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W J MILES: MODERN PRACTICAL FARRIERY, A COMPLETE SYSTEM OF THE VETERINARY ART, [1868], old hf cf gt, all edges marbled; + THOMAS BROWN: THE COMPLETE MODERN FARRIER, 1900, old ¼ cf, worn, lacks back strip, contents slightly loose, (2)

A lady`s nine carat gold modern art signet ring, 5 grms

An Edwardian blister pearl and turquoise pendant, with original fetter link chain marked 9c, an aventurine quartz egg pendant, with an enamel ladybird mounted to the front, suspended on a modern 9ct gold belcher chain, an Edwardian circular hinged gold locket and chain, marked 9c, together with an Art Deco moss agate tablet ring, marked 9ct (4)

DORE, Gustave, The Vision of Hell, new edition, DANTE`s Purgatorio and Paradiso, Vanity Fairs Portfolio of Modern French Art and SPAENDONCK, Flowers drawn from Nature, HERVEY Celebrated Musicians, DALZIEL, Birket Foster`s Pictures of English Landscape and GOLDSMITH, Oliver, The Traveller (7)

A mid 20th Century Continental pottery charger decorated with two seated nude female figures having a picnic, an Art Deco carved pottery vase signed "I A Denton" and a large modern table lamp base with floral decoration (3)

A Parrott & Co. Art Deco pottery jug, a Woburn studio pottery jug and goblet set, a modern cut glass ship`s type decanter, a rose tinted pressed glass dressing table set, etc

