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Books: art and architecture including The Age of Neo-Classicism, the fourteenth Exhibition of the Council of Europe; La Grande Arche, L'Evenement Media 1989; Lorado Taft, Modern Tendencies in Sculpture; Lucien Clergue, nee de la Vague; and Max Friedlander, On Art and Connoisseurship. (12) Provenance: The Estate of the Late Carlo Curley.

A modern Art Nouveau style white metal table mirror - 40 cm tall

A pair of modern Art Nouveau wall lights

After Demetre Haralamb Chiparus - a modern Art Deco style cast bronze figure of a semi-clad female dancer holding a stylish pose, the base with cast signature `D.H. Chiparus`, raised on a marble plinth, height approx 54cm.

After Bruno Zach - a modern Art Deco style cast bronze figure of a dancing woman, the base with signature `B. Zach`, raised on a marble base, height approx 63cm.

After Dominic Alonzo - a modern Art Deco style cast bronze figure of a semi-clad woman dancing with a hoop, cast with signature `D. Alonzo`, raised on a marble plinth, height approx 50cm.

BILLIE WATERS 1896-1979 CHELSEA signed, inscribed with title and dated `1920`; signed and inscribed with title and the artist`s address on a label attached to the backboard watercolour and pen and ink 21.5cm x 26.5; 8 1/2in x 10 1/2 Born in Richmond, Surrey and studied at Heatherley`s School of Fine Art and the Grosvenor School of Modern Art. For several years from 1926 she also studied with Ernest Proctor and Harold Harvey in Newlyn. She exhibited at the Royal Academy, Goupil Gallery, Society of Women Artists and elsewhere. She lived in London and Lelant, Cornwall.

A modern Art Deco-style lamp on a marble base

Art Deco 18ct & Diamond set cocktail watch: An 18ct oval faced diamond set cocktail watch, Swiss movement, English hallmarks on modern plated bracelet

WELLINGTON DUKE OF: (1769-1852) Anglo-Irish Field Marshal & British Prime Minister 1828-30, 1834. A.L.S., Wellington, three pages, 8vo, Walmer Castle, 30th October 1844, to 'My Dear Lady Jane' [Duchess of Hamilton]. Wellington informs his correspondent that he has been in London to 'attend the Ceremony of opening the Royal Exchange by H.M. The Queen' and adds that he 'was delighted with and am most obliged to you for your account of the statue erected at Glasgow' continuing 'I had seen accounts that it was highly approved of by those who understand these matters. But there is no better judgement than your own; there is no one who has taken a more pointed view of the original.' Wellington further reports on his proposed movements in the forthcoming weeks, including residency in Hampshire, where he would be delighted to receive his correspondent, explaining 'I am only forty miles from London, that is to say in reality the time of three horses by the means of either of two Mail Roads, the Great Western to Reading; the South Western to…' VG The equestrian Wellington Statue is located on Royal Exchange Square in Glasgow, and is one of the city's most iconic images. Located outside the Gallery of Modern Art, the bronze statue, by Italian artist Carlo Marochetti, was erected in 1844. Capping the statue with a traffic cone has become a traditional practice in the city, claimed to represent the humour of the local population and believed to date back to the first half of the 1980s.

A pair of modern figural table lamps, a further gilt metal mounted table lamp, a turned oak table lamp, and an Art Deco style lamp (5).

Kunz (George Frederick & Stevenson, Charles Hugh). The Book of the Pearl. The History, Art, Science, and Industry of the Queen of Gems, pub. New York, 1908, col. port., num. col. and b&w plts., inscribed by Kunz to front free endpaper ‘Miss Annette Markoe, With the sincere best wishes of the senior author, George Frederick Kunz, 2 May 1918, New York City’, t.e.g, remainder untrimmed, orig. elaborately gilt dec. green cloth, contained in modern morocco-backed drop-over bookbox, 4to. A fine example. (1)

Oppenheimer (Michael). The Monuments of Italy. A Regional Survey of Art, Architecture and Archaeology from Classical to Modern Times, 6 vols., London & New York, 2002, b & w illusts. from photos, maps and plans, orig. cloth, 4to, together with Venice. Art & Architecture, edited Giandomenico Romanelli, 2 vols., Konemann, 1997, numerous fine col. and b & w illusts. from photographs by Piero Codato and Massimo Venchierutti, orig. cloth in d.j. and slipcase, and other art reference and related, mostly Italian interest, mostly 20th-c. hardback publications, many in d.j., G/VG (6 shelves & 2 cartons)

An Arzberg `City Modern Art` tea set, designed by Lutz Rabold, circa 1985, consisting of a teapot, a large jug, a milk jug and six cups and saucers, green printed factory marks.

Jacob Kramer (Ukranian, 1892-1962) Mother and Child, November 1922 signed, dated and inscribed in crayon `To Sir Michael Sadler from Jacob Kramer` watercolour 16" x 11 1/2", unframed. Sir Michael Sadler was Vice Chancellor of the University of Leeds between 1911-1923 and he became one of the leading figures promoting modern art in Britain between the two world wars. During his tenure at Leeds, Sadler became President of the avant-garde Leeds Art Club, which was an important meeting group for radical artists, writers and thinkers. Sadler promoted a number of young avant-garde artists, in particular Kramer, whom he gave helpful advice encouragement and financial help. Kramer stated `I had become a student at the Slade School, a step which I might not have taken but for Sir Michael Sadler`s interest in me`.

Modern silver Art Nouveau style framed mirror,

A modern resin table lamp in the Art Nouveau maiden style

A modern decorative art glass , having bubble stem and blue glass foot

Susan Ryder VPRP NEACTHE CUPID LAMPoil on canvassigned lower right36 by 25in., 91.44 by 63.5cm.Christie`s, Interior`s Sale, London, 22 August, 2007, lot 582 (Illustrated on cover over auction catalogue); Whence purchased by the present ownerSusan Ryder is a well known British painter who specialises in interiors and portraiture. She painted a portrait of Princess Diana/H.R.H. The Princess of Wales in her wedding dress in 1981 and in 1997, H.M.The Queen. Her interior paintings are mostly sold at exhibitions - either with the New English Art Club or through other galleries and dealers. A recent solo exhibition "Antartica to China" was in November 2010 at Ackermann Modern and she currently shows at Panter and Hall in London where she will be having a solo exhibition in 2013.

Ernest Columba Hayes RHA (1914-1978)A PORTFOLIO OF PORTRAITS, LANDSCAPES AND MARITIME WORKSoil on canvas board; (1); oil on canvas (unstretched); (2); oil on board (5); engraving; (1); print (1); pen & ink; (1); gouache on paper; (1); gouache on board; (1);variously signed, inscribed, annotated and dated15.25 by 12in., 38.735 by 30.48cm.Estate of Hildegard Hayes, the artist`s wifeIncludes a striking Portrait of Miss Roinola Wallace and other female and male portraits, pastoral and maritime scenes including a study after Clarkson Stanfield`s, View on the Scheldt, 1826 and early works in pen and ink dating from c.1929 and depicting the Swords area of Dublin. Contained in artist`s portfolio case. (13 items total). A Dublin born artist, Hayes was a student at the Dublin Metropolitan School of Art in the years 1931 to 1934, where he studied under Seán Keating and had his first painting accepted by the Royal Hibernian Academy while still a student there. He went on to regularly show at the RHA for the rest of his life. He joined the Dublin Sketching Club in 1935 later becoming the clubs secretary. He had his first one-man show at the Victor Waddington Galleries, Dublin in 1937. In 1942 he was elected Associte of the RHA and three years later in 1945 became a full member. That same year he married Irma Verona Maguire (née Stranger-Jones) a pianist and divorcée in London. From 1946 to 1956 he was President of the Dublin Sketching Club after this period he relocated to London an in 1958 he completed a large portrait of the Duchess of Gloucester, now in St Botolph’s Hall, which was exhibited in the Royal Society of Portrait Painters’ Exhibition at the Royal Institute Galleries. Irma died in Dublin in 1959 after battling with cancer. Later that year Hayes met Hildegard von Hob in Gelting, Germany whom he married in 1960. From this point until 1977 he travelled extensively throughout Europe working in Italy, France and Germany.A year after his death the RHA commemorated Hayes in a memorial section. Thirteen years later, in 1992 a memorial exhibition was held at the Hugh Lane Municipal Gallery of Modern Art some examples from this exhibition are included in this collection. Hayes made his home in County Wicklow from the mid-1960s.Anne Crookshank highlighted his love of the land in the exhibition catalogue for Hayes’ 1992 Hugh Lane exhibition, “We can be proud with Ernest Hayes of our lovely East coast as well as of the West which so many of his contemporaries preferred. He is a painter of everyday people and everyday places but he see them and makes us see them as poetry.”

