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VARIOUS AUTHORS SUNDRY WORKS MAINLY MODERN REFERENCE, ART, LITERATURE, etc includes `Brewers Dictionary of Phrase and Fable 2000`, `Dore`s London`, Guild Publishing - `Vincent by Himself`, Hamlyn `Portraits of Greatness` in eight volumes (approximately 57 volumes in total)

WATERS, GRANT M., `Dictionary of British Artists Working 1900 - 1950` complete in 2 volumes, published by Eastbourne Fine Art 1975, black cloth and ROTHERSTEIN, JOHN `Modern English Painters` 3 volumes, revised edition published 1976 by MacDonald & James (5)

WILENSKI, R.H. `Modern French Painters` published 1958; `WORLD ENCYCLOPAEDIA OF NAIVE ART` published by Bracken Books; and VARIOUS AUTHORS four related works, Art (6)

Babelon, Jean, and Pierre d’Espezel [publishers]. ARETHUSE: REVUE TRIMESTRIELLE D’ART & D’ARCHÉOLOGIE. Fascicules 1–30, complete. Paris, 1923–31. A complete set, bound in three volumes. 4to, matching light blue cloth, gilt; original printed card covers bound in. lxxx, 184; lvi, 146; lvi, 177, (1); lvi, 188; lii, 168; lii, 112; lii, 148; iv, 39, (1) pages; text illustrations; numerous fine plates. Loose supplements held in pockets on rear boards. Fine. [with] Ciani, Louis. Nº I SUPPLÉMENT COMMERCIAL DE LA REVUE ARETHUSE: MONNAIES GRECQUES EN VENTE AUX PRIX MARQUÉS. Paris, 1924. 4to, somewhat later maroon cloth, gilt; original printed front card cover bound in. 54, (2) pages; 1017 listings; numerous text illustrations. Bound with two other Florange & Ciani publications. Near fine. An important, wide-ranging publication heavily devoted to numismatic topics, from ancient coins to modern medals, also including seals and engraved gems. Rare complete. Clain-Stefanelli 369. The Ciani supplement is ex Edward T. Newell, with his bookplate.

Eckhel, Joseph. DOCTRINA NUMORUM VETERUM. VOLUMEN I–IV: PARS I. DE NUMIS URBIUM, POPULORUM, REGUM. VOLUMEN V–VIII: PARS II. DE MONETA ROMANORUM. Second edition. Vindobonae (Vienna), 1828 [actually published in Leipzig; first volume gives date of publication as 1792 (correct for the first edition); second volume gives erroneous date of publication as 1839]; 1826 Addenda included in final volume. Eight volumes complete. 4to [24 by 19.5 cm], contemporary full speckled calf; flat spines decorated and lettered in gilt; black morocco spine labels, gilt; all page edges marbled. Frontispiece portrait; (8), (v)–xvi, (14), (2), clxxxiii, (1), (2), 271, (1); (6), 606; vi, 562; viii, 563, (1); (2), vi, 364; xxiv, (2), 539, (1); (6), 521, (1); vi, (2), 573, (1), iv, 58, (4) pages. Engraved plate of Greek letters; engraved plate of Alphabetum Phoenicium et Samaritanum; 2 engraved plates of Greek coins [“Numi Goltziani. Numi veri.”]; engraved plate of Greek coins and cameos; 1 folding genealogical table; one engraved text figure of a Byzantine coin; engraved plate of Roman monograms. Binding with some signs of wear: first volume joints cracked, a couple others starting; old institutional stamps; generally near fine. Eckhel’s magnum opus; one of the major foundation works of modern scholarly numismatics. Joseph Hilarius Eckhel (1737–98) has been justly regarded as the “father of ancient numismatics” and his Doctrina as the major exposition of his principles. “With him began a new era in the study of ancient numismatics: rigid scientific methods entered the field of research supplementing the usual approach of the amateur. For the first time in its history the basic elements of ancient Greek and Roman numismatics—metals, ponderal systems, organization of mints, significance of coin-types, coins in their relation to the history of art—are amply discussed.”—Clain-Stefanelli, Numismatics, page 29. This second edition is bibliographically complex. Babelon 127–128: “still our main work of reference.” Bassoli 40–41. Clain-Stefanelli 1643*. Daehn 62. Lipsius 110.

NORMAN CLIFFORD JAQUES (b.1922) A pair of framed, signed in pencil to mount, gouache`s on paper, modern industrial scenes of Manchester. Jaques has exhibited at the R.A. and was President of the Manchester Academy of Fine Art 1984-1990. (2) 18cm x 14 cm.

Modern pine chest of three long drawers, with metal Art Nouveau style handles, 92cm wide and a pine bed backboard (2)

Art Deco light oak bedroom suite, comprising corner dressing table fitted with six drawers and cupboard, triple mirrors, L120cm x W100cm x H201cm; pair bedside cabinets; double bedstead with curved headboard, modern base and mattress, maker Ords Middlesbrough circa 1935

Carl Reichert (1836-1918) Austrian, Portrait of a Daschund, signed, oil on panel, 15cm by 12.5cm Provenance: Haynes Fine Art of Broadway. In fully restored gallery condition, cleaned and re-varnished with a high gloss finish. In a modern frame.

