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† SALAMAN (MALCOLM C) THE NEW WOODCUT illustrated, cloth, dust jacket, London: The Studio Ltd, 1930, The Studio Year Book of Decorative Art, four editions, 1949-56, W G Paulson Townsend, Modern Decorative Art in England Vol I [only] 1922 and three others, 20th c Decorative Art (9) ++++

† THE ARCHIVE OF PILKINGTON`S TILE & POTTERY CO LIMITED SUBSEQUENTLY THE PILKINGTON`S ROYAL LANCASTRIAN POTTERY COMPANY LIMITED AND PILKINGTON`S TILES LIMITED EXTENDING OVER A PERIOD OF ONE HUNDRED YEARS FROM THE LATE 19TH CENTURY including pattern books of original designs for tiles, pocket notebooks of glaze formulae and firings, photographs and documents (for details please see online catalogue at mellorsandkirk.com) A red marl, ideal for pottery was discovered by accident at the Pilkington brothers` colliery at Clifton Junction, near Manchester in 1888. Coal extraction no longer an option because of geological problems, the firm decided to manufacture bricks. On the advice of William Burton, a brilliant young chemist at Josiah Wedgwood & Sons, they instead established a high quality, decorative tile works. In 1891 the Pilkington Tile & Pottery Company was formed with Burton as its General Manager and also charged with the planning and building (without the aid of an architect) of what soon became one of the most advanced and extensive tile works. Production commenced in 1891 and two years later Burton was joined by his equally talented brother, Joseph whose research into new glazes was to prove invaluable. For the ensuing ninety years or so Pilkington`s tiles sold throughout the British Empire, Commonwealth and beyond. The scientific and technical expertise of the Burtons was such that the Company even explored the possibility of manufacturing pottery bullets, at the request of the War Office. A department specifically for the production of art pottery in particular lustre ware, began in about 1898. Under Burton`s enlightened management, the welfare of his workforce was a high priority with, for example, those working in the Lead House being given milk in an attempt to counteract the possible effects of lead poisoning. He also arranged for the artistic staff to go, expenses paid, to exhibitions including the Exposition Universelle in Paris, in 1900. William Burton was of that generation of ceramicists inspired by the unsurpassed sang de boeuf and other glazes of the early Chinese potters and it is not surprising that, largely due to his artistic sensitivity, some of the brightest stars in the Arts & Crafts firmament - including Walter Crane, C F A Voysey and Lewis F Day - were involved at Pilkington`s from the beginning. By the early 20th century the superb lustre ware, mainly chargers and vases, and painted by such talented artists as Gordon Forsyth and Richard Joyce were in a class of their own. In their proper art historical context these magnificent objects can be regarded as a continuation of the pioneering lustre wares of William Morris`s lifelong friend William de Morgan (1839-1917). The notable achievements of Howson-Taylor`s Ruskin Pottery, Bernard Moore and William Moorcroft, although equally original, lay in other directions. Never made in large quantities, the costly (not least because of high wastage) unique iridescent lustre glazes, fired in a reducing atmosphere in a muffle kiln, have always been regarded as amongst the finest such wares of their type, whether produced in England, Europe or America. An important constituent of the present archive is the group of experimental glaze firing records and books of formulae. Lustre ware was gradually superseded by the much cheaper eggshell glazed Lapis range produced in the 1920s & `30s. In truth, the lustre ware was never really profitably produced, and the Department was probably continued for reasons of prestige. De Morgan enjoyed no greater success, observing, in 1907, "...now that I can make [beautiful things] nobody wants them." The Pottery Department closed down, for the first time, in 1937. Over the subsequent history of the factory it was revived once or twice and in 1964 a merger with Carter & Co`s Poole Pottery heralded a short-lived revival in the fortunes of both factories. Complementing the limited holdings already in institutional collections, the importance of these extensive and unique primary source records of one of the most significant British manufacturers of pottery and tiles of the highest quality, lies in the fact that they are very far from being mere `dry` financial records. PILKINGTON ARCHIVE The factory records will generally be found in chronological sequence, much of the work of arranging/filing having been done in recent years by the Pilkington’s Lancastrian Pottery Society. It is housed in approximately twenty cardboard ‘bank’ and larger sized boxes. The principal items of interest are as follows: POTTERY AND TILE PRODUCTION 1. Three tile pattern books of original designs for wall tiles (see A J Cross, plt 6) 2. Original designs for 6 inch wall tiles including children’s, humorous and other subjects, c1920-c1950, all gouache some on watercolour board (approximately 350) 3. Tracings and pounce sheets for decorative tiles 4. Factory patents relating to various aspects of the production and decoration of tiles 5. Twenty-five notebooks written in pencil and filled with detailed records of glaze experiments, firing times etc with a further notebook labelled Index to Trial Books, by Abraham Lomax for the period 1901-11 and Joseph Burton, 1911-15. 6. Photographs, four boxes of glass negatives (12 x 16.5cm) of lustre and other vases either photographed singularly or in groups of usually two or three and two boxes of magic lantern slides, also eight reels of 16cm cine film colour, optical/sound: “Tile Fixing Today” 7. A quantity of original designs for tiled chimneypieces (one illustrated in A J Cross, plt 10) gouache on watercolour sketching board and miscellaneous designs on tracing paper for architectural ceramics CORRESPONDENCE Documents generally filed in manila envelopes including the company’s attendance at national/international exhibitions, insurance relating thereto, other insurance policies for salesmen/travellers overseas, An Enquiry into the Boiler Explosion and Fatal Accident 1911, files of business letters and copy letters including internal memoranda relating to glazes, samples overseas orders, screen printing equipment, production tables and miscellaneous subjects. An extensive series of mainly autograph letters signed to William Burton, many from his brother Joseph, others from the Pilkingtons including Alfred, Edward, Laurence and Charles (one dated August 1895 “I send you herewith a sample of red marl out of our borehole... I don’t think it is very good”), W Bush, J Lee Wood, John Chambers, trade suppliers/contractors such as William Boulton (engineer) many in the Potteries, including Frank Keeling, Maw & Co, John Ridgway, Cravan, Dunnill & Co and the Old Hall Porcelain Works, Hanley, several letters from the employees of other manufacturers seeking positions at Pilkington’s, artists such as Cosmo Rowe (1877-1952), mosacists and others, several hundreds filed in two modern white ring binders, period 1889-1894 and 1895-1901. Home Office Whitehall, framed typed letter signed (Edward Thorp) 3 September 1913 to the Company’s solicitors informing Pilkington’s that the king [Goerge V] has granted permission for the use of the tile “Royal Lancastrian Pottery” for their “artistic pottery”. FINANCIAL RECORDS Important documents in the factory’s history including the Certificate of Incorporation, Memorandum and Articles of Association of The Pilkington’s Pottery Company Limited, 1891 and Certificate of Incorporation for change of name to Pilkington’s Tile and Pottery Co Limited, 1892 and approximately 75 ledgers and journals including cash books, expenses, general journals, tile fixing accounts, tile stock, share certificates, wages books and analysis of new work, 1892 onwards.