Lotte Funke (German, b.1938)GRANNY FLAT, 1986oil on boardsigned and dated lower right9.25 by 12in., 23.495 by 30.48cm.In the year this work was executed Lotte Funke had a solo exhibition at the Irish Museum of Modern Art in Dublin. She has exhibited world-wide and returned to Ireland in 1992 to show at the Eigse Art Festival in Carlow. Also with this lot, a hand-coloured woodcut by Fergus O`Ryan depicting a Georgian Archway in Dublin (6.25 by 4in.)

MODERN ART IN IRELAND by Dorothy Walker special limited edition; (no. 30 from an edition of 100) Signed by the author and by Seamus Heaney and numbered on editions page (rear). With foreword by Heaney. Bound in red Buckram with matching black slipcase. Lilliput Press, Dublin, 1997.11.25 by 9.5in., 28.575 by 24.13cm.

A French Art Nouveau Bronze Cherub mounted Mantle Clock on Paw Feet with Modern Movement.

Auction catalogues relating to carpets, rugs and textiles, fine and decorative art, furniture, paintings, coins and other items including Christie’s The Groppi Collection, 2012; Christie’s 500 Years Decorative Arts, Europe. New York, April 2012 and June 2012; The Althorp Attic Sale, 2010; Sotheby’s The Alberto Bruni Tedeschi Collection 2007; The Stuart Cary Welch Collection, Part 1, 2011; Bruun Rasmussen; Bonhams; St. James’s Auctions; various English and European provincial Salerooms; assorted magazines and a hardback catalogue: Modern Masters, Salis & Vertes, Zurich, 2009/2010. All from 2000 onwards. Approximately 100 in 3 boxes.

Finnish rolled cotton rag runner, probably 19th century, 13ft.6in. x 2ft.2in. 4.11m. x 0.65m. A Finnish rolled cotton rag rug, probably 19th century, 5ft.8in. x 3ft.7in. 1.73m. x 1.10m. And a Japanese Sakiori (rolled rag rug), late 19th-early 20th century, 7ft.5in. x 2ft.8in. 2.26m. x 0.81m. The Japanese example with slight damage to both sides in places. N.B. Rolled rag rugs were first made in Japan, where they were known as Sakiori (lit. ‘rag weave’); the earliest Japanese examples, which represent an indigenous peasant art form, were woven in the mid 18th century using fragments of kimonos and other clothes (as they still do). The Japanese examples tend to be finer in construction than the Scandinavian examples and it is probable that the Scandinavian ones were based on Japanese examples imported into northern Europe either commercially or by returning travellers in the 19th century. They represent a fascinating aesthetic cross-current. Together with an Afshar sumac, south west Persia, modern 3ft.7in. x 1ft.11in. 1.10m. x 0.58m., two Bergama rugs, in double interlock tapestry weave, west Anatolia, modern, 3ft. x 2ft.1in. 090m. x 0.65m. and 1ft.11in. x 1ft.6in. 0.57m . x 0.44m. and an Anatolian machine-made ‘Art silk’ prayer rug, modern, 3ft.9in. x 1ft.10in. 1.15m. x 0.55m. Sold as a collection with all faults not subject to return. (7)

A large Art Deco style scent bottle and stopper, modern, the clear glass of stylized fan shape with black detail, unmarked.

After Dominic Alonzo - a modern Art Deco style cast bronze figure of a semi-clad young woman dancing with hoop, cast with signature `D. Alonzo`, raised on a marble plinth, height approx 49cm.

French modern art glass vase of ovoid form, the orange ground with lilies in relief, signed De Vianne, 14cm high

Modern Art Deco Tiffany style table lamp and a toiled landscape scene table lamp (2)

Franco Casalloni (b1952) `Mediterranean Coast` Oil on board, signed bottom left, 16 x 38cm Footnote: 1967 Naples prize for Modern Art, 1971 Milano Silver medal, 1975 Venice Silver medal

François ROUAN (né en 1943) , Figure et paysage, Lunghezza, 1977, Gouache, encre, pastel et collage de papier découpé sur papier, crayon sur papier signé en bas à droite, titré en bas au milieu, situé et daté en bas à gauche , 76 x 57 cm, Provenance : Galerie Daniel Templon, Paris, , Pierre Matisse Gallery, New York, USA, , Acquavella Modern Art, Reno, USA, , Collection particulière, France, Expositions : Paris, Centre Georges Pompidou, François Rouan, Travaux sur papier, 1965-1992, février 1994-mars 1994

François ROUAN (né en 1943) , Figure et paysage, Lunghezza, 1977, Crayon gris sur papier teinté signé en bas à droite, daté en bas à gauche et titré en bas au milieu , 93,5 x 70 cm, Provenance : Galerie Daniel Templon, Paris, , Pierre Matisse Gallery, New York, USA, , Acquavella Modern Art, Reno, USA, , Collection particulière, France, Expositions : Paris, Centre Georges Pompidou, François Rouan, Travaux sur papier, 1965-1992, février 1994-mars 1994

RAPHAEL TUCK & SONS POSTCARDS 2512 Connoisseur Real Japanese, undivided back (6), [unnumbered] Orient Liner (5 + 5), 7583 Gibraltar (6), 7066 Madras II (5), 7439 Baltimore II (6), 7356 Australian Post and Telegraph (6), Cosmopolitan New York, undivided back (6), 2327 Old New York, undivided back (6), 2053 Old Landmarks of New York, undivided back (6), 7106 Switzerland II (5), 2900 Homes of The US Presidents 12 (25), 2454 State Capitols USA (45), 405 Educational Series US Navy (12), 1038 Greater New York, undivided back (12), 7041 Lisbon (5), 2328 Presidents of the United States, undivided back (23), [unnumbered] Labrador (6), 594 Heidelandschaften (6), 7996 Nice (5), 7354 Brisbane (5), 8913 Rio de Janeiro II (6), 1738 Cosmopolitan New York (6), 2592 Connoisseur Queer Things about Japan II (6), 7911 Fair Japan IV (6), 7912 Fair Japan V (6), 7913 Fair Japan VI (6), 7914 Fair Japan VII (6), 7915 Fair Japan VIII (6), 6085 Art/Little Hollanders Dutch Children (6), 1379 Little Hollanders I (6), 1380 Little Hollanders II (6), 7363 Barcelona (5), 7702 Monte Carlo (6), 7890 Rotorua New Zealand I (6), 7675 Moscow (5), 7635 Munich (5), 1014 Cosmopolitan New York, undivided back (6), [unnumbered] Gold Coast Government VII (9), ***Connoisseur Real Japanese (PU 1904 (6) 7929 Ghent (5), 1013 Cosmopolitan New York, undivided back (6), 124 George Washington`s Birthday (6), 9255 In the Alps (6), 7960 Buenos Aires (6) [unnumbered] London County Council Reward Cards Egypt (6), 9933 Soldiers of the World (6), 544 Queer Things about Japan (12), 7994 Rome III (6), 2505 Puerto Rico (5), [unnumbered] Canadian Pacific Railways A (6), 610B Heidelberg (6), 642 Beirut (6), 656 Koln a rh. (6), 6484 The Russo-Japanese War (6), 9130 Indian Chiefs I (6), [unnumbered] British Guiana (6), [unnumbered] The Egyptian Gazette (5) and [unnumbered] Orient Liner (Sydney) (5), excellent, including several postally used, in modern binder