William James Blacklock (1816-1858), an oil on canvas, "Blea Tarn and The Langdale Pikes". 17.5 ins x 23.25 ins, signed and dated 1854. . William James Blacklock 1816-1858THE LANGDALE PIKES ABOVE BLEA TARN1854It is no exaggeration to say that William James Blacklock is one of the great landscape painters of the nineteenth century, and perhaps the most remarkable of all of those who devoted themselves to the representation of the Lake District. He is less well known than he should be – the modern ‘rediscovery’ of the artist commenced in 1974 with an insightful article in Country Life by the late Geoffrey Grigson (‘A Painter of the Real Lakeland’, 4 July 1974, pp. 24-26), and was carried forward in a ground-breaking exhibition at Abbott Hall in Kendal, organised by Mary Burkett in 1981 – but on other occasions he has been omitted from landscape surveys, perhaps because of the very individuality of his work which makes them difficult immediately to characterise or readily to place in conjunction with those of his contemporaries. Nonetheless, Blacklock is a most fascinating and rewarding artist, who in the last half-decade or so of his tragically short life painted a small handful of masterpieces which serve as a testament to his deep love and knowledge of Cumberland and the English Lakes.The Blacklock family had been long established in the neighbourhood of Cumwhitton, to the south west of Carlisle, farming there at least since the 1500s. W.J. Blacklock’s father was in fact living in London, where he made his living as a bookseller and publisher, at the time of the painter’s birth, but returned to Cumberland in 1818. The younger Blacklock’s career as an artist commenced when he was apprenticed to the Carlisle engraver and lithographer Charles Thurnham, with whom he later collaborated on a series of prints showing the railway line between Newcastle and Carlisle. W.J. Blacklock enrolled for a period at the Carlisle Academy of Arts, prior to its closure in 1833, working under Matthew Ellis Nutter. In 1836 he returned to London, then aged twenty, living there for the following fourteen years. How he occupied himself at this stage is not known, nor is it clear whether he could rely on the sale of works for a livelihood. Works by him – generally showing north-country landscapes – were exhibited at the Royal Academy and British Institution. Clearly he gained some reputation on the metropolitan artistic scene, as his landscape paintings were commented upon enthusiastically by J.M.W. Turner, David Roberts and John Ruskin. Much concerning Blacklock’s career, and especially the question of his contact with other artists, is a matter of speculation. His name is largely absent from the diaries, correspondence and memoirs of the Pre-Raphaelite circle, the members of which were in any case much younger than him, but Blacklock would certainly have seen early works exhibited by members of the group and their associates. We know that he was in contact with William Bell Scott, headmaster of the Government School of Design in Newcastle, and who was in turn a close friend of Dante Gabriel Rossetti. It was almost certainly by Scott’s introduction or recommendation that Blacklock built up a circle of patrons in the North East. Scott and Rossetti may have hoped to meet Blacklock on the occasion of a walking tour they made together from Newcastle to Carlisle in June 1853. Scott, who like Rossetti was a poet as well as a painter, seems to have recorded a vain attempt to visit the painter in a poem entitled ‘An Artist’s Birthplace’, published in 1854. The verse describes the arrival of two men at the cottage home of a painter who may clearly be recognised as Blacklock: A fit place for an artist to be reared;Not a great Master whose vast unshared toils,Add to the riches of the world, rebuildGod’s house, and clothe with Prophets walls and roof,Defending cities as a pastime – suchWe have not! but the homelier heartier handThat gives us English landscapes year by year.There is his small ancestral home, so gay,With rosery and green wicket. We last metIn London: I’ve heard since he had returnedHomeward less sound in health than when he reached That athlete’s theatre, well termed the graveOf little reputations. Fresh againLet’s hope to find him.The verse corroborates what sparse biographical information we have for the painter (and which derives principally from an article in the Glasgow Evening News, 25 July 1900, entitled ‘An Artist’s Career’ and contributed by Edward Pennington presumably on the basis of information received from the artist’s family, despite forty-two years having passed since his death): the painter had returned to Cumberland because his health was deteriorating, probably as a result of syphilis, but also – according to Scott’s account – because of the professional frustrations and commercial pressures that went with trying to work as an artist in London. In 1850 Blacklock seems to have engaged in a last determined bout of activity as a landscape artist, perhaps fearing that he had not many years remaining to him and wanting to put together a group of works in which his particular artistic principles were to be defined. This small corpus – consisting of views in the Lakes and countryside around Cumwhitton, and all made in a period of about four years – serve as his lasting memorial. Paintings such as Devock Water (Abbott Hall, Kendal), of 1853, and Catsbells and Causey Pike (Tullie House Art Gallery, Carlisle), of 1854, represent timeless images of particular places which speak of the painter’s love for the landscape that he was representing. The present view is of the Langdale Pikes, seen beyond Blea Tarn, and therefore from a vantage-point looking towards the north west, and with the direction of afternoon light from behind the artist’s left shoulder. A shoreline of purple heather and strewn boulders forms the foreground, with a brown-coated fisherman on the left side. E. Lynn Linton, in his book The Lake Country (1864), used an engraving of the same view by W.J. Linton to head his chapter ‘Langdale and the Stake’, describing in his text the mountains seen from this vantage-point at ‘the back of Blea Tarn’: ‘the highest to the right is Harrison Stickle, that to the left Pike o’ Stickle, and the long sweep to the right of Harrison Stickle is Pavey Ark, in the cup or lip of which lies Stickle Tarn’. Harriet Martineau in her 1855 Complete Guide to the English Lakes invoked the place as the scene of one of Wordsworth’s Excursions to dwell upon the Solitary, and also described the remoteness of the location and the ‘very rough road [that] scrambles up from Langdale, by Wall End, to the upland vale where the single farmhouse is, and the tarn’.The atmospheric effect of the painting is beautifully observed, with the forms of the mountain partly suffused in shadow but with other areas brightly lit as cloud shadows sweep over, and with clefts and exposed rock faces recorded with painstaking attention. Blacklock’s particular mastery in the treatment of mountain landscapes depended in great part on his understanding of the constantly fluctuating quality of light, and here especially the scale and structure of the distant ranges are given volumetric expression by the graduated fall of light. Thus the mountain range seems both massive and distant, but at the same times almost tangible and lending itself to close and detailed scrutiny. Martineau commented on a similar optical ambiguity whereby ‘the Langdale Pikes, and their surrounding mountains seem, in some states of the atmosphere, to approach and overshadow the waters [of