A Nepalese Art Deco design carpet, modern, the plain green field within a sand coloured border with green abstract forms, bearing label inscribed `Morris & Co`, approx 237cm x 185cm.

A Nepalese Art Deco design carpet, modern, the taupe field with overall line and dot decoration, within a black border, bearing label inscribed `Morris & Co`, approx 238cm x 172cm.

U** G** AN ART DECO PERIOD SILVER AND SILVER GILT PASTE SET BRACELET having a central band of alternating blue and red square cut stones flanked by smaller white stones either side, snap fit clasp, bears touch mark and maker`s mark, undated, circa 1 935, in a modern Brooks and Bentley Vendor`s box

ALWYN WILLIAM: (1905-1985) English Composer of over seventy film scores and other works. Small series of three A.Ls.S., William Alwyn, four pages (total), 8vo and 4to, Halesworth, Suffolk, May 1980 - November 1984, each to Alan Poulton. In his first letter Alwyn refers to an article on Alan Bush and continues 'Naturally I am delighted and touched by your knowledge and appreciation of my music - particularly by your enthusiasm for “Lyra Angelica”. “Beauty” still is to me the major reason for all artistic creation but the word seems anathema to most modern art….Indeed one of my major published poems is a study in aesthetics entitled “Daphne, or the Pursuit of Beauty”. Because of this profound personal belief my music was almost completely neglected and I spent many years “in the wilderness”. Now, thanks to the issue of the records of my symphonies and other major works during the past 10 years this has all changed and my reputation has become truly international', further welcoming the possibility of an authorative biography and list of works, 'preferably not exclusively on my film music, but preserving the correct balance between my serious music and to me, far less important, film music. It is now 20 years since I composed a film score, and I have no desire to stress my work in this field, important though it was.' (25th May 1980), in the other letters briefly referring to his current commission and returning some corrected proofs. Together with three A.Ls.S. by Alwyn's second wife, Doreen Mary Carwithen (1922-2003) British Composer of classical and film music, four pages, 8vo, Halesworth, Suffolk, October - November 1985, each to [Alan] Poulton, in the first referring to her recently deceased husband, 'He was a great man and will be sadly missed, but his music, poetry and paintings will be a perpetual memorial to him' (1st October 1985) and in the others referring to photographs and providing two addresses. VG to EX, 6 Alan Poulton - Compiler and editor of A Dictionary-Catalogue of Modern British Composers.

A modern reproduction coloured Claude Monet print, Meadow with Poplars, in gilt frame, label on reverse - Museum of Fine Art, Boston, 50 x 58cm.

A French Art Nouveau spelter candelabra, on a marble base, and a modern French glass `mushroom` lamp

A moulded leather model of an elephant, a brass lantern, a modern terrestrial globe on brass stand, a musical box/cigarette dispenser with marquetry decoration, an Art Glass tazza with turquoise and white ground, a contemporary cylindrical glass vase, etc

A pair of 925 silver cornucopia salt & pepper pots, Art Deco chrome perpetual calendar, modern silver photograph frame, pewter frame and two Epns salts (7)

A COLLECTION OF MODERN SILVER JEWELLERY ETC., to include two polished agate pendants, earrings, and a vintage Art Deco style marcasite ring. (Approx 12)

A Set of Four Art Nouveau Walnut Dining Chairs, with carved pierced splat backs above padded seats raised upon turned tapering legs, together with a similar pair of oak dining chairs, a two fold screen and a modern bookcase with sliding glass doors

Paul Henry RHA RUA (1876-1958) A Connemara Village (1939) Oil on board, 45.5 x 38cm (18 x 15") Signed Provenance: From the collection of George & Maura McClelland and lent by them to IMMA 1999-2004, Private collection Dublin Exhibited: Possibly Paul Henry, "New Paintings", Combridge's Gallery, Dublin, from 8 April, 1940 (number unknown); "The Collection of George and Maura McClelland at the Irish Museum of Modern Art", Irish Museum of Modern Art, Dublin, Sept 2000 - Jan 2001 (no numbers as "Cottages and Turf", reproduced in colour in accompanying brochure); and "The Moderns", IMMA, Oct 2010 - Feb 2011, Cat. No. 13 Literature: Sean O'Faolain, "An Irish Journey", London, Longmans, Green and Co., 1940, reproduced in colour facing p. 186 and on the front cover; S. B. Kennedy: "Paul Henry", New Haven and London, Yale University Press, 2000, p.129; "Paul Henry: with a catalogue of the Paintings, Drawings, Illustrations", New Haven and London, Yale University Press, 2007, pp. 79, 297, cat. no. 997; "The Hunter Gatherer: The Collection of George and Maura McClelland at the Irish Museum of Modern Art", IMMA 2005, Fig. 124 illustrated p.127; and "The Moderns", IMMA, illustrated p.46 In 1939 Paul Henry toured Ireland with the writer Sean O'Faolain, gathering material for O'Faolain's travel book "An Irish Journey". Henry's exhibition at the Combridge Gallery in April 1940 was arranged as a sort of trailer for the publication of the book. 'Ireland is a land of fields, and farmers, and small towns, and it is these that have made it what it is. Paul Henry and I want to rediscover that simpler, more racy Ireland of the people', noted O'Faolain (p. 3). Later, O'Faolain tells us, Henry made for the West, 'into the vast, quiet boglands', with which he is so widely associated, and it was there that he produced this composition, although its precise location-one is tempted to think that the background mountain might Slievemore on Achill-remains unknown. From his travels with O'Faolain, however, Henry made some of his finest late pictures, including Kinsale, The Antrim Coast, New Ross and The Mall, Westport.