RAPHAEL TUCK & SONS POSTCARDS 7371 Teignmouth (6), 7112 Durham (6), 7692 Whitby (6), 2718 The Olde Print Series (6), 2649 The Olde Print Series (6) 7591 Picturesque Castles (6), 9722 Platemarked by Mead & Stream (6), 7982 Whitby IV (6), 1700 Barnsley (5), 6182 Aldershot (6), 9723 Platemarked The Cornish Coast (6), 7062 Rough Seas (6), 521 Marine Studies (5), 6421 Up the River (6), 8536 Picturesque English Lakes II (5), 7275 Ilfracombe (6), 7179 Old Stratford on Avon (6), 7422 London (11), 4021 Nature`s Glories III (5), 1668 Whitby (5), 7218 Nottingham (6), 1785 Clifton (6), 7860 Shakespeare`s Country X (5), 7993 Picturesque Devon (6), 3271 Coaching II (6), 7431 Surrey II (6), 7857 London (6), 1455 Isle of Man I (6), 2605 Marine Studies III (6), 7969 Views on the Dart (6), [unnumbered] Worcester Porcelain (6), 1655 Derby (6), 6199 Newark (6), 9242 By Candle Light (6), 1742 Bartolozzi II (6) 2359 The Time of Flowers (6), 9511 St Alban`s Pageant II (6), 2547 Marine Studies II (6), 9883 The Queen`s Own Cameron Highlanders (6), 9134 British Battles I (6), 9994 The Black Watch (6), 9884 The Gordon Highlanders (6), 9328 Northumberland Fusiliers (6), 9167 Army Service Corp (6), 9426 The 2nd Life Guards (6), 9162 Royal Welsh Fusiliers (6), 9356 Seaforth Highlanders (6), 9993 Coldstream Guards (6), 9203 Irish Jokes from "Punch" (6), 5317 Coronation 1937 (6), 9040 Famous Expresses II (6), 9150 Famous Expresses III (6), 9226 Famous Expresses IV (6), 9161 Famous Expresses VIII (6), 9662 Famous Expresses IX (6), 6256 Off Scarborough (6), 9017 Celebrities of the Motoring World (6), 9629 The Franco-British Exhibition (6), [unnumbered] Gretna Green (6), 9227 Happy Little Coons III (6), 9043 Scotch Fisher Life (6), 2883 The Blush of Eve II (6), 2650 The Olde Print II (6), 1488 Rough Seas (6) 828 Rembrandesque, undivided back (6), 768 Art Series London by Night (6), 1672 Leamington Spa (6), 7249 Tunbridge Wells (6), [unnumbered] Hoylake (6), [unnumbered and publisher unknown] The Lord`s Prayer chromo (8) and Lorna Doone (12), excellent, including some postally used, in modern binder

RAPHAEL TUCK & SONS POSTCARDS 9184 Summer Seas (6), 952 View Series Moonlight Effects (6), 3351 British Butterflies and Moths (6), 7103 Haslemere (6), 3643 Children of the League of Nations I (6), 3229 Cottage Gardens (6), 9067 Moorland and Meadows (6), 7188 Glamorgan (6), 9348 Picturesque Lakes (6), 7392 Buckinghamshire I (6), 8538 Picturesque English Lakes III (6), 1534 Flemish Cottage Homes (6), 9627 Stars of the Earth (6), 616 Kings and Queens of England, undivided back (12), 1490 Rough Seas, Hastings (6), 8992 Eastbourne (5), 8996 Margate (5), 7393 Deal 6), 2411 All in a Garden Fair (6), 7194 Regent`s Park (6), 7876 Bettws-y-coed (6), 7100 Capel Currig (6), 7199 Llandudno (6), 7790 Harrogate (6), 7940 London (6), 7145 Dulwich (6), 7149 Cambridge I (6), 9015 London Life (6), 7315 Grasmere (6), 8542 North Wales (6), 7118 St Andrews (6), 2714 Oxford (6), 9141 Hunting Jokes from "Punch" (6), 9138 Horse Studies (6), 9149 The Life Boat at Work (6), 9086 Motor Car for Sale by Lance Thackeray (6), 9776 Reynard the Fox (6), 9370 1st CB King`s Royal Rifle Corp (6), 1771 Phil May I (6), 9293 Early Days of Sport (6), 9245 In the Highlands (6), 9431 Irish Guards (6), 2624 Gems Ron Turner (6), 2743 Glamour Studies by A Asti (6), 856 Art/Dickens Series Character Sketches from Dickens Series 6, query Series 3, by Kyd (6), 857 Character Sketches from Dickens query Series 4, by Kyd (6), 2515 Art, Turner`s Venice, undivided back (6), 2516 Turner`s Coast Scenes, undivided back (6), 1840-1869 Heraldic, undivided back (30), 49-65 Art, J M W Turner, undivided back (16), 350-361 Gallery, undivided back (12), 484-495 Tennyson, undivided back (12) and 7901 Cambridge IV (6), excellent, including severally postally used, in modern binder

RAPHAEL TUCK & SONS POSTCARDS 1008 Write Away, Comic Sketches by Phil May (6), 1295, Comic Sketches by Phil May (6), 1294 Comic Sketches by Phil May (6), 9745 Platemarked Killarney (6), 9281 The Gentle Art of Making Love (6), 9538 When Cats are Kittens III (6), 3596 Hunting in the Shires (6), 9422 Taking the Waters I by Lance Thackeray (6), 9452 Village Life (6), 2558 Empire, Orders of Chivalry (6), 3372 Twixt Sea and Sky (6), 7153 Oil Sketches (6), 4790 Margate (6), 1989 Silverette, Blackpool (6), 767 Pierette and Pierrot (6), 4984 Siepia, Famous Tank Engines (6), 9254 The Horse (6), 541 Art/Dickens Character Sketches from Dickens by Kyd, Series 2, undivided back (6), 3428 Flowers in Baskets (6), 6457 By the Summer Sea (6), 3314 British Game Birds (6), 9692 Horses` Heads (6), 9381 The Friend of Man (6), 7892 North Wales VII (6), 8924 York, VI (6), 8653 Middle and Inner Temple (6), 6295 Glamour Studies by A Asti (6), 7017 Oban (6), 9507 Famous British Cattle (6), 9361 When Cats are Kittens (6), 9088, Weather Reports by Lance Thackeray (6), 9947 The Lighter Side of Varsity I by Lance Thackeray (6), 9143 Good Jokes from "Punch" (6), 3052 Man`s Best Friend (6), 9336 In the Forest (6), 9824 The Metropolitan and City Police (6), 9886 House of Lords Ducal Arms I-III (18), 9277 Dorset Farms (6), 4082 In the Gloaming (6), 3590 All in a Garden Fair (6), 3635 Flowers in Bowls (6), 522 Veilchen in Vasen (6), 6882 Flower Studies (6), 9891 Winter`s Mantle I (6), 9978 Winter`s Mantle (6), 9964 Esperanto (6), 790 Taunton (6"), 6079 In the Hunting Field (6), 3163 Our Fighting Regiment First Life Guards by Harry Payne (6) 8570 London Railway Stations (6), 8643 Our Navy VI (6), 8491 Regimental Badges and Their Wearers II by Harry Payne (6), 9282 Chelsea Pensioners II (6), 9006 Winter Scenes (6), 7463 Truro (6), 9742 Platemarked, Maiden`s Fair (6), 9065 Horse Studies (6), 9550 Spring Blossoms (6), 9529 Warwickshire Lanes (6), 1364 Art/Impressionist, London Life by T Ivester Lloyd (6), 8642 Our Navy V (6), 8644 Our Navy VII (6), 8673 Our Navy VIII (6), 2786 St Alban`s Pageant I (6), 2787 St Alban`s Pageant II (2) (6) and 2788 St Alban`s Pageant III (6), excellent, including several postally used, in modern binder