Windermere]; and in others to retire, and shroud themselves in cloud land’.Blacklock did not work directly from the motif but instead drew landscape sketches in watercolour which later formed the basis of his studio compositions, or perhaps worked largely from memory. He may in addition have used photographs – probably daguerreotypes which in the 1850s were beginning to be made available by commercial photographers – to remind himself of the broad outlines of his chosen subjects (as may be suggested by the way he treats shadows in his paintings, which sometimes seems reminiscent of photographic images). He did not seek the kind of literal transcription of the forms of the landscape that artists influenced by Ruskin attempted in the period, but sought a quintessential representation of topographical type which might be recognised as a timeless record of a hallowed place, treated with an extraordinary intensity of vision. The Langdale Pikes seem to have had a particular hold on the artist’s imagination, as he painted the range on a number of occasions and from different vantage-points. An earlier work showing Blea Tarn and the Langdale Pikes of 1852 is in the collection of a descendant of the artist, while a painting entitled Esthwaite Water and the Langdale Pikes (although in fact showing Elter Water) was commissioned by William Armstrong [later Lord Armstrong, the Newcastle industrialist and arms manufacturer whose house Cragside near Rothbury was built by the architect Richard Norman Shaw] in 1855. Clearly the Lakeland landscape was enormously important to Blacklock. All his exhibited works were of northern settings, and we may be sure that even during the years that he spent in London he will have made frequent visits to Cumberland, and that he believed himself to have as his essential purpose the representation of a beloved North. Analogy may be made between Blacklock and other European artists who like him felt it was their mission to explore and describe a landscape setting which they had known from earliest childhood, feeling such close personal identity with those places as to amount to obsession. His near contemporary Gustave Courbet (1819-1877) never tired of painting landscape and country life subjects set in Ornans in the Jura Mountains of eastern France, and created an extraordinary and indelible imagery of that region. Likewise, Paul Cézanne (1839-1906) painted series of views of the Mont Sainte-Victoire in his native Provence so as to capture the essential identity of a topography that was to him living and imbued with vital and personal associations. These were all painters for whom the intimate knowledge and long contemplation of a specific locality was a vital requirement for an art to be vital and true, and who found themselves in the representation of places with which they had long association, as if the landscape forms, light and air, which were the object of their art, retained some kind of subliminal resonance of the pattern of their own lives.Blacklock’s last extraordinary surge of creativity was sadly short lived. By the time the present work was painted, he was seriously afflicted by symptoms of the disease that would kill him. In the first place, he suffered from an inflammation of the eyes that would in due course make him partially blind. In November 1855, having become increasingly erratic in his patterns of behaviour, he was placed in the Crichton Royal Mental Institution in Dumfries, and where he died on 12 March 1858 as a result of ‘monomania of ambition and general paralysis’. Interestingly, the Crichton hospital, under the direction of Dr William Browne, had recently introduced therapies to attempt to aid their deranged inmates including drawing, as happened also at the Royal Bethlehem Hospital for the Insane in London during the time that Richard Dadd was incarcerated there, so Blacklock was able intermittently to continue at least to draw to the end of his life. A number of landscape sketches made at the Crichton are reproduced in Maureen Park’s book Art in Madness – Dr W.A.F. Browne’s Collection of Patient Art at Crichton Royal Institution, Dumfries, Dumfries, 2010.The Langdale Pikes above Blea Tarn was painted for the artists’ colourman Charles Roberson, probably to a commission and as a pendant to another work of 1854, The Miller’s Homestead (private collection). Whatever professional difficulties Blacklock may have faced in the years that he lived in London, in the 1850s, after his return to Cumwhitton he began to find himself sought after by a small but discriminating circle of patrons. Roberson himself was a significant figure in the establishment of a progressive school of painting in the middle years of the century, because he supplied artists with a range of new and stronger pigments, often derived in their manufacture from industrial processes, and thus aided the move towards more brightly coloured works which was a characteristic of English painting in the period. A degree of rivalry seems to have come about between Blacklock’s would-be patrons, chronicled in the letters that the artist wrote to the Gateshead metallurgist James Leathart (now held as part of the Leathart Papers, University of British Columbia). Roberson’s two paintings are referred to in a letter to Leathart of 2 June 1854, ‘one the same lake as I am going to do for Mr Armstrong – the other a Millers Homestead – the mill looking over a moor & distant hills they are for Mr Roberson the artists colourman’. In September 1855, just weeks before his final incarceration, Blacklock sent off the Lakeland views that he had made for Armstrong and Leathart, and in doing effectively concluded his professional career.Blacklock is an important and intriguing figure who may be regarded both as a pivot between the early nineteenth-century landscape school and the achievements of Romanticism, and the earnest and obsessive innovations of the Pre-Raphaelite landscape school. Perhaps a vital factor in our understanding and appreciation of the particular character of Blacklock’s art is his knowledge of historic schools of painting. Living in London in the late 1830s and 40s he would have had the opportunity to study the works in the National Gallery. It has been suggested that it was the unveiling of works long concealed under layers of discoloured varnish as a result of Charles Eastlake’s cleaning programme of in the mid-1840s that prompted Blacklock to adopt brighter and more luminous colours. A further possibility is that he made a European tour at some point, seeing for himself works of the sixteenth and seventeenth centuries, and also perhaps making contact with working artists in France or Italy. Only the slightest indication survives of Blacklock’s interest in the work of the Old Masters – in a letter to Leathart of 20 September 1854 he looks forward to hearing about the works of art that the latter had seen in the course of a Continental tour. Nonetheless, broad stylistic analogies may be drawn between the landscape paintings of Blacklock and those of other British artists who had visited Europe in their formative years. William Dyce, for example, who had visited Italy in 1825-26 and there made contact with the German Nazarene painters in Rome. Something of the clarity of light and simplicity of expression, along with a particular feeling for colour effects which are peaceful and never strident, that characterises Dyce’s pure landscapes, is also infused into the less well known works of Blacklock, and may perhaps likewise be indebted to a knowledge of European schools of painting.Christopher Newall