Evie Hone HRHA (1894 - 1955) 4 Elements Oil on canvas, 73.5 x 61cm (29 x 24") Signed, also signed verso Provenance: The collection of the artist Barbara Warren, private collection, Dublin Exhibited: "20th Century Irish Paintings Exhibition for the Opening of the New Millennium Wing", National Gallery of Ireland, January 2002-January 2004; "The Collectors Eye Exhibtion", Model Arts and Niland Gallery, Sligo, Jan/Feb 2004; The Hunt Museum, Limerick, March-April 2004, cat.no.12; "Evie Hone (1894-1955) A Pioneering Artist", National Gallery of Ireland, Dec 2005-July 2006; and "Analysing Cubism" travelling exhibition, Irish Museum of Modern Art, Feb-May 2013, Crawford Gallery Cork June-Sept 2013 Literature: "Collectors Eye" 2004, illustrated p.7; "Analysing Cubism" Irish Museum of Modern Art 2013, full page illustration p.117 Muriel Hone, a distant relative of Evie Hone and her biographer, has written of this painting: "Evie Hone studied in Paris with Albert Gleizes from 1921 and this painting is likely to have been hung in the 1924 exhibition held jointly with Mainie Jellett in Dublin. The outline of a dark tilted chalice dominates the centre, leading towards the upper left element where the colouring suggests a Garden of Gethsemane theme; diagonally to the lower right the stepped base of the chalice is repeated in steps to the upright of the Cross in daylight. The lower left element implies mourners who will bring unguents in jars for the burial in the top right element. An 'eye of the needle' symbolises the narrow entrance to the tomb. Emotions are conveyed throughout the composition - by yellow for Hope, in the garden - by deep pink, crimson and cyclamen for Love between victim and sympathisers - by black for grief."

William Scott RA (1913-1989) Robert (1947) Oil on canvas, 40.5 x 35.5cm (16 x 14") Signed Provenance: From the Collection of George and Maura McClelland and on loan from them to IMMA from 1999 - 2004;Private Collection Dublin Exhibited: "Recent Paintings by William Scott", Leicester Galleries, 1948 Cat. No. 1 under title "Head of a Boy"; "The McClelland Collection, Irish Museum of Modern Art", Sept 2000-Jan 2001; "Envisage - The Fall of Contemporary Irish Art", Irish Museum of Modern Art, Oct 2001-April 2002; "Norhtern Artists from the McClelland Collection", IMMA 2004/5, Droichand Arts Centre 2005 "William Scott in Ireland", F.E. McWilliam Gallery Banbridge, Mar-Sept 2009, Cat. No.5 (see contemporary photograph of Robert Scott standing in front of this picture at that exhibition) Literature: "The Hunter Gatherer", Irish Museum of Modern Art 2005, illustrated Fig.106 p.106 "William Scott in Ireland" 2009 by Dr. Denise Ferran, illustrated p16; "William Scott Catalogue Raisonné of Oil Paintings" Vol. 1913-51 by Sarah Whitfield Cat. No.115, illustrated p.175 This is one of six known portraits of William and Mary Scott's first child Robert who was born in Dublin 5th January 1940, the Scotts having moved here in September the previous year. Robert was sent to live with his aunt in the United States and then Canada before returning to live in England with his parents in January 1944

James Dixon (1887-1970) "Mary driving the cattle home, the tide came in too soon and the poor girl got drowned" Oil on board, 54 x 72.5cm (21¼ x 28½") Signed, dated 19-8-67, inscribed 'Tory Island' with legend Accompanied by a hand written poem relating to the painting thought to be in Dixon's hand Provenance: Bought by the current owner privately, early 1972 Exhibited: "From Tory Island" exhibition Paintings in Irish Houses Grange House , Freshford, Co. Kilkenny July 1972 . Literature : "From Tory Island to a Kilkenny Farm" by Elgy Gillispie, Irish Times 28th July 1972 illustrated. James Dixon is probably Ireland's only true primitive painter having very rarely ever ventured away from his native Tory Island off the Northwest coast of Donegal. His discovery by the painter Derek Hill is now legend. Observing Mr. Hill painting a landscape of the West End Village on Tory he is said to have remarked ''I think I could do better''. Hill immediately encouraged him by sending him paints. Dixon preferred to work on paper and when offered paint brushes he said he would make his own out of hair from his donkey. Hill organised exhibitions of the work of the Tory painters, the first of which took place at the New Gallery, Belfast in 1966 but following on shortly afterwards he had exhibitions at the Dawson Gallery, Dublin, Autodidaky Gallery, Vienna and the Portal Gallery, London. His work entered the collections of The Scottish National Gallery of Modern Art, The Hugh Lane Gallery and Bournemouth Art Gallery. His legacy lives on in what is now referred to as the Tory Island School of Painting. Homage was paid to him when in 2000 there was a joint exhibition with that other famous primitive painter Alfred Wallis, organised by the Irish Museum of Modern Art and the Tate Gallery, St. Ives, Cornwall This work is very similar to a work in the Arts Council of Ireland collection which was included in the major exhibition "Into the Light" last autumn. This work is accompanied by a poem thought to be in Dixon's hand and both it and the painting are based on a poem by Charles Kingsley. Mary was lost to a great wave and legend has it that her voice will haunt the shoreline to the end of time, forever calling her cattle.