RAPHAEL TUCK & SONS POSTCARDS 2851 `Twas Ever So (6), 2732 Fox and Stag Hunting (6), 3194 Hunting (6), [unnumbered] Educational, Butterflies (12), 8871 Regimental Badges and their Wearers by Harry Payne (6), 9222 Kentish Pastures (6), 6151 Warrington (6), 6673 The Poultry Farm (6), 9976 Chums (6), 9430 The Sherwood Foresters (6), 9120 Military Life - "The Volunteers" (6), 9196 Good Jokes from "Punch" (6), 7706 Durham (6), 9139 Military Life IV by Harry Payne (6) [unnumbered] Great Eastern Railway (10), 9195 Irish Jokes from "Punch" (6), 7173 Scarborough V (6), 2826 "What are the Wild Waves Saying?" (6), 8642 Our Ironclads/Our Navy V (6), 9193 Good Jokes from "Punch" (6), 1398 Life in Our Village (6), 9014 Hearts of Oak (6), 9078 Hearts of Oak II (6), 9080 Hearts of Oak III (6), 9117 Hearts of Oak IV (6), 9137 Eventful Nelson Incidents (6), 9116 Hastings (6), 9497 British Butterflies III (6), 271 Write Away, Comic Sketches by Lance Thackeray (6), 6262 Bushey (6), 9235 The Humour of Life (6), 1529 Flemish Cottage Homes (6), 9542 Granny`s Darling (6), 7209 Colchester (6), 7756 The Emerald Isle - Picturesque Castles (6), 9544 Chargers (6), 7587 The Isle of Wight - Shanklin (6), 2924 In the Hunting Field (6), 3296 In the Hunting Field (6), 9560 Scotch Collies (6), 9105 Sporting Dogs (6), 8669 Sporting Dogs (6), 9639 Pet Dogs (6), 2781 The Hunt Day (6), 3100 Cavalry on Active Service by Harry Payne (6), 9748 Platemarked, The Emerald Isle (6), 7986 Beautiful Perthshire (6), 3603-3608 Art, Little Darlings, undivided back (6), 7577 Bonnie Scotland - Picturesque Ross-shire (6), 7775 Scarborough (6), 4016 York (6), 7959 Warwick (6), 3518 Highland Cattle (6), 6252 Aquarette, Isle of Wight I (6), 9705 Platemarked, The Holy Child (6), 7182 Tonbridge (6), 7514 Father Thames (6), 8929 Worcester (6), 9450 Fox Hunting (6), [unnumbered] Pickford II (6), [unnumbered] Warwick Castle (6), 9122 The Louvre Paris I (6), 9123 The Louvre Paris II (6), 9918 Joyous Spring (6), 691 Art, Wagner II, undivided back (6) and 3150 Overseas Regimental Badges (6), excellent including several postally used, in modern binder

RAPHAEL TUCK & SONS POSTCARDS 7987 Whitby III (6), 9336 In the Forest by Harry Payne (6), 9028 Beautiful White Winter by Harry Payne (6), 7262 Grenwich (6), 7490 Hammersmith (6), 7547 Bonnie Scotland - Ardrishaig (6), 7473 Isle of Man - Castletown (6), 7094 Stoke Newington (6), 7414 Gravesend (6), 1674 Sheffield (6), 7571 Isle of Wight - Ryde (6), 7764 Picturesque Counties - Dorset II (6), 3493 Roses and Art China by Mrs R A Foster (6), 9558 Men of Letters IV 6), 2765 Hunting (6), 1406 Humorous Comic History of England (6), 7465 Isle of Man - Douglas I (6), 3365 Favourite Flowers (6), 9079 Our Ironclad I (6), 9176 Humour of Life (6), [unnumbered] Furness Railway III (6), 9923 The Hunt Day (6), 4017 Oilfaxim Winchester (6), 3364 The Time of Roses by Mrs R A Foster (6), 9231 British Sea Birds (6), 7696 Glyn Neath (6), 7656 Picturesque Counties - Cheshire (6), 7495 Wimbledon (6), 7240 Clyde Watering Places (6), 7269 Croydon (6), 7596 Picturesque Counties Derbyshire - Dovedale (6), 9264 The Diver (6), 7399 Epping Forest (6), 7839 Ilfracombe (6), 9110 Charming Spots - Coast Scenery North Devon (6), 5319 London (6), 3018 Bournemouth (7), 7715 By the River IX (6), 3024 On the Dart (6), 1670 Newcastle on Tyne (6), 6185 Manchester (6), 6219 Burnham Beaches (6), 9481 Scottish Clans VI (6), 3033 Trouping the Colour (7), 6053 Impressionist London Life by T Evester Lloyd (6), 3105 Our Fighting Regiments by Harry Payne (6), 8807 16th (The Queen`s) Lancers by Harry Payne (6), 9451 Our Trees by Harry Payne (6), 9619 Country Life VII by Harry Payne (6) 9527 Life at Aldershot by Harry Payne (6), 9383 London Railway Stations II (6), 1373 Art/Humorous Journals Illustrated I by Lance Thackeray (6), 3041 Military in London (6), 7111 Maidstone (6), 9172 London Life III (6), 2140 Duplotype Heroes and Heroines of Fiction (6), 6088 Art On Service by Harry Payne (6), [unnumbered] Itma Wise Cracks (10) and 9004 Ships that Pass in the Night (6), excellent, including several postally used, in modern binder

[Trusler (John)] The Honours of the Table, or, Rules for Behaviour during Meals; with the Whole Art of Carving ..., nd. 5th edition, 26 woodcut illustrations attributed to John Bewick, sheep (worn); Raffald (Elizabeth), The Experienced English Housekeeper ..., 1794, frontis (wormed), 3 folding plates (1 torn with loss), recent quarter sheep; Anon., Modern Confectionary; Containing Receipts for ..., 1833, second edition, recent quarter sheep; Anon., The British Jewel, or Complete Housewife`s best Companion ..., nd., T. Sabine, lacks final leaf, tanned, grubby, defective binding; with ten others (14)