Moxon, Joseph [Mechanick exercises, or the doctrine of handy-works, applied to the art of printing]. [London, no date]. 4to, lacking title, part 1 on smithing only, one plate as frontispiece, modern calf by Etherington Thorpe. Sold not subject to return.

Fernando Guibert, Argentinean b.1957- "Rape of The Sabine Women", 2003; etching with aquatint, signed, titled, inscribed `A/P`, numbered 2/20, 19.5x24.5cm., (unframed). Note: Fernando Guibert was born in Buenos Aires, Argentina in 1957. Following degrees in both Fine Art and Modern and Contemporary Art in Buenos Aires he taught and lectured in Argentina before arriving in London in 1989 to do an exhibition of his drawings. Since then he has lived and worked in London as an artist and lecturer in the History of Art and painting. He has also worked as screen print designer and set designer in England and Spain. He has also exhibited his work in Argentina, Brazil, Great Britain and Malaysia.

An Art Deco circular rimless photo frame in chromium plated stand, 18 cm diameter, together with two modern silver faced frames.

35 modern framed military prints; 4 books of military interest: “Swords and Daggers” by Wilkinson, “Bayonets” by Carter, “Military Badge Collecting” by Gaylor, and “Lyle Arms and Armour Review 1981”; and a brass trench art jug and similar ashtray. Average GC

Three items of modern Egyptian art including a mantle clock.

Poynter (Sir Edward J.) The National Gallery 3 vol. limited edition plates and illustrations handsome dark blue crushed morocco gilt slightly rubbed 1899-1900; § Richardson (Charles James) Observations on the Architecture of England during the Reigns of Queen Elizabeth and King James I lithographed folding facsimile frontispiece additional title and 57 plates frontispiece torn with loss and laid down on linen titles water-stained plates browned at edges modern half calf over older cloth rubbed 1937; and c.25 others 19th century Galleries and Art Publications including a few vol. of the Art Journal and Art Magazine v.s.(c.30)

Charles Boyce; "Dictionary of Furniture", Maurice Adams; "Modern Decorative Art" and other reference books.

Tadek Beutlich, Polish, b.1922, `Nest`, mixed media tapestry wall hanging, sisal and wool, twisted and plaited structure, 48x48cm. (may be subject to Droit de Suite) Note: Tadek Beutlich is a leading figure in British avant-garde tapestry. Having graduated from Camberwell School of Art in 1950 he went on to teach there between 1951-1974. He has shown wall hangings and woodcuts regularly since 1963 at Grabowski Gallery, London. In 1965 his work was included in an exhibition at the V&A entitled `Weaving for Walls, Modern British Wall Hangings and Rugs.` Beutlich focuses primarily on the quality and texture of the material used and secondly on pictorial image and utility. The visual richness achieved in his work is produced out of a variety in pattern and density.