A modern silver shell shaped perfume flask by Tiffany & Co., bears import marks, complete with box, together with a George VI silver twin handled bonbon dish in the Art Deco manner (Birmingham, 1939), plus a propelling pencil stamped "825", a lighter and a tortoiseshell comb

Autograph – Art and Artists – Antonio Canova founder of the modern Italian classic school of sculpture document signed dated 1815 being a permit issued to Mr Page to allow him to study at the Musei Pontifici. Partially printed document with ms insertions 1p folio good condition.

WWII – Adolf Hitler copy of the Grosse Deutsche Kunsausstellung [the catalogue of the Munich exhibition of modern art] for 1941 signed on inside cover by Adolf Hitler. Hitler’s signature appears next to the photographic reproduction of one of the portraits of him featured in the exhibition

A Danish "Personnage 1987" Modern Art line Wool Carpet made by EGE Axminster A/S, designed by Robert Jacobsen, design No.80553, from the 20th Century Collection, with label, 4`7" x 6`7" (140cm x 200cm) Quote "A work of art should offer no answers only questions

A Collection of Decorative Arts Related Books, including Art of the Modern Potter, by Tony Birks, Country Life 1979, Robin & Lucienne Day Pioneers of Contemporary Design, by Leslie Jackson, Mitchell Beazley 2001 and other subjects (19)

† A Gandharan stucco head of a Bodhisattva, 2nd/3rd century. Finely modelled in an expression of serene contemplation, the eyes downcast, hair and face picked out in black and red earth pigments, restored, together with a modern stand, 24cm. Sold on behalf of Axa Art Insurance Services.