Susan Mary (`Lily`) Yeats (1866-1949) and R. Brigid Ganly (neé O`Brien) HRHA (1909-2002) THE PROUD AND CARELESS NOTES LIVE ON BUT BLESS OUR HANDS THAT EBB AWAY" c.1919-1921 embroidered threads on green silk; (framed) signed by Yeats within the design lower right; signed "B. O`Brien" lower left 11.5 by 14.5in., 29.21 by 36.83cm. This extremely rare, well preserved embroidered panel illustrates the final refrain intoned by the Three Voices in unison at the end of W.B. Yeats` poem entitled The Players ask for a Blessing on the Psalteries and themselves from his collection of lyrical poems, In the Seven Woods: being Poems chiefly of the Irish Heroic Age, which his sister Elizabeth had published as her first Dún Emer Press hand-printed volume in 1903. In 1902, Elizabeth Yeats and her elder sister Lily had returned to Ireland from London at the invitation of Evelyn Gleeson, to set up workshops in the Arts and Crafts venture Gleeson was establishing at Dún Emer, a large house in Dundrum, south of Dublin. While Elizabeth Yeats set up a handpress and began printing and binding books advised by her literary brother, William Butler Yeats, Lily Yeats, a skilled needlewoman (who had been trained by William Morris` daughter, May), focussed on embroidery, often designed by their younger artistic brother, Jack Butler Yeats. By 1904, she had seven girls working with her. In 1908, the sisters seceded from Dún Emer and set up their own Cuala Industries nearby, where Lily Yeats continued to run her embroidery workshop, often adapting the designs of other artists, and producing a wide range of embroidered domestic and autonomous panels. After continual ill health, she became so ill that production was considerably diminished in the mid 1920s. The last sale of embroidery under her direction was held in 1931, under great financial duress, and in 1932 the Cuala embroidery department wound down in its Baggot Street home. This panel (described by Lily Yeats as one of her `needle pictures`) was designed by Brigid O`Brien, daughter of the painter Dermod O`Brien, who was trained at the Dublin Metropolitan School of Art, under Oliver Sheppard, Seán Keating, Patrick Tuohy and Oswald Reeves, and at the RHA Schools. In 1928, she was elected an ARHA. Barbara Dawson has noted her willingness to apply her training to various projects and media, including caricature and book illustration. Joseph McBrinn records that she won the Taylor Scholarship in 1929 and in 1930 while she was completing her first mural illustrating St. Patrick, for the Presentation Convent school on George`s Hill, Dublin. Her first major commission, completed in 1930, was for a painted frieze over 120 feet long illustrating James Stephens` version of The Boyhood of Fionn (published with Arthur Rackham`s illustrations in 1924) for the Carnegie Trust`s Child Welfare Centre on Cork Hill, Dublin. Although this major work is now no longer visible, having been vandalised by being over-painted, it is directly analogous with this fine little tableau. A later, primitivistly stylised, predominantly black and white embroidered version (unsigned by O`Brien) illustrating the same lines from Yeats` poem was dated by the artist to 1935 in the Hugh Lane exhibition catalogue (p.8). The Yeats` were neighbours of the O`Briens, who lived in Fitzwilliam Square, and frequented the nearby United Arts Club, where the paths of W.B.Yeats and Brigid O`Brien`s father, the painter Dermod, often crossed. In 1929, W.B. Yeats had commissioned the young painter to try and boost his sister Lily`s precarious income by designing Stations of the Cross for her to embroider on Irish silk poplin. What is unusual about this very beautifully worked panel is the delicate fineness of the pale green silk ground and the lively, evocative portrayal of each of the three figures depicted between the two scrolls bearing the text they illustrate. There is much more attention to narrative detail and to the range and application of stitches carefully chosen than in any other Cuala embroidery of this late period. Not since the embroidered sodality banners of 1902-3 for Loughrea Cathedral had Lily Yeats produced such successful and expressive figurative work. Although the scale is small, close attention reveals the variety of couched and stemmed stitches used to outline and fill in the costumes, hands and features (particularly expressive), hair and musical instruments of the imaginatively dressed, lamenting musicians. The direction the stitches follow is an intrinsic part of the success of this panel`s design, as they emphasize the volume of the surface they are describing, and draw the viewer`s attention to the positions of the hands plucking the chords on each musical instrument. Despite the obvious graphic influences of Beatrice Elvery, Mary Cottenham Yeats and Wilhelmina Geddes (particularly the latter`s St. Brendan embroidered panel of 1924) and that of Jack Yeats in his early predilection for figures standing high above a low, recognisably Irish, horizon, this design is strikingly original. The colours are distinctive with their soft pinks, turquoise, jade and gold, even though there may be some fading on the golden-haired girl player`s delicately worked spotted dress, flouncy petticoat and slippers. The welcome appearance of this panel makes it all the more important that others, such as Tobias and the Angel, similarly designed by O`Brien and worked by Lily Yeats, be traced and documented. Dr Nicola Gordon Bowe November 2012 Literature: R. Brigid Ganly, H.R.H.A.: born 1909: retrospective exhibition, Gorry Gallery, Dublin December 4th -17th 1987; Maureen Murphy (ed.), I call to the Eye of the Mind: A Memoir by Sara Hyland (Dublin 1995); Nicola Gordon Bowe and Elizabeth S. Cumming, The Arts and Crafts Movements in Dublin and Edinburgh 1885 - 19325 (Dublin 1998); Barbara Dawson in Christina Kennedy & Maime Winters (eds.), Brigid Ganly retrospective: catalogue of an exhibition at the Hugh Lane Municipal Gallery of Modern Art, Dublin 1998; Joseph McBrinn, Mural Painting in Ireland 1855-1959, unpublished Ph.D. thesis, Volume II, N.C.A.D. (N.U.I.), Dublin 2007"

A modern Moorcroft twin-handled loving cup, tube-lined with stylised flowers in the Art Nouveau manner on a dark blue ground, painted mark "MCC, 1122" to base, boxed CONDITION REPORTS Some light general wear but overall appears sound.

A box containing a modern silver pepper and matching salt (Sheffield, 1961), together with a plated three piece tea set, pair of brass candlesticks, a Mappin & Webb sugar caster in the Art Deco manner, etc

A modern rectangular star burst design wall mirror in the Art Deco manner

A modern rectangular star burst design wall mirror in the Art Deco manner

Three boxed modern issue models to include; Auto Art Millennium Porsche 917 Long-Tail (VG,BG), Jada Toys Scarface 1963 Cadillac (VG,BG), and Revell Metal Auto Union Type C (VG,BG)

Yagi Akira (Japanese, b.1954)Guinomi or Sake CupPorcelain, pale blue celadon glaze over a finely fluted body, two circling sharks in the well, impressed maker`s mark. Together with a signed wooden Box.H 3.8cm, D 5.6cmPROVENANCE: The T.F.G. Jones Collection of Japanese Ceramics.BIOGRAPHY: Yagi Akira was born in Kyoto, son of the avant garde Yagi Kazuo, one of the founding members of Sodeisha. Akira works mainly in blueish-white porcelain or seihakuji and is especially well known for his nesting bowls. He exhibits throughout Japan as well as abroad and he won the prestigious Japan Ceramic Society Award in 1998. His works are held in the Tokyo Museum of Modern Art, The British Museum, Victoria & Albert Museum and many other major institutions worldwide.CONDITION: Perfect condition with no damage or restoration

*Gerold, after. `Bugatti 1932`. A very large framed print after the original art-deco poster of the early 1930s, mounted in glazed frame, together with Bentley Mulsanne framed poster, largest 50 x 40in (127 x 102cm), and a group of modern retrospective framed motoring prints, c. 1960s-1970s, including a series featuring Alfa-Romeo coachwork styles by Carrozzeria touring, also including others depicting Lancia, Bentley and others etc. (14)

*H.M. `K` Class Submarine. A possibly unique builder`s concept design model by Vickers, c. 1915, the ebonised carved and laminated hull, with keel, conning tower and torpedo tube outlines, arranged in two halves, brass-pinned at the bow, stern, conning tower and fore and aft decking, one brass pin securing the hull below the water line, the upper superstructure unusually applied with vertical rows of pins, possibly for plating purposes, the two half models when pinned together mounted on a modern wood platform stand with turned brass pillar and keel cradle supports, the submarine with restored bow section, approx. 101in (256.5cm) long Examination of early photographs and drawings indicates that this model was possibly built as a `concept`, probably in the Vickers workshops, c. 1915, when the `K` Class was first promoted. The model has a flush deck, as did the first of the breed. The `K` Class showed an inherrent tendancy to dive without warning and were therefore modified at the bows in `clipper` fashion and were fitted with extra buoyancy tanks. Armament was moved from deck to superstructure and torpedo tubes re-arranged. Despite these modifications history relates an unhappy career for these submarines. State-of-the-art at the time they were conceived and built, the technology available at the time failed to match requirements. The `K` Class suffered many disasters. An exercise with the Fleet on the night of 31st January 1918 off May Island, `K4` and `K7` were sunk after collisions, `K14` and `K22` were badly damaged and four other submarines were damaged, the incident became known as `The Battle of May Island`. The Class was taken out of service shortly after the end of the 1st World War. The maximum service use was nine years. This builder`s model is therefore a rare and poignant survivor and reminder of a brave concept, unfulfilled. (1)

An Edwardian green opaque glass lidded vase of ovoid form, slip decorated with blue, brown and gilded flowers, a 1930`s blue moulded glass vase of Art Deco form and two modern pieces of tribal art.