A COLLECTION OF 19TH/20TH CENTURY BUTTONS - displayed presentations having been sewn, carded and catalogued in lever arch files and comprising; Art Deco Glass Developments Ltd., London, clear facetted, bead and painted (file one), coloured glass, fac etted, animal decorated, clear glass and plastic, butterfly design, oversized deco pottery (file two), 1920`s diamante, glass 1900-1920`s, later coloured (file three) Victorian, Edwardian and later predominantly black glass, includes some modern ( file four)

Ram Kumar The City Oil on canvas Signed and dated 1958, lower right and further signed top left 26 ¾ x 35 ¾ ins.Note:-This painting is one of a series of early figurative paintings by Ram Kumar from the 1950s of beggars or street children, which reflect his inner feelings as much as documenting the changing landscape of Indian cities. Ram Kumar clearly sympathised with the plight of new immigrants to the cities.Executed in 1958, in this work the artist heightens the drama and the viewer’s empathy for the protagonist by having a single lone figure in front a dominant cityscape. All the feelings that the artist associated with street children are borne out by this sad, tired figure who has closed his eyes, resigning himself to an unknown fate.By focussing on the humanitarian, Kumar has avoided being regarded as a merely political artist – although this series were none other than that. In fact, the use of paint is very modern and betrays the influence of the avant-garde schools of Paris and London, where Kumar had been in the mid 50s.This work was lost for several decades and re-emerged in the West County. It was exhibited at some stage, perhaps at The 1958 Venice Biennale.Born in Simla in 1924, Ram Kumar did his Masters in Economics from Delhi University. A student at the Sarada Ukil School of Art, he began to participate in group exhibitions when he was spotted by Raza who becomes a close friend, Ram Kumar had left for Europe by boat and studied painting under Andre Lhote and Fernand Leger in Paris between 1949 – 52. He has held several solo exhibitions, The International Biennales in Tokyo in 1957 and 1970, the Venice Biennale 1958 and in Sao Paolo in 1961, 1965 and 1972. He has also participated in the Festival of India shows in the then USSR and Japan in 1987 and 1988. Ram Kumar received the Padma Shri in 1971. He also writes short stories in Hindi, four collections of his works having been published. He received the Prem Chand Puraskar from the U.P. Government for Meri Priua Kahaniyan, a collection of short stories. His works are in numerous private and public collections.Literature: Gagan Gill (Editor) Ram Kumar, A Journey Within, Vadehra Art gallery, 1996. Page 57 black and white illustration. We are grateful to the Directors of The Grosvenor Gallery, Ryder Street, London for their assistance with the cataloguing of this work and for hosting its London viewing.

One Box: Modern Art

A modern Franklin Mint porcelain figure - "Destiny" and three other similar Art Deco style figures, (4).

Art Deco tortoiseshell and operculm, central diamond-shaped tortoiseshell drop, having similar graduated links, each set operculm, to/w pair of matching oval clip-on earrings and modern celluloid earrings

A collection of miscellaneous items to include a modern Japanese bronzed metal vase, a modern Art Nouveau style table lamp with green glass shade, a novelty treen ware cigarette dispenser in the form of an upright piano, a graduated set of three floral decorated jugs, etc

Coppier Eaux-Fortes de Rembrandt number 3 of 50 de luxe copies signed by the author original printed wrappers slightly soiled and chipped at spine ends glacine wrapper (defective) Paris 1922 § Scott (W. B.) Gems of Modern Belgian Art mounted plates foxed original pictorial cloth gilt spine faded 1872 § Pennell (J.) The Work of Charles Keene foxed original cloth slightly soiled 1897 § Monkhouse (W. Cosmo) Masterpieces of English Art occasional foxing original pictorial cloth gilt 1870 § Dafforne (James) Pictures by William Mulready R.A. occasional spotting a few closed tears (repaired) original pictorial cloth n.d. § Moore (T. Sturge) Charles Ricketts R.A. original cloth dust-jacket 1933 § Breuer (Marcel) Sun and Shadow original cloth dust-jacket a little torn and soiled 1956 plates and illustrations cloth rubbed; and 7 others Art 4to & folio(14)