Sackville, the 5th Earl of Yarborough The property of Sackville George Pelham, the 5th Earl of Yarborough, d.1948. Sackville George Pelham, 5th Earl of Yarborough, MC (17 December 1888-7 February 1948) was a British peer and soldier, known as Lord Worsley from 1914-1926 and Lord Conyers from 1926 until his accession to the earldom in 1936. Pelham was the second son of Charles Pelham, 4th Earl of Yarborough and his wife, Marcia. In 1910, he became a Second Lieutenant in the 11th Hussars and initially fought as a lieutenant in France during World War I before being promoted to the rank of captain in 1916. During the war his elder brother, Charles, was killed in action and Sackville assumed the former’s courtesy title of Lord Worsley. After the war, he was awarded the Military Cross and retired from the Army in 1919 when he married Nancy Brocklehurst (a niece of Lord Ranksborough). On the death of his father in 1936, Sackville inherited the earldom; in the same year he commanded the Nottinghamshire Yeomanry as a Lieutenant Colonel, being posted to Palestine at the outbreak of World War II. On returning to Britain in October 1940, the ship carrying the Earl and Countess of Yarborough came under enemy fire and was sunk. Although most of the passengers and crew survived, the Earl contracted respiratory problems which contributed to his early death in 1948 at the age of 59. A Rare Chinese Imperial qiangjin and tianqi Red Lacquer Altar Table. Qing dynasty, 17th/18th century, 156.5cm wide, 63cm deep, 88.5cm high. Decorated in red, brown, black and gold. The rectangular top finely incised to depict a large central panel of two confronting phoenix amidst scrolling peony flowers, leaves and tendrils. The panel is bordered by forty-one flying bats, the whole enclosed by a design of further flowers and foliage with a cockerel-headed mythical beast to each corner, all within a key fret edge. The frieze is decorated with a band of panels containing bats and swastikas above a pattern of bats, cloud scrolls and shou characters; the reverse, sides and legs with similar designs. A modern plate glass top. Provenance: Sackville, 5th Earl of Yarborough. The Earl used this table to display the fine green jade water buffalo and gilt stand from the Earl’s collection, which was sold in these rooms in May 2009. The Earl’s will contains the following excerpt: To my dear elder daughter, Diana Mary, the Red Lacquer long table and the settee to match, which stand in the front hall at Brocklesby, and the antique Chinese green jade buffalo in the same room... Paper collection label to the underside. Catalogue note: Qiangjin is a decorative technique in which the incised outlines of the design are etched, and filled in gold, and tianqi (filled in) where the different colours of the lacquer are used for decorative effect against the coloured ground. For details of the history and development of this technique, cf. The Luxury of Chinese Lacquer, Littleton and Hennessy, March 2010 Introduction. The decorative design used is particularly auspicious. Terese Tse Bartholomew in her Hidden Meanings in Chinese Art states that, ‘The phoenix is the emperor of all birds, and like the qilin, it appears only in times of peace and prosperity. It is believed that the phoenix’s appearance in China augurs the emergence of an able ruler or the arrival of a great man, for it appeared when Confucius was born. The phoenix is the motif for the empress of China, ornamenting her crown as well as her clothing….. Phoenix (feng) and peony (fuguihua) = may there be wealth, rank and good fortune (fugui jixiang). The phoenix dallying with the peony is an auspicious design (fengxi mudan, fengchuan mudan). When the king of birds is paired with the king of flowers, together they augur great blessings.’ Cf. Imperial Furniture of the Ming and Qing Dynasties, Classics of the Forbidden City, pp.152 & 155, nos.172, 175 and 176 for related examples; see also Soame Jenyns, & William Watson, Chinese Art II, p.238, no.176, The Collection of Lord and Lady Fairhaven; and a related pair of open armchairs in the Victoria and Albert Museum. See also, Chinese Furniture, Selected articles from Orientation 1984-2003, p.343. and The Minor Arts of China IV, Spink & Son Ltd, p.15, no.5 for a pair of kang tables decorated in this technique.

A modern Moorcroft dish, Art Nouveau design, 8½" diameter

A modern hand painted Oriental baluster vase with typical gilt heightened polychrome decoration depicting an exotic bird amongst flowers and foliage, the base marked "Manzila Art China" (25cms)

A modern design Poole pottery art vase decorated with colours of orange , yellow and green. View on www.staceyauction.com

MODERN ALBUM WITH MIXED POSTCARDS INCLUDING OILETTES AND OTHER ART VIEWS, MILITARY, TORQUAY, CLIFTON RP, ETC (265 APPROX)

Cassandra Wall, a framed modern art Lithograph in vivid green hues, `A Beech Tree in early spring`, title in pencil lower left signed C. Wall, lower right, 16`` x 11`` approx.

