We found 19747 price guide item(s) matching your search

Ernest Columba Hayes RHA (1914-1978) NUDE, 1938 oil on canvas; (unstretched) signed and dated lower left 55.88 by 50.8cm., 22 by 20in. P Estate of Hildegard Hayes, the artist`s wife "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.”

Ernest Columba Hayes RHA (1914-1978) STILL LIFE WITH JAMESON BOTTLE and A COLLECTION OF SKETCHES oil on canvas; (unstretched); (1); oil on board; (4); pencil on board; (1) variously inscribed on reverse 43.18 by 45.085cm., 17 by 17.75in. L Estate of Hildegard Hayes, the artist`s wife "Sketches include, landscapes one of which is a sketch for The Windmill, 1962. Work in pencil depicts the artist`s wife (squared up for transfer), another inscribed "Sketch by George Wycliffe Yeats (Dentist) Brilliant Amateur. After 1930 I think".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.”

Ernest Columba Hayes RHA (1914-1978) STUDY FOR "THE EVENING HOUR", 1975 pencil variously inscribed in the margin; 23.495 by 31.75cm., 9.25 by 12.5in. L Estate of Hildegard Hayes, the artist`s wife Ernest Hayes the Wild Garden, Paintings and Drawings from a Mountain Field in Ireland, Privately published, Ormond Printing, Dublin, 1984 (illustrated) "With a copy of folios from the publication affixed on reverse.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.”

Ernest Columba Hayes RHA (1914-1978) STUDY FOR "SLAVES IN THE FORUM", c.1940 and A COLLECTION OF EARLY FIGURE DRAWINGS watercolour; (1); pencil and chalk on tinted paper; (10); (some double-sided); (all unframed) variously inscribed 20.32 by 30.48cm., 8 by 12in. L Estate of Hildegard Hayes, the artist`s wife "Hayes had a keen interest in classical subject matter evidenced in several canvases exhibited circa 1940 including, The Coliseum and Slaves in the Forum (1940) both later shown at the Royal Academy Winter Exhibition at Burlington House, London.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.”

Ernest Columba Hayes RHA (1914-1978) COLLECTION OF PORTRAIT SKETCHES pencil; (7); (all unframed) variously signed, inscribed and dated 40.64 by 30.48cm., 16 by 12in. P Estate of Hildegard Hayes, the artist`s wife "Two of the portraits in the collection are dated March and November 1937 and one 1936. All but one depict female sitters, one of which is Hildegard Hayes, the artist`s wife, inscribed [5 May `60 Connemara] on reverse. A sketch of Eithne Murphy is also included and possibly a Miss Elizabeth Hayes. Average size of portraits given.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.”

Ernest Columba Hayes RHA (1914-1978) COLLECTION OF 54 SKETCHES FROM LATE 1940s - LATE 1960s watercolour; (5); pencil; (31); biro; (14); charcoal (4); (all unframed, contained in sketching folder) variously signed, inscribed, titled and dated 43.815 by 33.655cm., 17.25 by 13.25in. P Estate of Hildegard Hayes, the artist`s wife "An eclectic collection of sketches from the late 1940s-1960s. Themes include, landscapes [Ireland and Italy], still life studies, a portrait of the artist`s first wife [Irma], animal and figure studies in an array of medium. All contained in the artist`s wife [Hildeegard`s] portfolio case.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.”

Ernest Columba Hayes RHA (1914-1978) COLLECTION OF LANDSCAPE, MARINE & STILL LIFE SKETCHES oil on canvas (unstretched); (3); watercolour; (4) variously signed, inscribed and dated 35.56 by 40.64cm., 14 by 16in. L Estate of Hildegard Hayes, the artist`s wife "Among the sketches include early pastoral landscapes (1935-36), a still life sketch from the artist`s studio, a maritime sketch of a tall ship (1935), and a "rough sketch only (for professional ref.)" dated 20 December 1946, also includes notes on reverse relating to wind and sun direction at 1.30pm on the day of execution.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.”

Ernest Columba Hayes RHA (1914-1978) THE ARTIST`S LAST DRAWING, 1978 oil on panel; (unfinished; unframed) inscribed by the artist`s wife in pencil upper right 35.56 by 27.94cm., 14 by 11in. P Estate of Hildegard Hayes, the artist`s wife "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.”