Modern design - Salvador Dali for Ege Art Line - Wool rug ‘Le Grand Pavon 1979’ from the 20th Century Collection, 120cm x 80cm

Box of assorted china to include modern Chinese ginger jar, Abby blue & white planter, Copeland blue & white cups & saucers, milk jug, tea pot, rectangular dishes, art pottery blue & white plate, Masons blue & white ginger jar etc.

Box of assorted collectables to include art pottery baluster jug with leaf design, Susie Cooper bone china floral & gilt tea pot, Imari design plates, Derby Japan tureen with cover, Royal Worcester Spode Palasy florally decorated handled serving plates, glass decanter & vase, modern middle eastern dagger with gilt decorated scabbard in original case, collection of Welsh hymn books etc.

PAVEL TCHELITCHEW(Russian 1898-1957)Study for Fata Morgana- 1939Watercolor on paperSigned and dated lower right "P. Tchelitchew 39"13.75 inches x 16.75 inches (35 x 42.5 cm)Provenance:The offered lot, according to labels on verso, has passed through a number of interesting hands. According to one such label (Figure 1), the offered lot was acquired from Julien Levy Gallery, New York by Mrs. John E. Abbott of New York, circa 1940. Julien Levy Gallery was in operation at 602 Madison Avenue, New York from 1931-1949. During that time, Mrs. John E. Abbott (Iris Barry) worked as Curator of the Museum of Modern Art’s Film Library while her husband, Mr. John E. Abbott functioned as Director of the Film Library. A label on verso cites a loan to the Museum of Modern Art under the name Abbott and numbered 42.1219 (Figure 2). Presumably, this loan of the offered lot by Mr. and Mrs. John E. Abbott was made to the Museum of Modern Art’s Tchelitchew: Paintings, Drawings exhibition in 1942. An additional label connects the offered lot with Durlacher Bros., New York and numbers the painting 39-88 (Figure 3). Durlacher Bros. and particularly, the gallery’s owner Kirk Askew worked closely with Tchelitchew, indeed, the artist painted a portrait of Kirk Askew’s wife Constance in 1938. It is uncertain when the offered lot was acquired by Mr. Robert H. Holmes, a New York collector who had other Tchelitchew works in his care such as The Seer (Christie’s, New York, Interiors, August 2012, Lot 53). According to a label on verso (Figure 4), Holmes presumably loaned the offered lot to the Gallery of Modern Art, New York for their exhibition Pavel Tchelitchew in 1964. The label references Holmes and numbers the piece 198 c.1964.Literature:James Thrall Soby, Tchelitchew: Paintings, Drawings, exh. cat. (New York: Museum of Modern Art), page 94 (unillustrated). Gene Downs, “Major Artists You Might Not Have Heard Of”, a newspaper article for the Savannah Morning News, October 4, 1998, page 8E and 15E (illustrated). Exhibited:New York, Museum of Modern Art, Tchelitchew: Paintings, Drawings, 1942 as #160. Also, presumably at New York, Museum of Modern Art, Modern Drawings, February-May 1944 and presumably at New York, Gallery of Modern Art, Pavel Tchelitchew, March-April 1964.Also Savannah, Georgia, Bohemia Gallery. Works by Tchelitchew and Emanuel Romaro, October –November 1998. The lot is accompanied with an exhibition catalog written by James Thrall Soby from the Museum of Modern Art’s 1942 “Tchelitchew: Paintings, Drawings” and a Savannah Morning News newspaper article from October 4, 1998 regarding the opening of the Bohemia Gallery, Savannah, Georgia that illustrates and discusses the offered lot which was exhibited then.Pavel Tchelitchew (Russian 1898-1957) was born into the Russian aristocracy and lived with his family on a large estate outside of Moscow where Tchelitchew’s interest in art and dance developed at a young age and was cultivated through private tutoring and formal education at the University of Moscow. During the Revolution of 1918, Tchelitchew and his family were forced to leave their home and moved to Kiev. Soon thereafter, Tchelitchew with the full support of his parents, moved to Berlin to further his development as a professional artist. Two years later, Tchelitchew moved to Paris and met Gertrude Stein who purchased a few of his still life paintings and introduced him to other members of the modern art community. At the beginning of World War II, the artist immigrated to New York City. He would continue to move frequently throughout his life and travel extensively through Europe while he created figural drawings and paintings as well as dramatic stage designs.Tchelitchew is well-regarded for his figurative works that employ illusionary effects like the offered lot. He began creating dual images or what he termed “laconic compositions” in the mid-1920s and continued exploring this visual device throughout his artistic career. According to the art critic and arts administrator, James Thrall Soby, the artist was particularly fascinated by double image postcards that he saw when he was a child. This early viewing experience led to Tchelitchew’s use of layering perspective and dual imagery found in his surrealist and metamorphic works. The oil painting Fata Morgana-1940 sold at Sotheby’s Paris, June 3, 2010, Lot 60 for $765,156. The offered lot, Study for Fata Morgana, as indicated by the labels on verso and exhibition titles, is a preparatory watercolor for the later oil painting and as such, closely parallels the work in terms of palette and composition. The term Fata Morgana refers to a mirage that appears in a narrow strip immediately above a horizon line due to atmospheric conditions. The Fata Morgana mirage is complex and involves the simultaneous projection of multiple images that are stacked on top of one another. Given Tchelitchew’s investigation of dual imagery and layering of different perspectives, the title Fata Morgana and the optical effects therein are particularly fitting. At first glance Study for Fata Morgana depicts a lush and expansive mountainous landscape. However, upon closer examination, two reclining female forms appear in the mountain peaks. Dramatic rolling hills and valleys set against the horizon line mimic the human form, both complimenting one another visually and ideologically and adding complexity to the work. In his works, Tchelitchew often embedded nature and the human form with the hope of elevating representation, as Soby writes the artist wanted to “contribute to the fixed structure, that it must be used as a kind of interior magic, created its own mystery and awe but never becoming a dominant illusion.” Iris Barry (Mrs. John E. Abbott 1895-1969) served as the first Curator of the Museum of Modern Art’s Film Library. Barry’s commitment to the relatively new study of film as art led her to salvage film prints from production studios that intended to destroy such materials. In doing so, she preserved a considerable amount of archival materials on the history of American film. In 1946, she became Director and Curator of the Film Library until she retired five years later. Her husband John E. Abbott also worked for the Museum of Modern Art as the Director of the Film Library and Executive Vice President in addition to sitting on the Board of Trustees in the 1940s. The offered lot, Study for Fata Morgana shows, not only Tchelitchew’s method of painting dual images, but also Barry and Abbott’s interest in modern art and the significance of understanding particular artistic processes.