Meese (Jonathan). Mama Johnny, pub. Contemporary Fine Arts, Berlin, 2007, num. col. illusts. from photos, orig. laminated boards, folio, together with Martin Barré, pub. Galerie Daniel Buchholz, 2008, num. col. illusts., orig. cloth in d.j., square 4to, and other modern art, both hardback and softback publications, many in foreign language, all VG (3 shelves)

"Modern School, a signed lithograph, The Art Theft, inscribed in pencil"

Winckelmann (Johann Joachim) Histoire de l`Art che 2 vol. in 1 first French edition half-titles engraved title-vignettes and 20 head- & tail-pieces a little foxed mostly at beginning and end modern ink inscription on front free endpaper bookplate of Earl of Mansfield contemporary calf worn broken and loose [Cohen-de-Ricci 1068; PMM 210] 8vo Paris Saillant 1766. *** “This was indeed the first work in the German language to achieve universal acclaim. Winckelmann had drawn attention for the first time to the importance of Greek ideals for the modern world and with his unique acquaintance with the surviving examples of classical art amplified by wide and specialized reading his authority was unquestioned.” - PMM.

Worlidge (John). Systema Hort-Culturae: Or, the Art of Gardening in Three Books, 4th ed., 1700, three engraved plates, lacking additional engraved title, occasional light soiling, bookplate, modern calf, 8vo. Henrey 375. (1)

Richardson (Jonathan). The Works, containing I. The Theory of Painting, II. Essay on the Art of Criticism, (so far as it relates to Painting), III. The Science of a Connoisser, new corrected and enlarged ed., 1792, Strawberry Hill vign. to title, twelve eng. port. plts. on buff paper, lacks half title, contemp. calf, modern amateur calf reback, rubbed and some corner wear, 4to, together with Explanatory Notes and Remarks on Milton’s Paradise Lost, with the life of the author and a discourse on the poem, 1st ed., 1734, port. frontis., contemp. calf gilt, rubbed, 8vo (2)

Wittrock (Wolfgang). Toulouse-Lautrec, Catalogue complet des estampes, 2 vols., pub. Paris, 1985, col. and b&w illusts. throughout, orig. cloth gilt in d.j.s, contained in slipcase, folio, VG, together with Harambourg (Lydia & Bouillot, Roger), André Brasilier, Monographie, Monograph, 2 vols., pub. Lausanne, 2002, col. illusts. throughout, orig. col. pict. boards in d.j.s, contained in slipcase, folio, VG, plus Nocera (Frédéric), Henri Goetz, Catalogue raisonné, Tome I, 1930-1960, pub. Paris, 2001, col. and b&w illusts., orig. cloth gilt in d.j., folio, VG, plus eight other art reference various, incl.Jean-Gabriel Domergue, L’art et la mode, by Gérard Louis Soyer, Paris, 1984 & Modern British Sculpture, by Guy Portelli, Pennsylvania, 2005 (13)

KOCH, ALEXANDER EXPOSITION DE TURIN 1902 L`exposition Internationale des arts decoratifs modernes a Turin 1902. Darmstadt: Alexander Koch, 1902. 4to, pp.[8],340, [1], publisher`s adverts., French text, text by George Fuchs and F.H. Newbery, illustrated throughout, 4 coloured plates, 2 tinted, Jessie M. King decorative title for Scottish section, on different paper, the "Papier de garde" (end papers) supplement are used as end papers, original Art Nouveau designed vellum gilt, some light spotting to page edges otherwise fine Note: Extremely rare in this fine condition, published in connection with the first international exhibition of modern decorative art, Turin 1902, which included architecture, interior design, painting, ceramics, metal works, book illustrations, typefaces, glass, etc. Participants were Holland, Scotland (includes an extensive article on Charles Rennie Mackintosh and the Glasgow School), Germany, Austria, Hungary, Italy, Belgium, France, USA, Denmark, Sweden, England, and Japan. Special emphasis on the German contribution, with designs and typographical arrangement by Peter Behrens. The Turin Exposition of 1902 was the first to celebrate the emergence of the Art Nouveau style in Italy and is considered the first international exhibit of modern decorative art. Turin was a centre of liberal ideas and creativity and thus a receptive environment for imported modernism with work exhibited by Behrens, Mackintosh, Olbrich, et al. Italian artisan workshops and individual craftsmen such as Carlo Bugatti were also featured. The exposition was concerned also with the renewal of Italian architecture. A bold, exuberant, stylistically appropriate setting was created by Raimondo D`Aronico, at that time the chief architect to the Sultan in Constantinople. His work for the exposition was influenced by a visit to the Darmstadt Artist`s Colony designed by Joseph Olbrich. His entrances, pavilions and exhibition and administrative buildings are illustrated in the first section of the present work, which deals with architecture.