Blackburn (Henry) The Art of Illustration original cloth minor marking 1894 § [Morison (Stanley) and others.] An Exhibition of Printing original wrappers preserved in modern cloth drop-back box Cambridge 1940 § Bennett (Richard) The Story of Bovril wood-engraved illustrations by Robert Gibbings publisher`s slip tipped in original cloth dust-jacket some tears 1953 § Broomhead (Frank) The Book Illustrations of Orlando Jewitt limited edition illustrations original cloth Pinner 1995; and 10 others most book illustration including a portrait of Samuel Beckett v.s.(17)

Marryat (Thomas). The Art of Healing, or, A New Practice of Physic, 5th ed., with Alterations and Additions, printed by M. Swinney, Birmingham, 1776, half-title with manuscript ownership & date to top margin, lacking last (Index) leaf at rear and rear free endpaper, first few leaves a little finger-soiled, hinges split, 19th c. half sheep, darkened and rubbed, spine extrems. worn, 8vo, together with The Modern Family Physician, or the Art of Healing made Easy..., pub. F. Newbury, 1775, browning to margins of first & last leaves, modern qtr. calf, 12mo (2)

Roberts (W.H.). The British Wine-Maker, and Domestic Brewer. A Complete, Practical, and Easy Treatise on the Art of Making and Managing British Wines, Liqueurs, and also Domestic Brewing, 2nd ed., 1835, half-title present, one diag. to text, hinges neatly repaired, orig. boards with recent cloth spine and printed title label, 8vo, together with [Rundell, Maria Eliza Ketelby], A New System of Domestic Cookery, Formed Upon Principles of Economy, and Adapted to the use of Private Families, By a Lady , 1846, eng. frontis. (slightly dampstained to upper margin) and nine wood eng. plts., some light browning and minor marginal dampstaining throughout, hinges repaired, orig. cloth with modern reback, 12mo (2)

Binyon (Helen). Eric Ravilious. Memoir of an Artist, 1st ed., 1983, num. col. and b & w illusts., orig. boards in d.j., together with Malvern (Sue), Modern Art, Britain and the Great War. Witnessing, Testimony and Remembrance, pub. Paul Mellon/Yale University Press, 2004, num. col. and b & w illusts., orig. boards in d.j., plus Reade (Brian), Aubrey Beardsley, 1st ed., 1967, introduction by John Rothenstein, num. illusts., some col., orig. two-tone cloth in d.j., 4to & folio, and other miscellaneous art reference, exhibition catalogues, etc. (8 cartons)

A Small Quantity of Modern Art Reference. 6

Sport, Paris Olympics, 1924, Switzerland, (?) Team participant`s badge, by Milo Martin, 26mm, pin brooch fitting; Swede, Stockholm Swimming Club, silver centenary medal, 1887; a group of silver and enamel badges, c 1930`s, mostly for walking races (22); Churchill, Centenary, silver medal, 1974, 76.8gms; modern Crowns (10 - one silver); Pre-`47 silver coinage, £9-11s-6d; Masonic jewels (2); sundry others (8). Varied state. (lot) Milo Martin (1893 - 1970), Swiss artist who, in 1928, won a silver medal in the art competitions of the Olympic Games for his "Athlète au repos".

Postcards - A large collection of modern British and foreign topographical, art, architectural and other cards, (three boxes). Best Bid

Postcards - Approximately seventy modern British and foreign topographical and art-interest cards, (loose). Best Bid

The Art Journal Illustrated Catalogue of the Industry of All Nations, 1851, by Virtue, London as dated. Blind-stamped pale green cloth gilt, illustrated throughout, tall quarto (covers faded and stained); with The Art Journal, 1859, 1861, 1889 and 1890, the two earliest half leather and the others cloth bound; and Fun, Vol. XVII (4 Jan. 1873) - Vol. XX (26 Dec. 1874), bound as one, modern half calf, (6).