A large rectangular etched glass panel , modern, depicting classical figures, centred by a mother and children within an Art Deco style sunset, 90cm x 330cm long .

Cambridgeshire – autograph, Thomas Howard, 2nd Earl of Arundel fine indenture signed and sealed by Arundel, dated 1608 being the sale of the manor of ‘Inllingham’ Cambridgeshire (probably modern day Willingham, near Cambridge). Document written in a fine legible hand in English, good condition with two fine pendant wax seals to base. Arundel is sometimes known as ‘The Collector Earl’ on account of the significant collections of art and ancient sculptures he collected during his long life. These included paintings by Da Vinci, the Holbeins, Raphael, Van Dyke and many others. He also had what are now known as ‘The Arundel Marbles’, mostly Roman Sculptures which are now in the Ashmolean Museum in Oxford.

India and the Punjab Sikh portraits by European artists, London, 1979, the rarest modern day book on the Sikhs has been long out of print due to its limited print run and no reprint or second edition followed. F S Aijazuddin, a direct lineal descendent of Fakir Nuruddin, the Foreign Minster of Maharajah Ranjit Singh and the Lahore Durbar elegantly brings to life the colourful Lahore Durbar in this highly illustrated book, containing 17 colour plates and 29 monochrome plates, first and only edition. The book is an invaluable account of the Sikh Art during the Sikh Kingdom by European artists, including such artists as August Schoefft, Goldingham, Beechey, Emily Eden and Franz Xavier Winterhalter. The accompanying text is of the history of Maharajah Ranjit Singh, Kharak Singh, Naunihal Singh, Sher Singh, and ending with Duleep Singh and his children. The final chapter examines the extra ordinary large oil painting of the Court of Lahore, which forms part of the Princess Bamba Collection at the Lahore Fort Museum. The chapter gives a biographical account of some 60 identified person of the Lahore Durbar complete with illustrations. The book is in very fine condition with a fine dust jacket. A very scarce book, a must for any Indian art and Sikh collector.

Repton (Humphry). Sketches and Hints on Landscape Gardening. Collected from Designs and Observations Now in the Possession of the Different Noblemen and Gentlemen, for whose use they were Originally made. The Whole Tending to Establish Fixed Principles in the Art of Laying Out Ground, pub. W. Bulmer, [1794], half title, 16 aquatint plates, of which 10 hand-coloured and 14 with hinged overslips, a few minor spots, modern green half morocco, spine lettered and decorated in gilt, oblong folio. WITH AN ORIGINAL WATERCOLOUR OF WELBECK ABBEY, Nottinghamshire (reproduced in the book as plate IV) by Humphry Repton, with overlay, mounted to front endpaper. One of 250 copies. A good copy of the first of Humphry Repton`s three books on landscape gardening. Considered the successor to Lancelot ÔCapability` Brown, and noted for his ÔRed Books`, produced for clients to improve their properties, made up of a manuscript description and watercolour of the grounds, with the proposed renovations illustrated beneath the overlays. The book contains extracts from some of the 57 houses he was engaged to improve, with folding plate XI of Welbeck apparently showing Repton and colleagues at work surveying the estate. Abbey Scenery 388. (1)

Saint-Evremond (Charles Marguetel de Saint Denis ). The Works, Made English from the French Original: with the Life of the Author; by Mr. des Maizeaux, F.R.S. To which is added The Memoirs of the Dutchess of Mazarin, &c., 2nd ed., corrected and enlarged, 3 vols., 1728, eng. initial letters and head and tail-pieces, red sprinkled edges, some splitting to hinges, contemp. calf, rubbed, loss to spine ends and some joints split, 8vo, together with Brydges (Sir Egerton), Restituta; or, Titles, Extracts, and Characters of Old Books in English Literature Revived, 4 vols., 1814-1815, occn. light foxing, marbled edges, early 20th c. maroon half morocco, extrems. scuffed, 8vo in 4s, plus four other vols., incl. Stenography Compleated, or the Art of Short-Hand Brought to Perfection..., 4 parts in one, 1730, lacking eng. frontis. and title to second part, modern boards (11)

