later placed. The areas of colour appeared to float, giving it an almost transparent structure. The Museum of Modern Art, which houses the chair in its permanent collection, a gift from Philip Johnson, states that the red, blue and yellow colours were added around 1923.

Sculpture:Ivor Roberts-Jones RA (1913-1996) Monumental bust of Sir Winston Churchill Bronze Stamped 1/6 Estate IR-J 2015 86½cm; 34ins high by 130cm; 51ins wide Bronze edition 1/6 cast directly from the plaster taken from the statue of Sir Winston Churchill in Parliament Square. The casting process supervised by the sculptor Nigel Boonham FRBS, Past President of the Society of Portrait Sculptors, on behalf of the Trustees of the Ivor Roberts-Jones Estate. Bronze marked ~1/6 Estate IR-J 2015~ Ivor Roberts-Jones, RA (2 November 1913 - 9 December 1996). He was born in Oswestry, where one of his works, |The Borderland Farmer|, stands in the town centre. He studied at Oswestry School and Worksop College before attending Goldsmiths College, London and the Royal Academy of Arts. During the Second World War he served in the Burma Campaign. Roberts-Jones was a founder member of the Society of Portrait Sculptors in 1953 and was head of the sculpture department at Goldsmith~s College of Art from 1964-1978. He established his reputation for portrait sculpture including commissions for Yehudi Menuhin and George Thomas, Viscount Tonypandy, as well as over life size figures including Field Marshall Viscount slim of Burma and Field Marshall Viscount Alanbrooke both of which stand in Whitehall. In 1971 he was commissioned to produce the full-length statue of Winston Churchill which now stands in Parliament Square, London, which is, without doubt , his most famous work. He later indicated that the pose of the statue had been largely inspired by the famous photograph of a grim-faced and sorrowful Churchill inspecting the smouldering bomb wreckage of the chamber of his beloved House of Commons on the morning of 11th May 1941. Ivor Roberts-Jones ~portrays him as the wartime leader at the time of the Normandy Landings and the return of the Allies to Europe. Consequently the figure exudes total confidence: facing the Houses of Parliament, their greatest servant in modern times is portrayed as a giant at the height of his powers~1. After the statue was unveiled in 1973 it ~provided a much needed breakthrough in post-War portraiture~1, subsequently the statue has rightly achieved iconic status. In 1987 the statue appeared in party political broadcasts for the Conservative party, thanks to Mrs Thatcher~s intense admiration for and identification with Churchill. It subsequently featured in Simon Schama~s award winning History of Britain broadcast on BBC1 in 20002 and again five years later in Andrew Marr~s History of Modern Britain. Perhaps the apogee of the statue~s status within the British imagination came on 27th July 2012, when it was prominently featured in the ~Happy and Glorious~ section of Danny Boyle~s Isles of Wonder film, broadcast during the opening ceremony of the London Olympics. In 1995 Ivor Roberts-Jones was commissioned by the Czech government to make another cast of the Churchill figure to stand in the recently renamed Winston Churchill Square in Prague. Ivor replied that his original mould for his figure in Parliament Square had disintegrated., and he doubted very much whether Parliament would allow him to make a cast from the statue himself. He did produce a clay maquette for a new Churchill head, but died a couple of months after sending it to the Meridian foundry. After further negotiation, his widow, Monica Roberts-Jones gave her permission for a copy to be made of the statue in Parliament Square, somewhat swayed by the fact that this proposal had the support of Lady Thatcher and the Czech President Vaclav Havel. With the British Foreign Office and the Royal Parks Agency also giving their project their blessing, permission was given and an up-coming portrait sculptor, Nigel Boonham was given the task of supervising the making of a cast from the Churchill statue in Parliament Square. It is from the plaster cast of the head and shoulders made at this time, that this bronze was cast. The Trustees of the Ivor Roberts-Jones Estate have kindly given permission for a limited edition of only 6 bronze casts to be made from the plaster of the head and shoulders of the Churchill figure of which this is number 1. No other casts will be authorised and as such this represents a unique opportunity to acquire an enduring sculpture of Churchill, voted as the greatest ever Briton. The successful bidder will receive a hard back copy of | Abstraction and Reality| The sculpture of Ivor Roberts-Jones, by Jonathan Black and Sara Ayres in which the statue is extensively discussed and illustrated. Literature: Ivor Roberts-Jones - The Journey to Harlech, 1 Dr Peter Cannon-Brookes, (National Museum of Wales, 1983), p.57 Abstraction and Reality; The sculpture of Ivor Roberts-Jones, by Jonathan Black and Sara Ayres, Philip Wilson 2013

