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Art & Antiques Reference A collection of 40 modern art and antiques reference works, to include Collins, Judith Eric Gill, the sculpture. London, 1998. 4to, original cloth, dustwrapper; Maizels, John Raw creation, outsider art and beyond. London, 1996. First edition, 4to, original cloth, dustwrapper; Delevoy, Robert L. Symbolists and symbolism. London, 1982. 4to, original cloth, dustwrapper; Lewis, John & Griselda Pratt ware. Suffolk, 1993. 4to, original cloth, dustwrapper; Garrett, Alfred A history of wood engraving. London, 1978. 4to, original cloth, dustwrapper, backstrip faded; Anscombe, Isabelle Omega and after, Bloomsbury and the decorative arts. London, 1981. 8vo, original cloth, dustwrapper; Smith, Matthew London, 1962. 4to, colour plates, original cloth , dustwrapper; Hobbs, Robert Milton Avery. London, 1990. First edition, 4to, original cloth, dustwrapper, previous ink inscription on endpaper; Greek Art Theophilos. Athens, 1966. 4to, original cloth, dustwrapper; Kniazeva, I. Pruzhan V. Russian portrait of the late 19th- early 20th centuries. Moscow, 1980. 4to, original cloth, dustwrapper, slipcase; and 30 others (40)

Art Nouveau - Arts & Crafts A collection of 26 reference volumes on the Art Nouveau and Arts & Crafts movements, to include Lemmen, Hans van & Verbrugge, Bart Art Nouveau tiles. London, 1999. 4to, original cloth, dustwrapper; Greenhalgh, Paul Art Nouveau 1890-1914. London, 2000. 4to, original cloth, dustwrapper; Zednicek, Walter Otto Wagner. Vienna, [no date]. 4to, original soft covers; Frelinghuysen, Alice Cooney American art pottery. Orlando, 1995. 4to, original soft covers; Anscombe, Isabelle Arts & Crafts style. London, 1996. 4to, original soft covers, and another copy; Bowman, Leslie Green American Arts & Crafts, virtue in design. Boston, 1995. 4to, original soft covers, and another copy; and 18 others, all modern, all very clean (26)

Art Reference A collection of 23 modern art reference volumes, to include Rosenblum, Robert Pantings in the Museé D`Orsay. New York, 1989. First edition, 4to, original cloth, dustwrapper; Macmillan, Duncan Scottish art 1460-2000. Edinburgh, 2000. 4to, original cloth, dustwrapper; Peploe, Guy S.J. Peploe. Edinburgh, 2000. First edition, 4to, original cloth, dustwrapper; Renaissance Venice and the North. London, 1999. 4to, original cloth, dustwrapper; Dalmasso, Franca L`accademia Albertina di Torino. Torino, 1982. 4to, original cloth, slipcase [torn]; Peters, Lisa N. James McNeill Whistler. New York, 1996. 4to, original boards, dustwrapper; Williams, Julia Lloyd Rembrandt`s women. Edinburgh, 2001. 4to, original soft covers; and 16 others, all modern 4to (23)

Mackintosh, Charles Rennie - Howarth, Thomas Charles Rennie Mackintosh and the modern movement. London, 1977. Second edition, 8vo, original cloth, dustwrapper; and another copy in paper covers; Robertson, Pamela Charles Rennie Mackintosh the architectural papers. Glasgow, 1999. 8vo, original cloth, dustwrapper; Neat, Timothy Part seen, part imagined. Edinburgh, 1994. 4to, original cloth, dustwrapper; Burkhauser, Jude Glasgow Girls, women in art and design 1880-1920. Edinburgh, 1993. 4to, original soft covers; Billcliffe, Roger Mackintosh textile designs. London, 1982. 4to, original cloth, dustwrapper; Robertson, Pamela Charles Rennie Mackintosh, art is the flower. London, 1995. 8vo, original cloth, dustwrapper; and 21others, all modern and on CRM (28)

A modern iron fireplace in the Art Nouveau style

A MIXED LOT OF REFERENCE WORKS principally relating to impressionism and 20th Century/modern art.