A modern volume of Chinese art interest, Chinese text, colour illustrations, in slip-case. Best Bid

Galsworthy, John. A Modern Comedy, limited edition 470/1030, SIGNED BY AUTHOR, Heinemann, London 1929. Full vellum, octavo (covers stained); Galsworthy, John. The Silver Spoon, limited edition 131/265, SIGNED BY AUTHOR, Heinemann, London no date. Blue buckram, octavo (spine browned); Priestley, J.B. Angel Pavement, first edition, Heinemann, London 1930. Navy cloth, dustjacket, SIGNED & INSCRIBED BY AUTHOR, octavo (jacket chipped and torn, without major loss); Moore, George. The Passing of the Essenes. A Drama in Three Acts, limited edition 314/775, SIGNED BY AUTHOR, Heinemann, London 1930. Full bevelled art vellum, octavo; Moore, George. Ulick and Soracha, limited edition 942/1250, SIGNED BY AUTHOR, Nonesuch Press, London 1926. Ivory buckram, octavo; and a signed part-work, (6).

* Walcot (William, 1874-1943). Two city scenes, two etchings, both signed in pencil below image, one with a personalinscription to Malcolm Salaman, one image laid on near contemp. card, 13 x 12cms (5 x 4.75ins), the other 18 x 25cms (7 x 10ins). Malcolm Salaman was an English author, journalist and critic, particularly on prints, who frequently contributed to the art magazines of the day. He also wrote the introductions to the 33 volume series ‘Modern Masters of Etching’ published between 1925-32 by ‘The Studio’. (2)

* Vasey (Gladys, 1889-1981). The Black Gloves (portrait of the artist’s daughter Madeleine), 1953, oil on canvas, signed lower right, 91 x 61cm (36 x 24ins), framed. Gladys Vasey (1889-1981) pursued a long and active career as a portrait artist in the tradition of John Singer Sargent, William Orpen and Augustus John. She was born in Sale, and attended art classes by William Fitz, a Polish teacher in Manchester, and was a fellow student of the young L. S. Lowry. In 1943 she moved to Llanyblodwel, near Oswestry. She exhibited regularly at the Manchester Academy of Fine Arts from 1930, as well as the Royal Cambrian Academy, the Royal Society of Portrait Painters, the Society of Women Artists and elsewhere. Solo exhibitions of her work were held at the National Library of Wales, Aberystwyth, in 1973 and 1991. Robert Meyrick, Gladys Vasey, A Retrospective Exhibition, National Library of Wales, Aberystwyth, 1991, no. 37 (illustrated in colour). This work was painted for the Diamond Jubilee Annual Spring Exhibition of Modern Art at the Atkinson Art Gallery, Southport, and subsequently at the Manchester Academy of Fine Arts, 1954, Royal Cambrian Academy, 1954, and the Society of Women Artists, 1962. (1)

Sir Robin Philipson (1916-1992), PRSA “Attack”, battle scenes watercolour 63 x 99.5cm. Exhibited at Pictures of Scottish Schools 1967, No.1609. The artist’s name and address as 23 Crawford Road, Edinrbugh - agent Aitken Dott & Son, Edinburgh on a label attached to the backboard. Provenance: This picture “Attack” was gifted to the vendor’s father by the artist. During the 1960s the artist was head of painting at Edinburgh College of Art and the vendor’s father, Professor Stanley Wright, was principal. They became close friends. Sir Robin Philipson (1961-1992): Painter and teacher born at Broughton-in-Furness. Attended Edinburgh College of Art 1936-1940. Served in a Scottish regiment in WWII then joined the staff of Edinburgh College. Became head of drawings and paintings in 1960, a post he held until 1982. His early influences were Gillies and Maxwell, latterly it was the artist Oscar Kokoschka that deeply influenced Philipson. Elected RSA in 1962 and knighted in 1976. He had major retrospectives at Edinburgh College in 1989 and The Scottish National Gallery of Modern Art in 1999.

Frank Rutter Modern Art, one volume, together with various books on bookbinding etc

* MORISON (Stanley) Editor. The Fleuron, vol VII 1930, also - The Imprint, vol I, 1913 Jan-June, 2 vols Illustrated, cloth; The Penrose Annual, vol 51, 1957; FURST (Herbert) The Modern Woodcut, first edition 1924, 4to, dust wrapper rubbed; JEUDWINE (Wynne) Art and Style in Printed Books, Vol I, London: for the author 1979, 4to, typescript-style lettering, photocopy illustrations, possibly not published, full goatskin;

A modern 14ct.white gold Art Deco style ring, set with baguette and brilliant cut clear stones.