Eichenberg (Fritz). The Art of the Print. Masterpieces, History, Techniques, 1976, col. and b&w illusts., orig. cloth gilt in d.j., 4to, together with Wyse (Henry T.), Modern Type Display and the use of Type Ornament, 1911, num. printing examples, orig. cloth-backed boards gilt, 4to, plus Plomer (Henry R.), A Short History of English Printing, 1476-1898, pub. 1900, port frontis., num. engs. to text, orig. cloth gilt, rubbed, small 4to, plus thirty-eight other bibliography and printing reference. From the reference collection of Vivian Ridler (1913-2009). (41)

Vasarely (Victor). Plastic Arts of the Twentieth Century, Prefatory Remarks by Marcel Joray, 3 vols., Edition du Griffon Neuchatel, 1965, 1973 & 1974, numerous col. and b & w illusts., some folding, orig. boards in d.j., square 4to, together with ÔPrimitivism` in 20th Century Art. Affinity of the Tribal and the Modern, edited William Rubin, 2 vols., Museum of Modern Art, New York, 4th printing, 1988, numerous col. and b & w illusts., orig. cloth in d.j. and slipcase, folio, with other modern art, including Miro, Magritte, Degas, Chagall, Matisse, Picasso et al, G/VG (3 shelves & a carton)

Shoji Hamada (1894-1978) a Mashiko Pottery stoneware square dish, painted with brushed nuka and tenmoku borders unsigned, restuck small chip and hairline to the rim 29cm. square Literature Shoji Hamada, Japanese catalogue, plate 74 for a comparable square dish illustrated The Retrospective Exhibition of Shoji Hamada, April 16th - June 5th, 1977 The National Museum of Modern Art, Tokyo catalogue number 138 page 89 for a comparable dish, dated to 1954. Provenance Mrs Davis

A Collection of Modern Art Glass including an unusual dish with raised letters View on staceyauction.com

An Art Deco Fire screen, a nest of modern tables and a tub chair View on staceyauction.com

GLASSE, [Hannah.] The Art of Cookery made Plain and Easy… a new edition. London: 1784. 8vo (206 x 133mm.) Folding `order of a modern Bill of Fare`. (Some spotting, Bill of Fare torn without loss and creased.) Contemporary calf (worn). - And three others, 18th Century (4).

BREVIARY, in Latin, 14th Century. [A manuscript vellum leaf, possibly from a Breviary. N.p. but Italy: n.d. but 14th Century.] 1 vellum leaf (200 x 166mm.) Recto and verso each with 32 lines of double-column text in brown with red and blue initials, recto with 1 double-line blue initial issuing a red foliate bar partial border, verso with 2 double-line initials in red or blue issuing a red or purple foliate bar partial border. (Minor soiling and browning.) Contained within a modern window mount, displaying verso. Provenance: Folio Fine Art Ltd. (label on verso of mount, with stock number `MS 4573`).

BOOK OF HOURS, use of Paris, 15th Century. [A manuscript vellum leaf from a Horae or Book of Hours, use of Paris. N.p.: n.d. but late 15th Century.] 1 vellum leaf (137 x 100mm.) Recto and verso each with 19 lines of text in brown and red ink, including 1 double-line historiated initial in blue and red, within red ruled lines. (Minor light browning.) Contained within a modern window mount. Provenance: Folio Fine Art Ltd. (label on verso of mount, with stock number `MS 42600`).

BOOK OF HOURS, East Anglia, 14th Century. [An illuminated manuscript vellum leaf from a Horae or Book of Hours. N.p. but East Anglia: n.d. but mid-14th Century.] 1 vellum leaf (166 x 105mm.) Recto and verso each with 17 lines of text in brown ink within ruled lines and borders, recto with a partial foliate bar border in blue, red, white and green heightened in gilt and with three geometric line fillers, verso with two historiated initials in blue and red and two geometric line fillers. (Some soiling and overall browning, shaved to top edge with some loss to bar border.) Contained within a modern window mount. Provenance: Folio Fine Art Ltd. (label on verso of mount, with stock number `MS 4445`).