Railway books and ephemera: eleven publications on railway art and photography including Railway Poster 1923-1947 - Cole & Durack and Terence Cuneo Railway Painter of The Century - N. Chakra; GWR Publications: Track Topics, Loco`s of "The Royal Road", Cheltenham Flyer, various railway magazines, books and calendars; tickets - including GWR 3rd Class Holiday Season Ticket; cigarette cards; wooden jigsaw puzzle, probably GWR Chad Valley series; GWR cast iron warning sign: forty shilling penalty for not shutting gate, 750mm x 270mm; and modern railway commemorative ceramics (a lot)

Langhorne (John and William) Plutarch`s Lives 6 vol., engraved portrait frontispiece, offsetting, occasional spotting or damp-staining, ex-library copy with markings and labels, contemporary half calf, spine gilt, worn, but holding firm, 1823 § Newman (W.L.) The Politics of Aristotle, 2 vol., original cloth, spines gilt, vol.2 upper joint splitting, spine ends frayed, Oxford, 1887 § Haigh (A.E.) The Tragic Drama of the Greeks, illustrations, some underlining in biro, Oxford, 1896 § Verrall (A.W.) Euripides The Rationalist: A Study in the History of Art and Religion, original pictorial cloth, gilt, Cambridge, 1895 § Blum (Alan F.) Socrates the Original and its Images, original boards, dust-jacket, 1978 § Huby (Pamela) Plato and Modern Morality, original boards, dust-jacket, rubbed, 1972 § O`Brien (D.) Thories of Weight in the Ancient World, 2 vol., original printed wrappers, slightly creased, Paris & Leiden, 1981; and a quantity of others, Classics, v.s.

[Fitzgibbon (Edward)], "Ephemera" third edition, engraved frontispiece, illustrations in text, 16ff. advertisements at end, original blind-stamped green cloth, rubbed and marked, rebacked, [W. & S. pp.85-86], 8vo, 1853 § Salter (T.F.) The Angler`s Guide, second edition, engraved frontispiece, 25 plates (13 wood-engraved, 12 engraved) and illustrations, some slight foxing, new endpapers, original boards, slightly rubbed, rebacked with the original printed paper label on spine, edges uncut, for the Author, 1815 § North (The) Country Angler; or the Art of Angling: as Practised in the Northern Counties of England, fourth edition, 1p. advertisements at end, bookplates of Thomas Wolryche Stansfeld and H.W. Stansfeld on front pastedown, original printed boards, rubbed, vellum spine, edges uncut, [W&S p. 131], 1817 § Turton (John) The Angler`s Manual; or, Fly-Fisher`s Oracle, first edition, engraved frontispiece, list of 77 artificial flies described in the work at end, half-title, title slightly offset, ink signature of "J.D. Clayton dated 1836 on half-title, ink stamp of Alfred Wallis on front pastedown, ring marks on covers, remains of original printed paper label on spine, [W&S p. 211], London & Sheffield, 1836 § Wallwork (James) The Modern Angler, first edition, engraved frontispiece and 4 plates, title slight finger soiling at edges, Q3 & 4 very slightly creased, browned, contemporary cloth by T. Parr of Manchester with bookticket on front pastedown, [W&S p. 217], Manchester, 1847, plates and illustrations, all but the second and third original cloth, some rubbing; and c. 15 others, mostly Angling, v.s., v.d.(c. 20)