Tony O'Malley HRHA (1913-2003) Irish Place, Callan, Co. Kilkenny 1979 Oil on board, 123 x 91cm (48 x 36") Signed with initials and dated 1979; signed again and inscribed with title verso Provenance: From the Collection of George and Maura McClelland and on loan from them to IMMA from 1999 - 2004; Private Collection Dublin Exhibited: "Selection of works from the McClelland Collection", IMMA, Sept 2000 - Jan 2001; and "Tony O'Malley Exhibition", IMMA, July 2001 - Jan 2002 Literature: "The Hunter Gatherer", IMMA 2005, illustrated Fig. 94 p.100 Tony O'Malley came late to painting after a career in banking, and was in his late 60s and living in St Ives when George McClelland first became aware of him, prompted by fellow artist F.E. McWilliam. When they first met, O'Malley was not particularly successful, despite having painted and exhibited for thirty years, but McClelland determined to change this. He relentlessly promoted the artist between 1980 and 1983, with the result that O'Malley went from being virtually unknown in his homeland to being given an Arts Council of Ireland Travelling Exhibition and having his work in important public collections such as the Bank of Ireland, within a few years. A major retrospective in Dublin, Cork and Belfast in 1984 cemented his place within the context of important Irish painters of the 20th century. In the 1970s O'Malley married his wife Jane and they spent a lot of time in the Bahamas. Influenced by the light and surroundings, much of his work from this time became more colourful and vibrant, moving away from the more sombre tones of his work in the 1950s and 60s. The subject of this painting had a strong emotional connection for O'Malley, being of Callan in County Kilkenny, the artist's birthplace. In 1990 he and his wife moved back to Ireland and in 1993 he was elected a Saoi of Aosdána. When he died in 2003 he was regarded as one of Ireland's leading painters, due in no small part to the influence and support of George McClelland. The Irish Museum of Modern Art held a major retrospective of his work in 2005.

Markey Robinson (1917-1999) Queen of Peace 1971 Painted bronze sculpture, 47 x 7.5 x 7.5cm (18½ x 3 x 3") Provenance: From the Collection of George and Maura McClelland and on loan from them to IMMA from 1999 - 2004; Private Collection Dublin Literature: "Markey Robinson: Maverick Spirit" by Dr Michael Mulreany 2003, Cat. No.31, illustrated p82; "The Hunter Gatherer", Irish Museum of Modern Art, 2004, Fig. No.143, illustrated p.138 (wooden version now cast in bronze)

Modern silver Art Nouveau style nurses belt buckle, London 1987, the pierced buckle with stylised flowers and two seated ladies, together with, one other silver pierced belt buckle, (2)

William Kentridge Five Themes San Francisco Museum of Modern Art, hard cover catalogue. Full colour, 297 illustrations, 262pages. This extraordinary catalogue, produced in close collaboration with the artist, investigates the five primary themes that have engaged Kentridge over the course of his career: - Soho and Felix: works featuring Kentridge’s best-known characters, the businessman Soho Eckstein and his alter ego, the anxiety-ridden Felix Teitlebaum. - Ubu and the Procession: inspired by Ubu Roi, these projects reflect the excitement, conflict, and rapid social changes in post-apartheid South Africa. - Artist in the Studio: an examination of Kentridge’s practice and his emergence as an installation artist. - The Magic Flute: work related to the artist’s set designs for Mozart’s opera. - The Nose: Kentridge’s most recent production, including work inspired by his staging of the Shostakovich opera for New York’s Metropolitan Opera in spring 2010. Kentridge has created a DVD especially for this publication; it includes fragments from significant film projects (both known and newly completed) as well as commentary that sheds further light on the artist’s work. Very Good to Fine Yale University Press 2009 Reserve: $70 Click here to view further details and to bid

Antonio Frasconi (illus) and Glenway Wescott-Twelve Fables Of Aesop, illustrated with linoleum blocks, published by The Museum Of Modern Art, New York, and printed by Joseph Blumenthal at The Spiral Press 1954, No.499 from a limited edition of 1000, signed by Antonio Frasconi, Glenway Wescott and Joseph Blumenthal, with slip case Please telephone department for further details

Peoples Republic of China twelve postcards of Modern Chinese handicrafts,; Chinese landscape through the camera`s eyes, ten views of the Imperial Palace in Pictors, and four other sets of images of Chinese works of art, all c1950`s

[W A LAWTON] [ED]: ILLUSTRATED MODERN ART AND LITERATURE, 1894-1895, vol 2 Nos 1-10 bnd as 1 vol, old hf cf gt worn, jnts split, lower bd detchd, top bd loose, aeg

Box of books, art related to include various volumes of "The Studio", dates 1914, 1917, 1909-10, 1902; "Modern Etchings Mezzotints and Dry Point" by Charles Holme; "Francesco Barolozzi" by Herbert Bailey etc.