MANUSCRIPT LEAF, 13th Century. [A manuscript vellum leaf. N.p. but England: n.d. but mid-13th Century.] 1 leaf (205 x 147mm.) The double-column text in brown ink with rubrics in red ink and one four-line initial in blue, within feint ruled lines. (Minor light browning.) Contained within a modern window mount. Provenance: Folio Fine Art Ltd. (label on verso of mount, with stock number `MS 2669`).

BOOK OF HOURS, Paris, 15th Century. [An illuminated vellum leaf from a Horae or Book of Hours, attributed to the Atelier of the `Boucicaut Master`. N.p. but Paris: n.d. but early 15th Century.] 1 vellum leaf (177 x 130mm.) Recto and verso each with 15 lines of text in brown ink on red ruled lines, recto with three (one triple-line, one double-line and one single line) illuminated initials in red, white, blue and pink heightened with gilt and one line filler, verso with four (one double-line and three single) illuminated initials, and four line fillers, all contained within a scrolling illuminated polychrome border of scrolling ivy. (Overall browning, heavier to edges, slightly affecting border.) Contained within a modern window mount. Provenance: Folio Fine Art Ltd. (label on verso of mount, with stock number `MS 4492`).

BREVIARY, use of Cologne, 14th Century. [A manuscript vellum leaf from a Breviary, use of Cologne. N.p.: n.d. but 14th Century.] 1 leaf (167 x 122mm.) Recto and verso each with 31 lines of double-column text in brown and red ink, including five double-line historiated initials in red, blue or purple ink and two three-line historiated initials in blue and red. (Some minor browning and soiling.) Contained within a modern window mount. Provenance: Folio Fine Art Ltd. (label on verso of mount, with stock number `MS 3162`). - And one other manuscript vellum leaf from a similar Breviary (2).

A SEGUSO ART GLASS FIGURE, MODERN of smokey-grey glass, the simplified figure seated in the foetal position, bruise, signed, 24cm high 1

Afghanistan, Aitutaki, Ajman, Albania, Andorra, Angola, Anguilla and Argentina amongst others. Two black binders housing modern, mainly mint singles, sets, M/S`s, sheetlets etc. Collected by theme. Some duplication. Majority Dogs, other animals, Disney and art

A box inc. an oak cased partial canteen, a painted tin "folk art" coat rail (modern) etc

Philip Mead, British b.1948- "Field III"; oil on board, inscribed verso, 52x37cm Note: The artist studied at Birmingham Polytechnic. His work is held in the collection of the University of Wales, Cardiff, Modern Art Museum, Oslo, Norway and The National Gallery, London. The artist has also produced works for the `RCA Secrets` event on a number of occasions (may be subject to Droit de Suite)

After Myles Birket Foster RWS, British 1825-1899- Farmer boy resting under the trees with his dog and sheep; etching, signed within the plate, 20x25cm: with eight other etchings after various artists, Provenance: From a folio issued as an `Art Prize under the sanction of the Department of Science and Art, Nine examples of Modern Etchings`, presented as the `Worcester` prize to Louis Hadley in 1887. Louis Hadley was the son of the Worcester artist and modeler James Hadley: together with a folio of twelve selected photographs of details of relief ornaments of the Italian Renaissance and another folio of reproduction prints after various Old Masters in French museums, both folios presented as school prizes to Louis Hadley, (a lot) (unframed) (3 folios)

After J. Philipp - a modern cast bronze figure of an Art Deco female dancer holding a stylish pose, raised on a marble and slate pedestal, height approx 58cm.

A selection of Art glass etc including Vasart style yellow dish, modern crackle vase etc

(BOOKS) A small collection of books on Modern Art including Art Today by Edward Lucie-Smith, two volumes on Faberge, four volumes in all

A quantity of books to include modern design, history, world books, books on art and artists, (a lot).

A modern Art Deco style occasional table as a seated nude holding a circular brass table top

After Demetre Chiparus - a modern cast bronze figure of a semi-clad Art Deco dancer holding a stylish pose, raised on a marble and slate pedestal, height approx 54cm.

A modern art glass style ewer

A silver cigarette case; a silver matchbook case; a pair of modern silver wine labels; a silver salt spoon; a pair of eighteenth century unmarked silver sugar nips; 190g (6.1 oz) gross; with a Trench art scimitar paper knife, pricked dot engraved `St Omer` and dated 1919; and a resin table ornament of a nude asleep on a leaf

PETER OLIVER, AN ALBUM OF WATERCOLOURS, SOME SIGNED, Landscape Subjects; One Volume Modern Masters of Etching by Frank W Benson and a dis-bound Volume “The Art of the Illustrator” by W Russell Flint (qty)

A quantity of CDs and books relating to art, theatre and a box of modern videos.