A good quality modern brown leather sofa in an Art Deco taste, the leather nicely artificially aged, length 6ft (please note this lot is on display in the downstairs saleroom) (illustrated)

A Rockford Glasgow Ltd cut glass vase commemorating the Queen`s Jubilee 1977 designed by Felicity Peck MBE, limited edition no. 133/250 with certificate, plus a modern cut glass ring neck decanter with fruiting vine decoration, a set of six cut crystal wine glasses, various other stemmed drinking glasses and two coloured art glass bowls

A modern hallmarked silver photograph frame in the Art Nouveau style, London 1989, a Chester hallmarked photograph frame (af) and a small silver oval frame (3).

Sutcliffe (G. Lister) The Modern Carpenter, Joiner and Cabinet Maker, 1902-4, 8 vols., folio, original art nouveau cloth; Smith (Percy), Rivington`s Building Construction, 2004, 3 vols., original cloth; Burn (R. Scott), The New Guide to Masonry, Bricklaying and Plastering .., 2001, 4to., original cloth; with eighteen others (30)

A Large Collection of Mainly British Topography, including multi-views, real photographic, printed, coloured, art studies, villages, real photo`s of Sheffield etc., in two albums, plus three tubs of modern cards

A 14k gold and enamel Masonic Brooch, modern silver Whistle, Indian gold Coin, holed, plated Bracelet, simulated pearl Necklace, Cuff Links, Penknives, Art Deco Inkstand, etc

Three modern Cecil Aldin Prints of Dogs and four Books Illus by Aldin: Old Inns, An Artist`s Models, Ratcatcher to Scarlet and The Sporting Art

A modern art triple candle-holder, constructed from steel cogs, bars, ball bearings, etc

A selection of modern Border Fine Art tableware and figures and a Danbury Mint collectors plate

Modern art glass vase with applied metal design

A modern silver Art Nouveau style photograph frame, height 29cms, Sheffield 1992

A modern silver Art Nouveau style photograph frame, height 20cms, Sheffield 1989

A modern silver Art Nouveau style photograph frame, height 21cms, Birmingham 1993

A modern silver Art Nouveau style photograph frame, height 20cms, Sheffield 1990

A modern silver Art Nouveau style photograph frame, height 26cms, Sheffield 1991

A modern silver Art Nouveau style photograph frame, height 20cms, Sheffield 1989

A ROYAL DOULTON MINIATURE EWER having underglazed blue decoration, gilded highlights and conical form, 65mm high, a MODERN FRENCH SCENT BOTTLE with gilded cap and an ART DECO LEAD CRYSTAL SCENT BOTTLE of fancy form with push fit lid, moulded with a geometric floral inset, 7cm high

A Liberty & Co terracotta Beowulf jardiniere, with four applied handles, cast in low relief with Celtic entralac motif, impressed factory mark 63cm. wide. Literature Veronica Franklin Gould, Modern Celtic Art Garden Pottery, page 20, original Liberty photograph reproduced, c.1903-04.

A modern silver Art Nouveau style photograph frame, height 15cms

Accum.Treatise on the Art of Making Wine second edition half-title engraved title-vignette of wine press 24pp. advertisements at end light spotting original boards uncut spine worn upper board lacking paper covering 1823 § Child (Samuel) Every Man his Own Brewer a small treatise explaining the art and mystery of brewing porter ale twopenny and table-beer... second edition 19pp. signed by author on verso of title modern calf-backed marbled boards for the Author [c.1790]; and 2 others on brewing 8vo(4)

Beer (Georg Joseph) Art of Preserving the Sight fifth edition engraved frontispiece original paper backed boards worn 1822 § Wesselii (Johannis) Dissertatio Inauguralis Medica de Fluxu Muliebri Menstruo morbisque inde Oriundis 28pp. rebound in modern antique style polished calf Leiden 1728 § Medical Journals collection of approx. 32 medical journals including The Lancet British Medical Journal American Journal of Medical Science etc. mostly disbound very worn c.1890-1910; and 3 others v.s.(37)