A stylish modern Art Deco style leather clad table lamp.

Omega, Marine, an Art Deco gentleman’s rectangular staybrite steel wristwatch, circa 1934, no. 9392741, with double cased sliding case, hinged snap to lock at back, reeded ends to hidden lugs, the white dial with Arabic numerals and blued steel modern hands, 15 jewel Omega movement, cal. 19.4T2, no. 8571791, the case 39mm including lugs, on a black strap

Mainie Jellett (1897-1944) DEATH OF PROCRIS, 1929 oil on canvas signed lower right; with James Bourlet & Sons framing label on reverse; with Musée de Strasbourg exhibition label on reverse; with inscribed Irish Art Exhibition label on reverse detailing artist`s address [36 Fitzwilliam Sq., Dublin] and price [£15-15-0]; with Corporation of Dublin, Municipal Gallery of Modern Art Parnell Sq., exhibition label on reverse; with IMMA exhibition label also on reverse 27 by 47in., 67.5 by 117.5cm. L Acquired from the artist by James White (former director of the National Gallery of Ireland, 1964-1980);Thence by descent to the present owner `Exposition Europe 1925`, Musée de Strasbourg, 14 May - 15 September 1970, catalogue no. 78 as Death of Procris, 1929 (loaned by owner); Irish Art Exhibition, Brussels, May 1930 as Painting; `Mainie Jellett Retrospective Exhibition`, Hugh Lane Gallery Dublin, July - October 1962, catalogue no. 6; `Mainie Jellett`, IMMA, December 1991 to March 1992, catalogue no. 94 Arnold, Bruce, Mainie Jellett and the Modern Movement in Ireland, Yale University Press New Haven & London, 1991, p. 112 (illustrated) Mainie Jellett has been described as the cornerstone of twentieth century modern art in Ireland,1 and is a pioneer of abstract cubism. Her formal education as a painter, at the Metropolitan School of Art in Dublin where she was exposed to the influence, among others, of William Orpen, followed by the Westminster School of Art in London, then run by Walter Sickert, provided a grounding for her understanding of the representation of the body. However, it was her experience in Paris, working with advocates of Cubism, André Lhote and Albert Gleizes, that facilitated her development of an increasingly stylised representation of the human figure and to her tendency towards abstraction. In Paris, Jellett was familiarised with various forms of Cubist representation from the object-based, almost monochromatic analytical method as practised by Picasso and Bracque to Orphist experiments with abstraction and brilliant colour. However, it was the theories of rotation and translation advocated by Gleizes that provided the basis for Jellett`s first abstract works. Much of her output is distinguished by her characteristic use of colour, of the tonal variation which demonstrates the inventive and subtle chromatic range that is evident in Death of Procris. By the late 1920s, when this painting was carried out, Jellett had developed a distinctive and identifiable method of representation and this painting is one of the finest examples of her work of this period. While the distillation of form shows her abstract tendencies, in many of her paintings she retains elements of figuration. In this work, the two protagonists in the story, while refined to their essentials of line and plane, can nonetheless be clearly discerned. Stylistically, the repeated curved lines and the geometry of the flat planes demonstrate her awareness of Art Deco. Jellett wrote extensively about art, and as early as the 1920s was emphasising the role of flatness in modern painting. She was also familiar with the history of art, and her knowledge of earlier periods including the artists of the Renaissance and its legacy, is evident in her essays. 2 Death of Procris is distinctive in representing a theme from classical mythology - a rare departure in Jellett`s work. The composition suggests familiarity with the painting in the National Gallery in London, by Piero di Cosimo, then known by the title Death of Procris.3 In common with di Cosimo`s arrangement, Procris lies prostrate along the bottom of the canvas, with Cephalos kneeling to the left. However, Jellett has made changes to aspects of their relative poses with Cephalos apparently cradling the head of Procris who appears to lie on her back with one knee raised. The pale figure of Procris, and tanned one of her husband, conforms to older traditions in representation of the genders and serves to assist in their identification. As with the di Cosimo, the background reads as a broad landscape; in Jellett`s work, the forms of rocks, sea, distant land, and clouds are suggested rather than detailed. The theme story has a number of variations, the best known coming from Ovid`s Metamorphoses IV, and is essentially a story of unjustified jealousy and its tragic consequences. Dr. Yvonne ScottOctober, 2013Footnotes:1. Bruce Arnold, `Mainie Jellett and the Modern Movement in Ireland`, Mainie Jellett 1897-1944, exhibition catalogue, Irish Museum of Modern Art, Dublin 19912. Eileen MacCarvill (ed.), Mainie Jellett, The Artist`s Vision, Dunalgan Press, Dundalk, 19583. Subsequently known as A Satyr Mourning over a Nymph