* A modern art glass baluster vase with striations, 38cm high.

* RODCHENKO, ALEXANDER 1891-1956 Advertisement for Cookies from the Red October Factory , signed. Gouache and collage on paper, 83 by 58.5 cm. "Executed in 1923.Provenance: Private collection, Switzerland.Authenticity certificate from the expert T. Goriacheva.Exhibited: Aleksandr Rodchenko, The Museum of Modern Art (MoMA), New York, 1998; Kunsthalle, Düsseldorf, 1998-1999; Moderna Museet, Stockholm, 1999.Rodchenko and Popova: Defining Constructivism, Tate Modern, London, 12 February-17 May 2009; State Museum of Contemporary Art, Thessaloniki, June-September 2009; Museo Nacional Centro de Arte Reina Sofía, Madrid, October 2009-January 2010.Literature: Exhibition catalogue, Aleksandr Rodchenko, New York, MoMA, 1998, p. 196, No. 106, illustrated.C. Kiaer, Imagine No Possessions: The Socialist Objects of Russian Constructivism, Cambridge, The MIT Press, 2005, illustrated on the cover and pl. 16.Exhibition catalogue, Rodchenko and Popova: Defining Constructivism, London, Tate Publishing, 2009, p. 105, No. 142, illustrated.Alexander Rodchenko is best known as one of the fathers of Constructivism. He and his wife and comrade in arms, Varvara Stepanova, were also pioneers of Soviet photography and social design and revolutionised the world of advertising.This design for a Red October factory poster was created in 1923 for Mosselprom and belongs to the most interesting period of Rochenko’s oeuvre. That same year Mayakovsky had chosen him as fellow artist and collaborator on Soviet advertising posters. Establishing an instant rapport they went on to shake up every tradition of the genre, placing paramount importance on clarity of purpose and design. “We completely conquered Moscow… transforming the old tsarist-bourgeois Western style of advertising into a new ‘Soviet style’”, wrote Rodchenko of their collaboration.This Red October factory poster was reproduced on bill-boards all over Moscow in 1923-1924 and Mayakovsky’s slogan at the bottom, “Nowhere except Mosselprom”, became a catchphrase. Using elements of text as well as images and abstract symbols as part of the composition, Rodchenko created a unique style to promote the company’s image. One of the key characteristics of Rodchenko’s Constructivist advertising style was the documentary element to his posters and his use of photographic images.In one two-year period Rodchenko and Mayakovsky produced more than 100 poster designs, and it was for these posters that Rodchenko received a silver medal at the International Exposition of Modern Industrial and Decorative Arts in Paris in 1925."

JAMES MASON: THE ART OF CHESS, 1895, orig cl gt + REV E E CUNNINGTON: THE MODERN CHESS PRIMER, 1903, 4th edn, recased qtr cf gt + L HOFFER: CHESS, circa 1910, 7th edn, recased qtr cf gt, part of orig cl retained and pasted to front pastedown (3)

CHARLES HOLME (ed): MODERN ETCHING AND ENGRAVING, “The Studio” 1902, 1st edn, 4to, orig wraps worn + A P OPPE: THE WATER-COLOUR DRAWINGS OF JOHN SELL COTMAN, “The Studio” 1923, 1st edn, 4to, orig cl gt soiled + MALCOLM C SALAMAN: THE NEW WOODCUT, “The Studio” 1930, 4to, orig cl gt worn + eight other Art (11)

A pair of modern Staffordshire King Charles Spaniels; a rose pattern art tea service and decorative china

After J. Philipp - a modern cast bronze figure of an Art Deco female dancer holding a stylish pose, raised on a marble and slate pedestal, height approx 58.5cm.