Aldrich (H) Elements of Civil Architecture... translated by Rev. Philip Smyth, second edition, lacking half-title, mezzotint portrait after Kneller, 55 engraved plates at end, portrait offset on title, some light foxing to plates, modern calf-backed marbled boards, spine faded, new endpapers, [Harris 18], Oxford, 1818 § Gilpin (William S.) Practical Hints upon Landscape Gardening, second edition, lithographed plates, some browning to margins and endpapers, bookplate of J.B. Bury on front pastedown, original cloth, rebacked, faded, edges rubbed, 1835 § Reynolds (Sir Joshua) The Art of Painting of Charles Alphonse du Fresnoy, half-title, bookplates on pastedowns, contemporary calf, rebacked, Dublin, 1783, 8vo(3)

English Etchings A Collection of Thirty Three Original Etchings by English Artists, complete but disbound, in original pictorial boards, Sampson Low, Marston, Searle & Rivington, [c.1890]; with another edition, Thirty Original Etchings by English Artists and Essays Relating To The Art, 29 of 30 plates, in original pictorial boards, 1891; also with Examples Of Modern Etching, with 14 of 20 plates; sold not subject to return(3)

Cookery. The Complete Family-Piece: and, Country Gentleman, and Farmer`s, Best Guide, in Three Parts..., printed for C. Rivington; S. Birt; T. Longman; C. Hitch; and J. Clarke, 3rd ed., 1741, bookplate for A. Parker Smith to front endpaper, first five leaves relined, book repair receipt bound in at front, 20th c. blindstamped calf gilt, 8vo, together with [Glasse, H.], The Art of Cookery Made Plain and Easy; Which Far Exceeds any Thing of the Kind yet Published..., 6th ed., 1758, a few leaves at front and rear repaired with archival tape (no loss to text), 20th c. blindstamped calf gilt, 8vo, plus Huish (Robert), The Alphabetical Receipt Book, and Domestic Advisor..., 1820, num. eng. plts. (some hand col.), 20th. c. half calf, with morocco label to spine, some fading to spine, thick 8vo, plus Radcliffe (M.), A Modern System of Domestic Cookery; or, the Housekeeper`s Guide: Arranged on the Most Economical Plan for Private Families, pub. Manchester, 1823, eng. frontis. and addn. eng. frontis. (stained), eng. plts., occ. spotting, 20th c. qtr. calf, 8vo, plus five other cookery related, incl. Modern Cookery, in all its Branches..., by Eliza Acton, 13th ed., 1853; A New System of Domestic Cookery..., [by Maria Eliza Rundell], new ed., 1812; What to Do with the Cold Mutton; a Book of Rechauffes, [by Mary Renny], 1863, etc. (9)

Horne (Herbert P.). The Binding of Books, An Essay in the History of Gold-Tooled Bindings, 1894, add. dec. title, b & w frontis. and plts. edges rough trimmed, orig. cloth gilt, faded, 8vo, together with Nicholson (James B.), A Manual of the Art of Bookbinding: Containing Full Instructions in the Different Branches of Forwarding, Gilding, and Finishing. Also, The Art of Marbling Book-Edges and Paper..., Philadelphia: Henry Carey Baird & Co., 1887, b & w plts. and illusts., seven orig. marbled paper samples, lacks front free endpaper and lower free endpaper detached and frayed to edges, orig. cloth gilt, slightly frayed at head & foot, 8vo, with Prideaux (S.T.), An Historical Sketch of Bookbinding, with a Chapter on Early Stamped Bindings by E. Gordon Duff, pub. Lawrence & Bullen, 1893, half-title, collotype frontis., dec. endpapers, orig. cloth giltslightly frayed to extrems., 8vo, and Diehl (Edith), Bookbinding its Background and Technique, 2 vols., Rinehart & Co., New York, Toronto, 1946, b & w frontispieces, plts. and diags., orig. cloth gilt, 8vo, contained in orig. broken slipcase, plus Mellor (William), The Bookbinding Trades Journal, vols. 1 & 2, [1904-14], modern cloth gilt, 8vo, plus four others related (11)