Phil Kelly (1950-2010) STREET CORNER, MEXICO, 1992 watercolour over pen and ink with pastel on paper signed and dated lower right; titled verso 22.25 by 28.25in., 55.625 by 70.625cm. L Also with this lot: attractive hardback publication Phil Kelly, 2 Horas y 25 Años, published by Aeroméxico; American Express in 2005. The text details the Irish born artist`s artistic process and his connection to Mexico; his adoptive homeland since 1989. Also included, two exhibition catalogues for solo shows in Mexico, `La Forma de las Cosas que Vendran` (August 1999) and `Babel Descrifrada` (December to March 1996/1997) and postcards for same (5 items total).Phil Kelly was reared in England and was of Irish extraction. He became a Mexican citizen in 1999 and has been described as an Irish Expressionist". He studied Art and Special Education in Bath and travelled in Europe and painted widely after graduation with fellow artist Ann Woods exhibiting in small galleries all the while. At this stage his influences included among others Jack Butler Yeats. His first trip to Mexico was in 1982. It lasted three years and had a dramatic effect on his work. After a time in London he returned in 1989 and married Ruth Munguia, an arts professional who helped manage Kelly`s career. Regular exhibitions of Kelly`s work followed in both Mexico (Museo de Arte Contemporáneo in Mexico City: Babel Descrifada) and London (Westbourne Gallery and The Hay Festival of Literature) in 1996. Both received wide media coverage. The following year The Frederick Gallery in Dublin hosted his first Irish solo show, opened by the Mexican Ambassador to Ireland and other exhibitions followed at Hillsboro Fine Art. Phil Kelly and Seamus Heaney became friends during their careers and Kelly`s illustrations accompanied some of Heaney`s publications in Mexico. Kelly`s oeuvre is dominated by urban scenes from Mexico City. His work can be found in private collections internationally and in The Museum of Modern Art in Mexico City and The Museum of Modern Art of Oaxaca. His work has been widely reproduced in publications in Mexico, Ireland and in the UK. "

ƒ Roberto Matta (1911-2002)Oeficiency, 1951Pastel et crayon sur papierInscriptions indistinctes, titré et numéroté ANJ 2150 EX 21 KAP en basNuméroté #859, MOMA 57.375 au dosPastel and graphite on paperIndistinctly inscribed, titled and numbered ANJ 2150 EX 21 KAP along the bottomNumbered #859, MOMA 57.375 on the reverse25 x 33,5 cm - 9 7/8 x 13 1/4 in. Provenance :Collection Ruth Moskin Fineshriber, New York (acquis auprès de l’artiste dans les années 50)New York, Vente Christie’s, 1er juin 2007, lot 204Collection particulière, MexicoExposition :New York, The Museum of Modern Art, Matta, 10 septembre-20 octobre 1957 (puis Minneapolis, Walker Art Center, 15 novembre-30 décembre 1957 et Boston, The Institute of Contemporary Art, 18 janvier-2 mars 1958), décrit sous le n°34 page 35 du catalogue de l’exposition

TWO SETS OF SIX JAPANESE SILVER BOWLS, EARLY 20TH CENTURY each individually chased with flowers or foliage, the undersides of one set stamped: `Arthur & Bond / Sterling / Yokohama’ 11.5cm diameter, 947gr (30oz) (12) Arthur & Bond, `The Fine Art Gallery,` were located at 38 Water Street, opposite the Grand Hotel, Yokohama, and advertised as `dealers in high-class curios, Antique and Modern.` In addition to an outlet at Kobe, Japan, and an office at 52 St. Mary Axe, London, the firm had correspondents in London (Henry S. King & Co) and the United States (G.W. Sheldon & Co).

ƒ Helen Levitt (1913-2009)New York (two boys sitting on a curb), c.1942Tirage argentique d’époque (probablement tiré avant 1954) signé, titré, daté et numéroté “114” au verso, étiquette de la Fraenkel Gallery, San Francisco au verso15,6 x 23,7 cm Provenance :Steven Kasher Gallery, New YorkBibliographie :S. Phillips et Maria M. Hambourg, Helen Levitt, San Francisco Museum of Modern Art, New York, 1991, p. 42Helen Levitt, A Way of Seeing, Duke University Press, Durkam, 1989, p. 41

ƒ Roy Decarava (1919-2009)Man with Portfolio, 1959Tirage argentique d’époque signé au verso22,5 x 33 cm Provenance : Julie Saul Gallery, New YorkBibliographie :John Szarkowski, The Photographer’s Eye, The Museum of Modern Art, New York, 1966, p. 48John Szarkowski, Looking at photographs : 100 from the Collection of the Museum of Modern Art, The Museum of Modern Art, New York, 1973, p. 179John Szarkowski, Photography until now, The Museum of Modern Art, New York, 1989, p. 250Peter Galassi, Roy DeCarava : A Retrospective, The Museum of Modern Art, New York, 1996, p. 172

ƒ RALPH GIBSON (né en 1939)Sans titre, (hand with rose, SF), 1961Tirage argentique signé, titré et numéroté 6/2531,2 x 21,2 cm Provenance :Studio de l’artisteBibliographie :John Szarkowski, Mirrors and Windows : American Photography since 1960, The Museum of Modern Art, New York, 1978, p. 49

MODERN ART, misc., incl. HENRY MOORE, Complete Drawings, vols. 1, 4 & 5, etc. (20 boxes).