A pair of Art Deco fashion prints of a naked woman in draped foliate type hat and cloak and lady in Oriental influenced black dress and hat, 56x37cm, in modern frames, glazed

Observations on Modern Gardening, 2nd editions (1770) 1 vol; The Poultry Book by Wingfield & Johnson (1853); Fairburn`s Crests; The Annual Register, Satires Epistles and Art of Poetry of Horace, 1 vol (1797) and other volumes

Three modern Canadian stylish aluminium models, metal model of a foal and an Art Nouveau style mirror

A modern bronzed bust of a lady in the Art Nouveau taste, after F. Gross, together with a bronzed column with fluted and swag decoration to a square plinth base (ILLUSTRATED)

A pair of modern bronzed figures of ladies seated on a rocky outcrop in the Art Nouveau taste after Moreau, each on bronzed pillars with fluted and swag decoration to square plinth bases (ILLUSTRATED)

A 1930`s Art Deco walnut three tier tea trolley of D-end form raised on four castors plus two modern mushroom ground Persian rugs

Five modern works of art (all on shelf)

Modern reference. Including William Morris, postcard and art reference, etc

Modern reference. Including art and design related, etc

Postcards: A modern photo album containing a collection of approx 80 cards inc, WW1 Belgium Military Art, Daily Mail Battle pictures and a selection of WW2 Aviation pictures mostly RP`s (gd)

Ruskin (John) Modern Painters, 1898, 3 vols.; id., The Stones of Venice, 1898, 3 vols.; id., The Art of England .., 1900; with thirteen others by Ruskin, a.e.g., uniform calf by Mudie (rubbed) (20)

Waring (J.B.) Masterpieces of Industrial Art & Sculpture at the International Exhibition 1862, Vol. II, nd., folio, chromolitho. plates, half morocco (rear board detached); French (James Weir), Modern Power Generators, 1908, 2 vols., folio, sectional models, original art deco cloth; le Blanc (M.), & Armengaud (MM.), The Engineer & Machinist`s Drawing Book, 1855, folio, engraved plates, half morocco; Tomlinson (Walter), The Pictorial Record of the Royal Jubilee Exhibition, Manchester 1887, 1888, folio, original cloth; with one other (5)

Reynolds (M.A.) The Complete Art of Cookery .., 1850, frontis, original cloth (joint split); Anon., The Modern Family Cook or Housekeeper`s Instructor .., nd., original cloth (binding weak); with one other (3)

A Victorian electroplated mounted glass claret jug, unmarked, tapering circular form, the body engraved with a bird within foliate decoration, the mount with similar decoration and with a bird finial, plus a modern electroplated mounted claret jug in the Art Nouveau manner. (2)

Carved tribal art figure, traces of paint, modern Chinese terracotta warrior model, hardwood correspondence rack, mahogany boxes, etc., (1 box).

STUDIO VISTA PUBLICATIONS - DECORATIVE ART IN MODERN INTERIORS. FIVE VOLUMES. A) VOLUME 52 (1962/63) B) VOLUME 53 (1963/64) C) VOLUME 54 (1964/5) D) VOLUME 55 (1965/6) E) 1966/67. PLUS CONDE NAST - THE MODERN INTERIOR 1964 ALL WITH DUST JACKETS

LAURA KNIGHT Spring. Coloured print, published by the Modern Art Society. Signed in pencil by the artist. 46 x 56cm.

DDS. Julian Opie (British b.1958) Garry Popstar, 1998, Vinyl on vinyl canvas, Unframed, Signed, titled and dated verso in black ink, 193cm x 163cm (76in x 64in) Provenance: Acquired by the owner as a gift from the artist. , This work has been authenticated by the artist. Literature: Julian Opie: Institute Valencia D’Art Modern, 2010, p.93 (Illustrated). Garry Cobain is one half of the electronic duo The Future Sound of London. He shared a flat with Julian Opie in the late 90’s and the present work was a gift from the artist to him, it is one of his Opie’s first portrait works and the only one he has ever produced in black and white. We are very grateful to Julian Opie for his assistance in the cataloguing of this lot.