"GEORGE KOLBE(German 1877-1947)Female Nude Pen and inkSigned lower rightImage size 14 inches x 17 inches (35.6 x 43.2 cm), unframedProvenance:Acquired by Dr. Frank Seiberling Jr., circa 1937, from Dr. Hans Tietze according to the family, thence by descent through the family to present owner, the daughter of Dr. Frank Seiberling Jr.Dr. Hans Tietze (1880-1954) was a prominent Austrian art historian who studied at the University of Vienna under Franz Wickhoff and Alois Reigl. Dr. Tietz published numerous scholarly texts on Venetian and Viennese art history as well as on the graphic work of Albrecht Durer. Dr. Tietze`s art history career is vast and includes work as a negotiator for war reparations of Austrian art following World War I as well as positions such as Assistant Professor of Art History at the University of Vienna, member of the Association for the Promotion of Modern Art in Vienna, Visiting Professor at the Toledo Museum of Art and Lecturer at Columbia University. Tietz`s engagement with art fostered friendships with significant modern artists such as Oskar Kokoschka and Georg Ehrlich who created portraits of him and his wife, art historian Erica Conrat, now housed in the Museum of Modern Art, New York and the Austrian Gallery Belvedere in Vienna, Austria. Art Historian Dr. Frank Seiberling Jr. (1908-1990) served as Supervisor of Education at the Toledo Museum of Art (presumably where he came in contact with Dr. Tietze). He later worked as Professor of Art History and Head of the School of Art at Ohio State University. In 1959, he became the Head of the Department of Art and Art History at the University of Iowa."