Ladies Art Nouveau-style yellow metal (tests as 18ct) dress ring set with a modern brilliant cut diamond mounted to a female mask with rubies as eyes. Ring size L Shank mis-shapen, evidence of shank having been tested, signs of wear but in overall good condition Further images and condition reports are available at www.reemandansie.com

* A Victorian Prattware pot lid, printed with an interior view of Crystal Palace, 13 cm diameter, in an ebonised frame, together with another titled `The Grand International Building of 1851` for the Exhibition of Art and Industry of All Nations, 13 cm diameter in a modern frame (2)

* McKie (Helen, 1889-1957). Hitler`s Brown House. A series of sixteen pencil, (and one pen and ink with wash), sketches, made in Hitler`s Brown House in Munich by Helen McKie in 1931, the drawings on large sheets of artist`s sketch paper pasted into a later album, contemp. typed list of contents tipped in at front with a contemp. pencil note by Helen McKie tipped to verso `Sketched in Hitler`s Brown House Munich by special permission of Hitler`s aide-de-camp Bruelenen - I was the only woman ever allowed to sketch here`, most sheets approx. 41 x 26 cm and with perforated left edge, some evidence of a few notes to versos, a little marginal browning, chipping and creasing, bookplate of Mark Dineley, modern buckram, gilt-title spine (incorrectly dated 1918), folio The sketches which largely have pencil captions and annotations by the artist are: 1) Entrance to the Brown House, flanked by two Nazi Guards; 2) Sketch of tablet in centre eagle on Nazi sign (vignette); 3) Sketch portrait of Adolf Hitler from the portrait hanging in the Council Chamber; 4) Sketch of two Nazis with their banner in the HQ, signed by the artist; stamp of The Graphic to verso; 5) A Nazi saluting whilst standing outside the door of the Council Chamber with banner of Munich Contingent visible; 6) Sketch interior of the room of the Committee of Control with three Nazis in conversation; 7) Three smiling Nazis with their beer tankards in the beer hall under the Brown House; 8) Standards of the various sections of the National Socialists in the entrance hall with a standing Nazi, signed Helen McKie; Graphic stamp to verso; 9) As above, but unsigned; 10) Sketch of two helmeted police outside the Brown House controlling a disturbance created by civilians; 11) A Nazi carrying a banner; 12) Sketch of Nazi procession with banners; 13) Sketch of Nazi carrying sidedrum (sheet size cut down); 14) Sketch of two Nazis opening curtain to a civilian; 15) Vignette sketch of the Nazi standard with colours noted; 16) A Berlin sentry with detail to one side of a back view showing belt, button and bayonette; 17) Council Chamber with two Nazis and a civilian, showing the tablet on the wall in sketch 2 (pen, ink and wash drawing). Helen Madeline McKie (1889-2004) was educated at Tiffin Girls School, Kingston on Thames, and Lambeth School of Art, where she studied composition and painting under Philip Connard. She then became an illustrator and permanent member of staff to `Bystander` Magazine from 1915 to 1929. She was also a contributing artist to The Graphic, Sphere, Autocar and Queen publications. McKie became well known for her drawings of military figures during World War One and corresponded with soldiers in active service across the world. In 1931, she paid a visit to the Brown House, Munich, when on the strength of a letter of introduction to Hitler, she was allowed to sketch Nazi officials. During World War II, she was commissioned by Lord Lloyd to make sketches of Navy personnel and warships. In 1943, she painted `The Upper War Room` at Admiralty, Whitehall for presentation to Sir Winston Churchill, who was in the picture. She produced commissioned work for the Southern Railway, mural designs for amongst others, the Ritz Hotel in London, several Butlins holiday camps, Ford motorcars, the French government Tourist Office and Selfridges. The Victoria and Albert Museum holds an archive of her papers, drawings, photographs, and ephemera, the gift of John Fraser, her nephew. Among the papers is an illustrated article from The Graphic, concerning McKie`s sketches of Nazi officials (1931) and it seems likely that the two signed drawings here present with Graphic stamps to verso were used for that article. Nonetheless, this remains an extraordinary and unique artistic record of Hitler`s Nazi Party Headquarters by a British woman artist. Provenance: Mark Dineley, well-known arms and armour collector and bibliophile, by descent. (1)

* A Collection of Military items including a copper and brass bugle by `Henry Potter & Co` dated `1909`, another by `Mayers & Harrison`, a Trench Art Officer`s shell case hat dated 1916 applied with Cadet Artillery badge, ammunition boxes and modern American kepi (2 cartons)

A Susie Cooper jug, a pair Sylvac vases, silver and plated wares, an Art Deco glass cocktail set, and a set of eight modern whisky tumblers, floral encrusted porcelain (part lot behind cabinet)

A modern machine woven wall hanging, the central panel set with repeating stylised Art Nouveau pattern on a mustard ground within floral borders

A pair of modern tapering candlesticks, two pairs of wooden candlesticks, a pair of marble obelisks and an Art Deco style table lamp.