A modern 19th century Meissen style plate with gilt heightened scalloped serpentine border and with quarter panels with floral swags and figural scenes and a Woods Ivory Ware sandwich set in Art Deco style

A modern Art Nouveau style lamp modelled as mirror with mother and child

Haftmann (Werner) Painting in the Twentieth Centur 2 vol. 1960 § Elderfield (John) Henri Matisse: A Retrospective 1992 § Tuchman (M.) & others. Chaim Soutine (1893-1943): Catalogue Raisonné 2 vol. Cologne 1993 § Költzsch (G.-A.) Vincent van Gogh and the Modern Movement 1890-1914 Amsterdam 1980 illustrations many colour original cloth or boards dust-jackets the first and third with slip-cases (a little rubbed or faded); and c.15 others modern art mostly pamphlets 4to & 8vo (c.20)(c.20)

Reiner (Imre) Typo-Graphik 2 vol. third edition vol.1 St.Gall 1948-50 § Reiner (I. & Hedwig) Lettering in Book Art St.Gall 1948 § Lehmann (K.-D. editor) Die vollkommene Lesemaschine von deutscher Buchgestaltung im 20.Jahrhundert Leipzig 1997 § Eine Milchstrasse von Einfällen: Juergen Seuss und die Deutsche Buchkunst der Zweiten Jahrhunderthälfte Leipzig 1995 § Willberg (Hans Peter) Handbuch der Einbandgestaltung cloth samples (one defective) Mainz 1994 § Zweihundert Jahre original cloth-backed boards Leipzig Hochschule für Grafik und Buchkunst 1964 § Weidemann (Kurt) Wo der Buchstabe: Ansichten über Schrift und Typographie original wrappers Ostfildern 1997 illustrations all but the last original cloth or boards the second with frayed dust-jacket some a little rubbed; and c.25 others German typography and book-design mostly modern 4to & 8vo (c.30)(c.30)

Tymms (W.R.) and W.D.Wyatt. The Art of Illuminatin chromolithographed title and plates modern cloth preserving original decorated cloth on boards and spine 1860 § Firmin-Didot (Ambroise) [Sale Catalogue] Catalogue Illustré Livres Précieux Manuscrits et Imprimés... 2 vol. number 369 of 500 copies (this copy for le Comte de Reculo) plates modern boards preserving original wrapper on upper covers (spotted) uncut Paris 1882-83 § Abbey (Major J.R.) [Sale Catalogue] Catalogue... 11 vol. illustrations original boards or wrappers Sotheby`s 1965-89; and 6 others illuminated manuscripts etc. v.s. (20)(20)

Aelianus (Tacitus) The Tactiks of Aelian Or the art of embattailing an army after ye Grecian manner. Englished & illustrated with figures throughout & notes upon ye chapters of ye ordinary motions of ye Plalange by J.B. first English edition engraved title 50 engraved plates 25 folding battle plans drill armour etc. library stamps throughout on title mostly to the verso of plates only a couple of images affecting modern blind-stamped calf sm. folio for Lawrence Lisle 1616.

Approximately ninety good auction catalogues for paintings, prints, modern and contemporary art and old masters, including Bonhams, Phillips etc.

CHRISTOPHER RICHARD WYNNE NEVINSON (1889-1946) "Bravo!", 1913, signed, oils on canvas, 17 ½" x 23 ¼", Ernest, Brown & Phillips gallery label verso. `You have a very good picture in "Bravo!", it is impressionism "rather squared-up"` reported Vogue magazine in October 1916. Last recorded in public in Christopher R. W. Nevinson`s inaugural solo show at the Leicester Galleries in 1916, "Bravo!" was part of the exhibition that made Nevinson a celebrity. The exhibition represented all the work Nevinson had produced upon a military theme, up to that date and as Michael Walsh has stated it was a `microcosm of the works of art that had led to his `coming of age``. (Walsh, 2001) The majority of work in the exhibition was representative and symbolic of the harshness and tragedy of a world at war - affording a glimpse to the viewer of one of the bloodiest pages in human history. The mechanical brutality of his painting set his work aside from his contemporaries and led critics to declare his work `one of the most notable contributions` to the art of his time. (Cambridge Magazine, 1917) "Bravo!", an early work from Nevinson`s career, might indeed as Michael Walsh has proposed be said to be his first war work. It represents a change of direction away from Impressionism towards structural as opposed to tonal importance, in his work. (Walsh 2001) In terms of the 1916 exhibition "Bravo!" should be seen as a counterpoint to other works in the exhibition representing a spirit of war - where the men march gaily on in perfect union to the cheers of the onlooking women and children. The foreword to the 1916 exhibition catalogue claimed that even the Pacifist would be compelled to cry "Bravo!" on seeing the French battalion on the march hinting at the significance of patriotism and participation in war. The catalogue continues `Force in full cry after Adventure; energy can be carried no further. And so we come away feeling that the Cup of War is filled, not only with blood and tears, but also with the elixir of life.` (Leicester Galleries Exhibition Catalogue, 1916, p.5) With many artists retreating to a sentimental and provincial reaction against the horror of war, "Bravo!" is part of what Nevinson called `Vital Art` in England overcoming `the insipid & sentimental`. His aim was to bring the viewer `closer to the heart of his experiences than his own eyes could have carried him`. (Exh. Cat., 1916) According to the Studio magazine in 1916 Nevinson`s employment of cubist geometric convention `has undoubtedly been a factor in conveying that the dynamic impression which it was the artist`s aim to give - especially in the pictures of troops in motion, such as "Bravo", `Road to Ypres`, and `A Column on the March` succeeded. It is we think subjects like these that the artist`s geometric method is seen at its best`. Exhibited: Ernest, Brown & Phillips at The Leicester Galleries, Exhibition of Paintings and Drawings of War by Christopher R. W. Nevinson, Exhibition No. 232. September-October 1916, No. 3 Literature and Reviews: Konody, P. G., Modern War Paintings by C. R. W. Nevinson, London: Grants Richards Limited, 1917, illustrated p. 73 Nevinson, Christopher R. W., Catalogue of an Exhibition of Paintings and Drawings of War by C. R. W. Nevinson, September-October 1916, No. 232 Rutherston, Albert (ed.), Contemporary British Artists: C. R. W. Nevinson, New York: Charles Scribner`s Sons, 1925, plate 3 Walsh, Michael, The Career and Work of C. R. W. Nevinson to 1924, PhD Dissertation, University of York, 1998-2001 Cambridge Magazine, Three Half Guineas, 3 February 1917 The Ploughshare, December 1916 Studio, November 1916 Vogue, October 1916 The Westminster Gazette, Mr. Nevinson`s War Pictures, 2 October 1916 Provenance: Bought by a friend of Vera Waddington and by family descent thereafter.