"AN IMPORTANT IMPERIAL RUSSIAN ICON TRIPTYCH, FABERGÉ & SIGNED N. EMELIANOV, CIRCA 1912 The central reserve displaying a finely painted image of The Serafimo-Ponetaevskaya Sign Mother of God, characteristically painted with a gem and pearl encrusted veil. The Christ Child as well as the head of the Virgin, encircled with ornate silver repousse haloes, the Virgin’s halo embellished with cabochons. Both hallmarked St. Petersburg, and with Cyrillic maker`s mark FABERGÉ beneath the Imperial Warrant and workmaster`s initials TR for Phillip Theodor Ringe. Below the Virgin are inscribed the standard troparion (left) and kontakion (right) celebrating icons of the “Sign”. And further still lower right the icon is signed in Cyrillic “Painted by N. Emelianov”. Above the Virgin on either side are painted two full length images identified by inscriptions as Angels of the Lord. To the Virgin’s right (viewers left) a vertical panel divided into six sections each depicting a church feast day or other related event. From top to bottom they are; The Birth of the Mother of God, The Entrance of the Mother of God Into the Temple, The Translation of the Relics of Saint Alexander Nevsky from Vladimir to St. Petersburg, Saints Peter and Paul, The Appearance of the Wonderworking Icon of Kazan, and The Translation of the Relics of Saint Theodore Stratelates. To the Virgin’s left (viewers right) a similar vertical panel divided into five sections depicting the following iconographical subjects; The Resurrection, The Transfiguration, The Apostle and Evangelist Saint Matthew, The Dormition, and The Assembly of the Archangel Michael. Further out, the left wing depicts a finely painted full length image of Saint Nicholas whose head is encircled by a silver repousse halo stamped with the workmasters initials TR and who stands beneath an image identified by the Slavonic inscription as the Not-By-Hand-Made Image of Our Lord. Below Saint Nicholas is a reserve divided into four sections depicting various subjects. Clockwise from upper left they are; The Transferring of the Vladimir Mother of God Icon, Saint George, Saints Konstantin and Helen, and the Translation of the Relics of Saint Nicholas. The right wing depicts a finely painted full length image of Saint Seraphim of Sarov whose head is also encircled by a silver repousse halo stamped with the workmaster initials TR and who stands beneath an image of The Old Testament Trinity. Below Saint Seraphim a reserve divided into two sections depicts the following subjects; The Discovery of the True and Life-Giving Cross and an image of The Kazan Mother of God. Each shaped panel separately painted and set into the ornately carved one piece frame displaying an eight-sided cross finial atop the left and right wings and the central section surmounted by a similar cross flanked by a pair of six-winged Seraphim. The wide lower margin with two medallions carved in high relief and depicting Saint George (left) and The Archangel Michael (right). The verso of carved frame lined with brass edging around the border and the entire back covered in kid leather and stamped in Cyrillic ?.??????? beneath the Imperial Warrant and with St. Petersburg address. Height 23.3 inches (59.4cm).Width 16.4 inches (41.5cm).Provenance:Colonel Dmitrii Nikolaivich Loman, circa 1912, presumably a gift from Empress Alexandra Feodorovna. With Bowater Gallery, London, where acquired by Mrs. Harold Leather of Hamilton, Ontario, Canada, accompanied by original receipt of purchase dated August 10, 1970. Thence by descent to her son, Sir Edwin Leather (1919-2005) former Governor of Bermuda, and acquired by the present owner from the estate of Sir Edwin Leather.The Mother of God of the Sign icon known as the Serafimo-Ponetaevskaya was imbued with particular significance for Tsar Nicholas II and his wife Alexandra Feodorovna. As the last icon of this iconographic type to be declared miracle-working in Russia (1885), it became for the Imperial couple a symbol of Holy Rus reborn and triumphant in the modern age, and a direct link to the miraculous powers and protection of Saint Serafim of Sarov, to whom the Empress Alexandra was especially drawn. When the couple attended the celebrations marking the canonization of the Nizhnii Novgorod saint in 1903, the Ponetaevskaya icon was one of three venerated for their connection to Serafim’s life and work. The Empress was given a copy to mark the occasion and this icon accompanied her until her final days and death in Ekaterinburg in 1918. The Ponetaevskaya icon was particularly associated with Tsarskoe Selo, which in 1901 became the official Imperial residence and from 1909 was the site of the Fedorovsky Gorodok, an elaborate complex intended to recreate the spirit and culture of an idealized Russian past in a modernized idiom. It is with Colonel Dmitrii Loman, the driving force behind the construction and conception of the Fedorovsky Gorodok and a trusted member of the Imperial family’s inner circle, that the offered lot is associated.The icon’s name derives from the Serafimo-Ponetaevskaya convent, established in 1864 in memory of Saint Serafim (1754/9 - 1833), whose hermitage was located at nearby Sarov. The convent was famous for its icon painting workshops, and in 1879, a novice named Klavdia Voiloshnikovna made a copy of an icon of the Sign that had been acquired from the artist Pavel Sorokin who oversaw the painting studio. In addition to the canonical features of Sign icons - the half-length figure of the Mother of God with her hands raised in prayer and the Christ Child encircled by a nimbus within Her womb - the icon that Voiloshnikovna copied had several distinctive features. The Mother of God’s eyes are lifted to heaven and a pearl and gem encrusted veil sheathes her head and shoulders, imparting to her face a teardrop-shaped contour. The faces are rendered in the painterly style popular in the nineteenth century and have a certain sentimental sweetness. On May 14, 1885 the icon performed the first of many miracles and by the end of the year was officially proclaimed miracle-working by the Holy Synod.In 1909 an exact copy of the icon arrived at Tsarskoe Selo as a gift from the Abbess of the Ponetaevskaya convent. That same year, Tsar Nicholas II approved construction of a temporary church to serve the devotional needs of His Majesty’s Own Regiment, who were permanently stationed there. Dedicated to Saint Serafim of Sarov, the church was an experiment in resurrecting an idealized Russian past. It was appointed with an iconostasis designed by Prince Mikhail Putyatin (see fig. #3 & #4) and filled with icons painted by noted iconographer Nikolai Emelianov executed in the 17th century style. The Ponetaevskaya icon occupied a place of honor in the church, along with relics associated with Saint Serafim.At the same time Nicholas and Alexander gave permission and funds to build a permanent cathedral on the grounds of the Alexander Palace at Tsarkoe Selo, where their family might worship surrounded by their most devoted troops as well as their favorite sacred images. Consecrated in 1912, the cathedral contained two churches. In the upper church dedicated to the Feodorovskaya Mother of God icon, a five-tiered iconostasis was installed, filled with new icons painted by Emelianov in the same 17th century style and lavishly adorned with silver basma. On the lower level, space was carved out for a crypt church and it was here that the temporary church’s altar, icons, relics and fixtures were transferred. To the Ponetaevskaya icon was added a copy of the Umilenie Mother of God that had been Saint Serafim’s personal icon, together with an icon of the saint himself. A second Ponetaevskaya icon hung nearby in the empress’s own private chapel, donated by the empress’s sister, Grand Duchess Elizaveta Feodorovna in 1912 and adorned with a sumptuous silver oklad and costly embroidered veil (Fig.1).The offered triptych of the Ponetaevskaya Mother of God with Saints Nicholas and Serafim can be securely traced to Dmitrii Loman (1868-1918), a Colonel in His Majesty’s Own Regiment, whose energy and organizational talents made him an indispensable and sympathetic aide to the Imperial couple and was by all accounts very close to the Empress, who was the Godmother of Loman’s son, Yuri. A contemporary photograph dated to 1914 shows the icon hanging in the upper corner of Loman’s office located in the refectory at Tsarskoe Selo (Fig.2). Colonel Loman served in countless capacities that reflected the Emperor and Empress’ trust. In addition to being churchwarden of the cathedral, during WWI he served as the Empress’ representative on the Tsarskoe Selo Military Hospital Train No. 143 and similar trains under the protection of the grand duchesses. He was also on friendly terms with Grigorii Rasputin (Fig.3) who was a frequent visitor and was one of the few people actually present at his burial. Loman’s great passion was the preservation of early Russian art, music, and popular culture, and his collections of liturgical and folk art were intended to serve as inspiration for the revival of a single national style in all facets of contemporary life. In 1915, he was instrumental in creating the Society for the Renaissance of Artistic Rus, a group that included the leading artists and architects working in a neo-Russian style. The society’s goals included the study and preservation of Russian antiquities, the revival of pre-Petrine aesthetic traditions adapted to contemporary conditions, publishing textbooks on Russian art for schools, and restoring the purity of the Russian language. The complex of buildings that grew up around the Feodorovsky Cathedral, the Feodorovsky Gorodok, was to be a prototype for the realization of these goals on a national scale.In every sense the offered triptych is a microcosm and memento of the Feodorovsky Cathedral whose construction and decoration Loman oversaw. The painting is the work of the Palekh- trained Moscow-based court iconographer and restorer Nikolai Sergeevich Emelianov. Having proved his ability to interpret the spirit of 17th century icons in a modern idiom with the iconostasis for the temporary church, Emelianov was among a select group of iconographers (including Mikhail Dikarev) commissioned to provide icons for the cathedral’s upper church (Fig.4). Emelianov also prepared the drawings for the mosaic icons that marked the multiple entrances to the cathedral. In addition to the iconostasis, in 1910-11 Emelianov painted 102 icons for the cathedral itself, including “an icon of the Mother of God of the Sign with attendant angels,” of which the present icon may have been the model for the Loman triptych. Icons by Emelianov from the Feodorovsky Cathedral and other late Imperial churches are preserved in the State Museum of the History of Religion and, like the present icon, are generally signed in the lower right corner. So pleased were the royal family with his work, that Emelianov was awarded a silver medal on a Vladimir ribbon for his icons in the Feodorovsky Cathedral together with the Emperor’s “personal thanks.”The elegantly elongated figures of the two attendant saints - the tsar’s name saint Nicholas and Saint Serafim himself - and the miniature painting of the marginal scenes of festivals and saints are subtly adapted to the distinctly modern features of the Ponetaevskaya Mother of God. An exceptionally rich visual rhythm is created by the variations in scale and size of the scenes that flank that central image and create a continuous horizontal band along the lower edge. The three panels are set within a carved wooden framework that echoes the elongated gables of the iconostasis designed by Vladimir Pokrovsky for the upper church (Fig 5.). The carved relief roundels on the lower margin reference the mosaic icons of Saint George and Saint Michael that Emelianov designed to mark the north and south entrances into the cathedral (St. George appropriately designated the officers’ entrance). Reflected in the cabochon-studded haloes is the rich intricacy of 17th century devotional icons that established the aesthetic ideal espoused by enthusiasts like Prince Shirinsky-Shikhmatov and Loman himself. The fact that they were made in the workshops of the Imperial silversmith Fabergé reflect the status and importance of the person who commissioned the offered triptych. The carving borrows some of the stylized folk motifs from the furnishings designed for the cathedral by Nikolai Bartram and executed in the workshops of the Moscow Zemstvo at Sergiev Posad. Here too a balance is sought between the lushly ornamented upper half in the neo-Russian style and the neoclassical simplicity of the lower section, so typical of Fabergé’s work in burl and Karelian birch.Clearly, the triptych is a testament to Loman’s deeply held conviction - one he shared with the Imperial couple - that a renaissance of Old Russian values in contemporary life was a goal within reach. In the absence of a presentation plaque or other documentation we can only speculate as to its origins. It would certainly have been a fitting gift of appreciation and remembrance from the Empress for whom Loman had proved so indispensable. It is displayed in Loman’s office near an assortment of personal photographs depicting Tsar Nicholas II and the Empress of the type known to have been given by the royal couple to those whom they held in high esteem. However, perhaps the best clue as to who might have commissioned this icon rests in the fact that it was decorated by the firm of Fabergé. For it is well known that when the Tsar and Tsarina wanted to favor someone special with an extraordinary gift they would call upon the workshop of Fabergé to fulfill such requests. When all known facts are taken into consideration, Imperial silversmith Fabergé, court iconographer Emelianov, and the triptych being situated in the office of dutiful royal confidant and administrator Dmitrii Loman, it is fair to presume that the offered lot was indeed a gift from Nicholas and Alexandra to Loman most likely upon the completion of the cathedral in the fall of 1913 which Loman oversaw, including the task of primary fundraiser. After decades of decay and destruction, in 2009 a concerted restoration of the Feodorovsky Cathedral at Tsarskoe Selo was undertaken and the iconostasis reconstructed on the basis of several surviving icons by Emelianov. Loman’s son Yuri (1906-1988) survived the times or terror, successfully adjusted to communist rule and towards the end of his life penned a biography, “Memories of the Empress’ Godson”. The Society for the Renaissance of Artistic Rus of which Loman was instrumental, ceased its activities in October 1917. Loman perished (was shot) during the terror of 1918 and by 1928 the old icons from the Feodorovsky Cathedral had been dispersed, some made their way to the Russian Museum, while others, including some painted by Emelianov went to the State Museum of the History of Religion. Others, like the offered lot, thankfully found safe haven elsewhere and after decades of silently preaching in places far removed from the splendor of Tsarskoe Selo, are now being enjoyed by a new generation of enthusiasts who have come to appreciate the true geniuses of those artisans who created a unique Russian style that has now risen from the ash heap of history to reign again in splendor."

A modern silver and amethyst Art Nouveau style pendant and chain

Modern art glass fruit bowl in the form of a conch shell, various vases, drinking glasses, paperweight, etc.

A modern armchair, oak framed art deco style mirror and tea trolley.

A Bretby spittoon, modern blue and white ware, bed slipper, yellow art glass vase, Arthur Wood jug, Toby jugs, etc.

A pair of early 20thC bisque figures, various Nao style porcelain figures and an Art Nouveau style modern lamp.