Two modern Art Glass models of exotic birds, 34cm & 38cm

Two modern Art Glass models, in the form of Toucans

Two modern Art Glass model birds, 14cm & 23cm

Two modern Art Glass model cockerels

Four modern Art Glass models of tropical fish

Three modern Art Glass models of cockerels

A pair of modern Art Glass bird ornaments, 14.5cm high

A modern Art Glass vase, of free form, 24cm high

A modern Art Deco style metal framed and circular glass topped table, 54cm high

A set of six modern Art Deco style tub shaped dining chairs

An early C20th crayon on paper of a Lady ‘Jeune femme debout’ By Paul Cesar Hellou glazed and framed (1859-1927) 73cm x 43.5cm Additional information: According to Mrs. Paulette Howard Johnston, Helleu’s daughter, the present drawing depicts one of the daughters of an American family, the Kellys, who were presumably very wealthy and owned a large house in Deauville before the First World War. Helleu lived half the year on his yacht in Deauville harbour with his family. Ms. Howard Johnston recalled how jealous she was of Marguerite Kelly’s hats, which she bought at Coco Chanel’s shop in Deauville and recalled the American girls were particularly remembered for their taste in the latest fashions and their gift for tennis. The family left France at the outset of the war and she never saw them again. The drawings are not signed because they were framed on the verso of other Helleu drawings of the Kelly girls. Provenance: Private Collection, United States This authenticity of this drawing has been confirmed by Les Amis de Paul-Cesar Helleu. The drawing will be included in the up-coming catalogue raisonne of which the first volume will appear in a French and English edition in September 2014. Mrs. Paulette Howard- Johnston (Helleu’s daughter) has seen the drawing and specifically dated it as being done in 1914 during the war. Paul César Helleu worked as a painter and an engraver in France at the turn of the century. His work epitomises the charm and elegance of French culture at the time – the belle époque – with all its verve and focus on fashion. Whilst he was renowned for his portraits of society ladies on commission, and those of his childhood sweetheart who later became his wife (Alice Guerin). Helleu was born in Vannes in 1859 and moved to Paris as a young man. He later became a pupil of Jean Leon Gérome at the École Nationale des Beaux-Arts and became a lifelong friend of fellow student John Singer Sargent. Gérome was to buy his first painting. Artists including Monet, Rodin and Tissot also recognised his talent whilst he was studying in Paris (he was later formally accepted as part of the Impressionist group). In fact, Tissot gave Helleu his own engraving tools because he was in such despair after the death of his beloved Kathleen Newton that he was unable to use them to make art. As a result, Helleu became an excellent drypoint engraver and one can see those skills for draughtsmanship and fine line work in this particular drawing. Helleu immortalised many beautiful women in paint and graphite because he became the darling of fashionable, aristocratic ladies at the time (including Coco Chanel). Perhaps what makes him all the more appealing to the modern viewer is that, despite this, he was not a cad; throughout their lives together, his favourite model was his wife. NO RESERVE