After Demetre Chiparus - a modern brown patinated cast bronze full-length figure of an Art Deco female dancer, the integral square base with cast signature `D.H. Chiparus` and `Bronze Garanti Paris` lozenge, raised on a marble and slate plinth, height approx 54cm.

* EILEEN LAWRENCE RSA (SCOTTISH 1946-) THE SACRED DANCE Watercolour, signed, titled and dated `75 61cm x 45.5cm Note ; Eileen Lawrence was born in Leith and studied at Edinburgh College of Art from 1963 to 1968. Following her first solo exhibition in 1969, Lawrence lived in London for three years and also in Germany, before returning to Edinburgh in 1973. Using a precise and detailed technique like a botanical illustrator, Lawrence produces drawings and watercolours of natural objects, such as feathers and twigs. These items are collected by the artist on visits to the countryside. Lawrence`s intensely detailed studies are a way of meditating on man`s spiritual relationship to nature. Her work is included in numerous public and private collections including The Tate and The Scottish National Gallery of Modern Art.

A modern white metal cast fairy brooch, in Art Nouveau style, 6cm together with a 1920s white metal and enamelled aesthetic spoon with bird cast finial (2)

1928 Cheverolet Tourer Reg no. RA 6261 Chassis no. AB91494 Engine no. TR505936 The second 1928 Chevrolet in our sale. In 1928, the release of the Chevrolet National Series A B cars saw General Motors become the market leader in the United States. GM had employed a cunning tactic, they offered $50 off of each new standard car, in order to undermine the new 1928 Ford Model A. It worked. 785,199 A B Series cars were produced, each selling from between $495-$715. The A B series was a fresh look for Chevrolet, having extended the wheel base four inches from the previous A A Series and using modern design from GM`s new Art and Colour Studio, which was formed in 1927. The body had longer, more angular lines, with flowing wheel arches and running boards. Inside the cars were equipped with the four cylinder engine that had first been seen in 1913. In late 1928 this engine was soon changed in favour of the six cylinder type. This right hand drive, four seater car, has a body finished in maroon with black wings and a four cylinder, 1934cc, engine. The engine, chassis, bodywork, interior and electrics are all described as being in good condition, with the paintwork being in fair and perfectly useable condition. It is a rare car that has been restored and been used on a regular basis. It comes with a V5 Registration document, factory sales literature and parts paperwork. The MOT expired in July 2011. Click Here to view this item on www.i-bidder.com

Seven boxes of miscellaneous modern hardback books to include art, gardening, design, etc

Tymms (W.R.) and M.D.Wyatt. The Art of Illuminating as Practised in Europe from the Earliest Times chromolithographed plates, additional f. inserted with colour monograms around patterned design with inscription to head, contemporary morocco over wooden boards, elaborately blind-stamped [by Sir Henry Bruce, see note], t.e.g., purple flaps to spine ends, spine faded, 1860 § Lacroix (Paul) Les Arts au Moyen Age et a l`Epoque de la Renaissance, fourth edition, plates, many colour, contemporary half morocco, spine gilt, rubbed at corners and spine, Paris, 1873 § Secrétan (E.) Catalogue of the Celebrated Collection of Paintings by Modern and Old Masters and of Water-Colors and Drawings..., 2 vol., second edition, plates, tissue-guards, original wrappers bound-in, contemporary half morocco, spine gilt, t.e.g., a little scuffed, Paris, 1889; and 9 others, illustrated works, v.s. (13)(13)

A group of pewter comprising an Art Nouveau desk stand cast with a figure of Time flanked by inkwells, a 19th century pint tankard, a baluster measure, a pair of modern baluster push-up candlesticks, and a modern tankard.