Willem de Sanderes Hendrikz MAREGA bronze, dark brown patina From the collection of the late Prof. A. L. Meiring Willem de Sanderes Hendrikz started his studies in architecture at the University of the Witwatersrand, but also dedicated himself to Fine Art forms in his spare time. In 1934 he moved to London to further his studies. He decided to devote himself to art and moved over to an art degree full time and became a lecturer in Fine Art at his Alma Mater between 1937 and 1945. In this last year, he resigned from his lectureship and became a full time sculptor, as he felt that the academic life was a threat to his creative instinct and potential as an artist. Coming after the realists such as Van Wouw and Eloff, Hendrikz was the first Afrikaans sculptor to follow modern trends. He realised that there was a close affinity between architecture and sculpture and his architectural training played an integral role in in his development as a sculptor. He was a renowned artist for the embellishment of buildings and did many bas relief panels for banks, building societies etc. - Most notably the bronze doors that he designed for the Volkskas Building in Johannesburg. This work, Marega, is a pendant to the earlier work entitled Tama Morena, also of a young Bantu girl, which was exhibited at the International Open Air Exhibition in Sonsbeek, Arnem, 1952. He sadly committed suicide at the young age of 39. I.L. Edited from: × http://www.artefacts.co.za/main/Buildings/style_det.php?styleid=1154, [9 September 2013] × Prof G. Dekker, 1973, Our Art 2,, Association for the Advancement of Knowledge and Culture / SABC: Pretoria, pages 25 and 26 1 height: 119cm verdegris from being outside, some abrasions and surface dirt, otherwise good general condition, could benefit from restoration

Various volumes on Golf (18) – mostly modern to incl to Blanchard, Ken & Wally Armstrong. The Mulligan. Cloth-backed board, dust jacket. 5th printing, 2910. Penick, Harvey. And If You Play Golf, You’re My Friend. Cloth-backed boards, dust jacket. 5th printing, 1993. Penick, Harvey. For All Who Love the Game. Cloth-backed boards, dust jacket, 1995. (Another copy). Penick, Harvey. Harvey Penick’s Little Red Book. Boards, dust jacket, 1992. Plimpton, George. The Bogey Man. Cloth, dust jacket, 1968. (Another copy). Wrapper, 1969. Neilsen, Leslie. Bad Golf, My Way. Wrappers. Second printing, 1997. Thomas, Bob. Golf Gave Me Something to Love. Boards, dust jacket. One of 1000 copies, signed by the author, this copy additionally inscribed, 200l. Ryde, Peter, ed. Mostly Golf: A Bernard Darwin Anthology. Cloth, dust jacket. Reprint, 1977. Thomas, Bob. Ben Hogan’s Secret. Cloth-backed boards. 3rd printing, 1997. Simpson, Walter. The Art of Golf. Cloth. Reprint, 1992. Jones, Robert Tyre (Bobby). Bobby Jones on Golf. Cloth. 1966. Wilson, Harry Leon. So This is Golf! Cloth-backed boards. 1923. Sarazen, Gene. Thirty Years of Championship Golf. Cloth. 1996. Darwin, Bernard. Pack Clouds Away. Cloth. Second Impression. 1941. Matthew, Sidney L. Secrets of the Master: The Best of Bobby Jones. Boards, dust jacket. 1996. The Royal Montreal Golf Club, 1873 – 2000. Boards. Privately published. 2001. Together 18 volumes. Most very good to fine.

A parcel lot to include a Victorian jardinaire stand on three footed lion`s paw urn on a triangular base, with turquoise streaked glaze, 61.5cm high A/F, an oriental modern ceramic elephant shaped stool, glazed jardinaire, and a concrete wall planter in the form of an Art Nouveau style maiden, 4 pieces.

An Art Nouveau style silver brooch, together with a modern Art Deco style silver brooch set with a seed pearl (2)

An 18ct gold cased Certina New Art gentleman`s wristwatch, circular with baton numerals, suppported on a modern black leather trench strap

A collection of post war West German pottery, and modern art glass

A modern Lalique glass cockeral mascot, signed to base Lalique France, in original packaging, 21cm high and The Art of Rene Lalique by Patricia Bayer and Mark Waller. (2)

WALTER MICHAEL MOSELEY "An essay on archery: describing the practice of that art in all ages and nations, printed by J & J Moll and sold by J Robson London 1792, later cloth board bound with tooled and gilded spine, together with George Agar Hansard "The Book of Archery being the Complete History and Practice of the art ancient and modern....", published Henry G Bohn London 1841, later cloth board bound with tooled and gilded spine (2)

Two (2) Painted Ceramic Modern Art Sculptures "Cats" It Has Been Reported to the Gallery That These were Purchased about Ten (10) Years ago at Neiman Marcus in Bal Harbour, Florida for Approximately $2000.00 Each. One (1) Has Original Paper Sticker Marked Made in Mexico or else Unsigned as to the Artist. Good to Very Good Condition. Taller Measures 28-1/2 Inches Tall. We will not ship this item because in our opinion it needs to be crated. We will happily recommend a list of outside vendors upon request. Starting Price: $600.00