FRENCH SCHOOL (EARLY 20TH CENTURY) `Dans le Ravin`, signed with initials `POA`, oils on board, 9 1/2" x 7" (see illustration). With label attached inscribed `Collection H. Walter Barnett, Modern French Art No. 56`.

Modern Practical Farriery - A Complete Guide to all That Relates to the Horse, Its History, Varieties, and Uses-Breaking, Training, Feeding, Stabling, and Grooming-How to Buy, Keep and Treat a Horse in Health and Disease, &c., &c. Forming a Complete System of the Veterinary Art, as at Present Practised at the Royal Veterinary College, London. With Numerous illustrations and a series of anatomical plates by Benjamin Herring. To Which is Added an Essay on the Diseases and Management of Cattle, Sheep and Pigs by J.I. Lupton

A modern Meissen Blanc de Chine Model of a crowing Cockerel; a Copeland Jug, printed with title motif of a ship “Ship Windsor Castle”; a further Royal Doulton art nouveau Hot Water Jug; a 19th Century Derby oval Platter, decorated with titled pattern verso “Crown Pea”

Bond (Terance James). Birds, an Artist’s View, Text by Rob Hume, foreward by Bill Oddie, 1st ed., pub. Dragon‘s World, 1993, colour and some b&w plts. throughout, orig. pencil drawing of a male house sparrow to title, signed by Bond and dated November 1993 at foot, additional ink presentationinscription from Bond above, image size approx. 15 x 20cm, orig. cloth in d.j., together with fifteen similar modern mostly bird art books with illustrations by Trevor Boyer, Donald Watson, Michael Warren, Keith Brockie and Raymond Harris-Ching, the majority signed or with a letter inserted, all orig. cloth in d.j.s, mostly 4to, VG (16)

Busby (John). Land Marks & Sea Wings, pub. Wildlife Art Gallery, 2005, colour and b&w illusts. throughout, orig. signed pencil sketch of a bird in flight to front free endpaper, approx. 16 x 11cm, further pencil and watercolour sketches of redwings and a robin loosely inserted, signed and dated by Busby, March 1986, paper size 18.5 x 27cm, orig. cloth in d.j., 4to, together with Nature Drawings, pub. Arlequin Press, 1993, b&w illusts. throughout, orig. cloth in d.j., 4to, (limited ed. 99/1000, signed), plus fourteen further modern bird books, many with signatures or inserted loose letters/cards by contributors, including John Busby, Philip Rickman, J. C. Harrison, Mary Fedden, David Attenborough, Bruce Campbell, etc., mostly orig. cloth in d.j.s, 4to/8vo (16)

DAVIS, J.R. Ainsworth. Science in Modern Life. London: The Gresham Publishing Company, 1908-1910. 6 vols., 8vo (247 x 164mm.) Plates and illustrations. (Some spotting.) Original cloth blocked in gilt and white to an Art Nouveau design by Talwyn Morris (extremities bumped). – And a quantity of others, various (a quantity).