An Early C20th Crayon on paper ‘Jeune femme au chapeau’ by Paul Cesar Helleu ( 1859-1927) 56cmx48cm Additional information: According to Mrs. Paulette Howard Johnston, Helleu’s daughter, the present drawing depicts one of the daughters of an American family, the Kellys, who were presumably very wealthy and owned a large house in Deauville before the First World War. Helleu lived half the year on his yacht in Deauville harbour with his family. Ms. Howard Johnston recalled how jealous she was of Marguerite Kelly’s hats, which she bought at Coco Chanel’s shop in Deauville and recalled the American girls were particularly remembered for their taste in the latest fashions and their gift for tennis. The family left France at the outset of the war and she never saw them again. The drawings are not signed because they were framed on the verso of other Helleu drawings of the Kelly girls. Paul César Helleu worked as a painter and an engraver in France at the turn of the century. His work epitomises the charm and elegance of French culture at the time – the belle époque – with all its verve and focus on fashion. Whilst he was renowned for his portraits of society ladies on commission, and those of his childhood sweetheart who later became his wife (Alice Guerin). Helleu was born in Vannes in 1859 and moved to Paris as a young man. He later became a pupil of Jean Leon Gérome at the École Nationale des Beaux-Arts and became a lifelong friend of fellow student John Singer Sargent. Gérome was to buy his first painting. Artists including Monet, Rodin and Tissot also recognised his talent whilst he was studying in Paris (he was later formally accepted as part of the Impressionist group). In fact, Tissot gave Helleu his own engraving tools because he was in such despair after the death of his beloved Kathleen Newton that he was unable to use them to make art. As a result, Helleu became an excellent drypoint engraver and one can see Helleu immortalised many beautiful women in paint and graphite because he became the darling of fashionable, aristocratic ladies at the time (including Coco Chanel). Perhaps what makes him all the more appealing to the modern viewer is that, despite this, he was not a cad; throughout their lives together, his favourite model was his wife. Provenance: Private Collection, United States NO RESERVE

A quantity of pictures Yacht scene 21'' x 16'', gilt framed Print of High Street, Lymington, picture of Wolverhampton Wanderers Molynaeux Stadium plus a newspaper report, Lowery Print, modern art expressions, Print after Jack Vetriano, reproduction Map of Sussex, etc.

- Rare 'Short Chassis' Phantom II (precursor to the Continental) - Four-door, four-light coachwork by Harrison & Son - Tim Payne overdrive, full-flow oil filter, stainless steel exhaust Further Info: Last of the truly grand six-cylinder Rolls-Royces and indeed the final one to be overseen from start to finish by F. Henry Royce himself, the Phantom II was introduced at the October 1929 Olympia Motor Show. Something of a radical departure from its Silver Ghost and New Phantom predecessors, the newcomer was built around a discernibly more modern chassis. Topped by a new aluminium alloy crossflow cylinder head, its pair-cast 7668cc six-cylinder overhead valve engine was not only mounted in unit with a four-speed manual gearbox but also bolted directly to the chassis side rails. With its radiator positioned aft of a specially reworked beam front axle, the Phantom II was notably low-slung. An enticing platform for the coachbuilder's art, its elongated bonnet line and short overhangs proved conducive to elegant design. Reputedly capable of over 90mph, the model was in production for six years during which some 1,394 are thought to have been made. This splendid-looking motorcar, chassis 167 XJ, was ordered in October 1929 by Car Mart of Park Lane, London on behalf of U J Phillipson of Richmond, Yorkshire. The creation of the six-seater coachwork was entrusted to Harrison & Son of Stanhope Street, London and featured that company's patented `flexible' bodywork with felt joints for the wooden frame and screws encased in rubber bushes. The Rolls' unique specification included a pair of spare wheel carriers and a 28-gallon fuel tank. Once the property of connoisseur collector Terry Cohn, `GF 8793' was acquired by the previous owner at the Bonhams auction of June 2001, following which it underwent a comprehensive engine overhaul and was equipped with Tim Payne overdrive, full-flow oil filter, stainless steel exhaust and new P100 headlights and side mirrors. Extensively rallied throughout Europe, this delightful long-legged Saloon is being offered complete with old-style logbook and sundry restoration invoices.