Important Miguel Arroyo, Venezuela (1920-2004) Circa 1956 Slat Bench with Ebony Lacquer "Banco Listonado" Manufactured by Pedro Santana, Carpintería Colectiva ¿ Caracas, Venezuela. Unsigned. Provenance: This Bench was included in: Embracing Modernity: Venezuelan Geometric Abstraction, The Patricia & Phillip Frost Art Museum, Miami, Florida October 13, 2010–January 2, 2011. "Embracing Modernity: Venezuelan Geometric Abstraction presents a historical overview of the origins of Venezuela’s abstract movement focusing on its early developments dating from the late 1940’s, to the 1970’s. It includes works by artists who were responsible for the growth of the movement at the national and international level, particularly in Paris where many of them resided at the time. The show, curated by Maria Carlota Perez and Francine Birbragher-Rozencwaig, features a selection of works from private collections and Foundations which document an important period of Venezuela’s art history which was instrumental in the development of Modern Art in the Americas. Paintings, sculptures and installations illustrate the development of Venezuelan Geometric Abstraction and Kinetic Art, and introduce many artists who contributed to the movement in Venezuela, unknown to the American public." The bench is pictured in the catalog for the show. Restoration Otherwise Good Condition. Measures 18-1/8 Inches Tall, 70-7/8 Inches Long and 14-1/4 Inches Deep. We will not ship this item because in our opinion it needs to be crated. We will happily recommend a list of outside vendors upon request. (estimate $12,000-$15,000) Starting Price: $6,000.00

* Ernest Howard Shepard [1879-1976]- Shoes:- pen and ink drawing 2.5 x 25.5cm. * Provenance. The Fine Art Society. Exhibition E H Shepard, December 2006, No.160. An illustration for `The Modern Struwwelpeter`.

* Eileen Agar[1899-1991]- Portrait:- signed AGAR bottom centre watercolour on cut and shaped paper 35.5 x 30cm overall *Provenance Christies, 2010 Lot 530, 14th December 2010 * Biography Surrealist painter in oils watercolour and acrylic, collagist and object-maker. Born in Buenos Aires, she came to England in 1911. Studied at the Byam Shaw School and later at the Brook Green School and the Slade with Leon Underwood. Studied for two years in Paris and was introduced to Surrealism. Moved in circles with Ezra Pound, Evelyn Waugh, Pablo Picasso, Man Ray, Henry Moore and Paul Nash, whom she counted amongst her friends. Had first oneman show at the Redfern Gallery in 1942 and a retrospective at Birch & Conran in 1988. There was a centenary show at the Scottish National Gallery of Modern Art and also at the Redfern. The Tate Gallery hold her work, which has in part a strong jokey element. Elected a Royal Academician shortly before she died.

* Winifred Nicholson [1893-1981]- Still life of Garden Flowers:- circa 1972, oil on canvas board 59 x 48.5cm * Provenance. With Crane Kalman Gallery December 1972, where bought by Dr. Gibson, thence by direct family descent. * Biography. Winifred Nicholson was born in Oxford, as Rosa Winifred Roberts. Her mother, Lady Cecilia, was a daughter of the politician George Howard, 9th Earl of Carlisle. Her father, an accomplished artist himself, painted with Winifred from an early age. She attended the Byam Shaw School of Art and Paris and India. She married Ben Nicholson in 1920 initially exhibiting for some while under her maiden name Winifred Roberts. She exhibited at the Mayor Gallery and became a member of the New England Art Club. Unlike her husband Ben she was never really a member of the then newly founded St. Ives School and she never permanently lived there, travelling extensively as she did. She experimented in her own form of abstraction in the 1930`s. Influences between Ben and Winifred were mutual, Ben Nicholson admitting that he learnt a lot about colour from Winifred. After their divorce in 1938, W.N. spent most of her long life in Cumberland. The Tate Gallery had a significant exhibition of her work in 1987, and the Kettle`s Yard Cambridge have a large collection. An auction record was set for her work in March 2011 in London when Sea Treasures, a 1952 work, realised £145,000. `She probably has no equal among Modern British painters, as a colourist of the most exquisite refinement`. P.C. Konody writing in the Observer in 1927.

Modern Contemporary Art Metal Wall Hanging

A set of copies of The Modern Carpenter & Joiner, with cloth art nouveau style bindings, etc.

Mixed silver to include, Art Nouveau teapot, Birmingham 1907, with ebony finial and handle, the shaped body raised on four paw feet, together with, continental silver pierced tray (marked 900), silver ladies purse, Birmingham 1916, and a modern silver snuff box, total weight 27oz, (4)

MODERN ART BOOKS AND CATALOGUES: Artists to include: Gwen John, Michael Ayrton, Keith Vaughan, Stanley Spencer (qty.)

An extensive collection of cigarette cards filed in ten plastic albums, subjects include mammals, natural history, gardening, exploration, etc together with a further album which has some interesting examples of silk cards, all showing various plants, two large cards produced by Lever Brothers Limited Port Sunlight, a collection of larger cigarette cards, early postcards showing various dog breeds, a collection of Wills cigarette cards showing modern British sculpture, etc together with some Splendo Cigarette cards showing different works of art in various national galleries

PETER WILSON AQUARIUM I oil on linen, signed and signed, titled and dated 1994 verso 46cm x 41cm Note:The work of Wilson is represented in the Kelvingrove Museum and Art Gallery, the Gallery of Modern Art, Glasgow, and other museums. This is the first time that Wilson`s work is represented in oil at auction. Unframed, no damages.