MERIN, Oto Bihalji. Modern Primitives. London: Thames and Hudson, 1979. Reprint, 4to (315 x 233mm.) Numerous illustrations, most colour. Original cloth, dust-jacket. – And a quantity of others, most on art and antiques (a quantity).

Audrey Cruddas, British, Costume Designer, 1912-1979- Red Motorbike; watercolour and bodycolour, signed and dated 1971, 52x79cm Note: Audrey Cruddas was a costume and scene designer, painter and potter. Born in Johannesburg she moved to England. Studied art at St. John`s Wood School of Art, Royal Academy Schools and Bram Shaw School of Drawing and Painting. During the war she worked as a `Land Girl` in the Women`s Land Army. At the end of the War she began to design costumes for the theatre and was quickly talent spotted by the dancer and actor Sir Robert Helpmann. soon becoming one of the leading modern theatre designers of the post war period. In the early 1950`s she became involved with the dynamic art community which included: John Aldridge, Edward Bawden, George Chapman, Stanley Clifford-Smith, Joan Glass, Walter Hoyle, Shelia Robinson, Michael Rothenstein and Marianne Straub among others. Cruddas lived in Walton House, Great Bardfield, next door to Edward Bawden`s Brick House.

Henderson (W.A. ). The Housekeeper’s Instructor; or, Universal Family Cook being a full and clear Display of the Art of Cookery in all its Branches... to which is added, The Complete Art of Carving..., 14th ed., J. Stratford, 1807, eng. port. frontis. (browned and torn, with archive tape repair and some loss to blank margins), ten (of 11) b & w plts. (lacking the second folding plt.), generally toned and occn. soiling, first few gatherings frayed at corners, modern qtr. calf gilt, spine lightly rubbed, 8vo in 4s, together with Acton (Eliza), Modern Cookery, for Private Families, Reduced to a System of Easy Practice, in a Series of Carefully Tested Receipts..., newly revised and much enlarged edition, copiously illustrated, Longman et al, 1855, half-title, eight eng. plts., numerous letterpress illusts., 24pp. pubs. cat. at rear, hinges repaired, orig. blindstamped cloth, soiled, rebacked preserving orig. gilt dec. spine, 8vo, plus six other 19th and 20th c. cookery books. (8)

[M., W.]. The Queens Closet Opened: Incomparable Secrets in Physick, Chyrurgery, Preserving, Candying, &c. which were Presented unto the Queen by the most Experienced persons of the Times..., corrected and reviewed, 3 parts in 1, 1662, lacks portrait frontis., some leaves with worm trail to upper portion of inner margins, some browning and spotting throughout, modern half calf gilt, 12mo. Oxford, p.26; Wing M100 & M100A (first title ‘for Christ. Eccleston’, other titles ‘for N. Brooke’). The work consists of three parts: ‘The Queens Cabinet Opened: or the Pearl of Practice’; ‘The Queens Delight: or the Art of Preserving, Conserving, and Candying’; and ‘The Compleat Cook’. Parts 2 and 3 have separate title-pages; pagination and collation is continuous throughout. Lacks pp. 99-118 inclusive (G2-11 incl.) (1)

Audsley (George Ashdown, and Bowes, James Lord). Keramic Art of Japan, 2 vols., Liverpool, published for the Subscribers by the Authors, 1875-[80], half-titles, sixty-three numbered or lettered plts. (correct as list; plt ‘J’ not present as always), many chromolithographed and some heightened with gold, plus four plts. of Marks and Monograms, some marginal dust-soiling, orig. printed wrappers bound in at rear of each vol., untrimmed, modern red cloth gilt, folio. (2)

Habert-Dys (Jules Auguste). Nouveaux Documents Décoratifs en Couleurs... Ornements, Fleurs, Oiseax, Panneaux, Tentures, Bordures Pouvant Etre Reproduits et Interpétés, Paris, Armand Guérinet, c.1900, title, contents leaf and thirty-two chromo plts., loosely contained in modern qtr. cloth boards, folio, together with Album Lefevre-Utile, Les Contemporains Celebres, . Portraits, Autograghes, Notices Biographiques Illustrees, des Celebrites Contemporaines, Paris, c.1900, numerous photographic port. plts. of literary & theatre figures, each with art nouveau decoration in col., some minor damp marks to first & last few leaves, orig. cloth-backed colour decorated wood boards with inset medallion of Sarah Bernhardt, some damp damage to lower portion of upper cover, folio, plus six other early 20th c. fascicules containing col. plts. of French historical costume & dances, slim folio . (8)

Eleven modern Art Nouveau style tube lined tiles