Gelleroy (William) - The London Cook, or The Whole Art of Cookery Made Easy and Familiar, first edition , folding engraved plate of table settings, 2pp. advertisements at end, plate with short repaired tear (without loss) and some staining at head, occasional spotting, lightly browned, modern half calf, richly gilt spine in compartments, spine faded, [Bitting p.179; Maclean p.56; Oxford p.92; Simon, BG, 740], 8vo, for S.Crowder and Co., 1762. We can not trace a copy with the frontispiece at auction since 1998. The author was cook to The Duchess of Argyle.

of Berwick ) The L ady’s, Housewife’s, and Cookmaid’s Assistant of Berwick ) The L ady s, Housewife s, and Cookmaid s Assistant: or, the Art of Cookery, explained and adapted to the meanest capacity , second edition, half-title, some staining and spotting, lightly browned, contemporary calf, rebacked in modern calf, gilt, [cf. Bitting p.457; Maclean p.140; Oxford p.100], 12mo, by G.Freer, 1778. Rare. ESTC lists only three copies, with none in America.

Sarah Louisa Kilpack (British, 1839-1909) Shrimpers on the rocks, Jersey oil on card, signed lower left 5¾ x 9in. (14.5 x 23cm.) * Provenance: Christies 'Maritime Art', 24th Nov. 2011, lot 107 Condition: In good condition, with no damage noted. In a modern gilt and bronzed frame.

A collection of modern clay pipes of Derbyshire interest; together with a small collection of works of art, including a netsuke of five figures fighting, miniature Whisky bottle, etc (parcel)

A pair of Liberty & Co Brunhild terracotta jardinieres designed by Archibald Knox, cast in low relief, stamped marks, 73cm. wide, 38cm. high Literature Veronica Franklin Gould Archibald Knox & Mary Seton Watts Modern Celtic Art Garden Pottery page 20 in the Liberty & Co Yuletide Gifts catalogue circa 1903-1904.

A pair of Liberty & Co Penda terracotta jardinieres designed by Archibald Knox, cast in relief with pomegranate panels, chips, 50cm. high Literature Veronica Franklin Gould Archibald Knox & Mary Seton Watts Modern Celtic Art Garden Pottery page 35.

A Compton Potters Guild terracotta Cobra jardiniere, cast in relief, impressed Compton wheel mark, 41cm. high Literature Veronica Franklin Gould Archibald Knox & Mary Seton Watts Modern Celtic Art Garden Pottery page 20 catalogue number 3 for an example entitled Fafnir and advertised by Liberty & Co.

A copper and brass cigar lamp in the manner of Jan Eisenloeffel, probably W.M.F, unmarked 21cm. high Literature Modern Art of Metalwork, Brohan Museum catalogue page 358 catalogue 320 for a comparable lamp made by W.M.F.

Two mid 20th century Chinese modern art reference books

Mixed lot comprising Green Glass Jug, small frilled opaque glass Vase and three various modern Art Glass Vases, 11.5" high (4)

Mixed lot comprising modern Art Glass cat shaped Vase, a small Medina Jar with stopper, glass tealight holder, and a further ribbed black glass Vase, largest piece 9" high (4)

A limited edition modern art print lithograph by Jean Baier (1932-1999), signed and numbered 148 of 250. Unframed with certificate

A framed Scott Hile modern art poster and framed limited edition print of 2 mistle thrushes signed John Straw 5/250

A large modern art glass vase

A collection of modern design books including four Ideal Home year books, decorative art in modern interiors 1969/70, Le Corbusier etc

Five volumes relating to modern art including 20th Century Painters & Sculptors, The J. Paul Getty Museum, Sickert, The New English and A.E. Stegmann

A small parcel lot of silver and sterling silver jewellery to include a Mexican panel link bracelet, stamped, a modern silver and enamel Arts and Crafts style pendant, a William Hutton silver pendant, a pair of Art Deco style marcasite and amethyst pendant earrings, a 1960s silver brooch formed as a flowering fuschia, together with other brooches, pendants and bangles (qty).

A large modern Art Deco style clear glass scent bottle, a Crystal Art and Deco scent bottle 'Chamonix Mont Blanc' and two others (4)

A modern tub chair in the Art Deco taste upholstered in purple and red chenille style fabric, and a banquette with cream upholstery