Antique Collectors` Club. W.A.S. Benson, Arts and Crafts Luminary and Pioneer of Modern Design, edited Ian Hamerton, 1st ed., 2005; English Country Furniture. The Vernacular Tradition 1500-1900, by David Knell, 2nd ed., 2000; The Dictionary of 20th Century British Book Illustrators, by Alan Horne, reprinted, 1999; A Breed Apart. The Art Collections of the American Kennel Club and the American Kennel Club Museum of the Dog, by William Secord, 1st ed., 2001, num. col. and b & w illusts., orig. cloth in d.j., and others in the same series, G/VG (28)

Brown (Christopher, and others). Rembrandt: the Master & his Workshop, 2 vols., 1991, col. and b & w plts. and illusts., orig. cloth in d.j.s, with slipcase, 4to, together with Gauguin (Paul), The Intimate Journals, 1923, b & w plts., t.e.g., remainder untrimmed, orig. cloth, some soiling, 4to, plus Hall (Marshall), The Artists of Northumbria, An Illustrated Dictionary, 2nd ed., 1982, col. and b & w plts. and illusts., orig. cloth in d.j., 4to, VG, and other art reference, various, all modern publications, mostly in d.j.s, 4to/8vo (2 cartons)

A modern Art Deco style scent bottle

* § TSELKOV, OLEG B. 1934 Smoker signed, titled in Cyrillic and dated 1969 on the reverse Oil on canvas, laid on panel, 100 by 152.5 cm. Provenance: Acquired directly from the artist by the present owner. Private collection, USA. Authenticity has been confirmed by the artist. Literature: Oleg Tselkov, Le Grandi Monographie, Turin, Fabbri Editori, 1988, p. 67, illustrated. Roger Pierre Turine, Oleg Tselkov, Bonfi, Moscow, 2002, p. 33, illustrated. Related literature: For similar works, see Roger Pierre Turine, Oleg Tselkov, Bonfi, Moscow, 2002. The image of the “pipe smoker” became one of the most important in Tselkov’s creative oeuvre during the second half of the 1960s. Evolving from the still life of 1964, in which a grey, large-toothed face, two long smoking pipes and a burning candle form the traditional vanitas composition, evocative of the “nature morte” of African totems and of ancient Latin American art, to the self portrait of 1969, and the suite which is made up of several impressive compositions of the same name, the image of “the smoker” grows, not only in relation to scale, but also in terms of meaning. This represents one of the allusions, which can occasionally be found in Tselkov’s works, to classical museum art - “the smokers”, a popular subject for painters, beginning with the Dutch and Flemish school of the 17th century, and continuing up to the time of Cezanne and Gris that became the darlings of the 20th century. Yet, Tselkov’s smoking monsters are merely a fragment of a classical painting, the spatial and compositional structure of which, containing references to well known iconographic motifs and traditional subjects, is merely a trick, a theatrical effect, designed to emphasise the alien nature of Tselkov’s world. Before us we do not see real people, whether in the form of a self-portrait of the artist or a canvas presented at the auction, but a world of simulacrums, in which genuine existence is wholly impossible. There is, therefore, no visible distinction between the genuine and the surrogate, nor is there any real difference between the mask and the face. The large toothed and toothless “Tselkov mugs”, which have been painted in the traditional palette of various shades of red, apathetically and, for no apparent reason, inhale and exhale clouds of grey and violet smoke. This smoke has poisoned everything that surrounds them: the yellow featureless towns and the spatial dimensions of life, squeezed into a frame and suspended by a nail. At the same time, Tselkov’s works contain no hint of the pathos of a Soviet poster calling for the battle for a better world; rather, what is at issue here is the metaphysical death of modern man and his urban world, in which, to use the words of the artist himself, no trace of “the face of god” remains. A student of the legendary theatre designer Nikolai Akimov, from his early days Tselkov was fascinated by experimenting with the “Jack of Diamonds” style of painting. However, the artist’s present-day fame has come about thanks to his so called “ugly mugs”: his bright, almost surrealistic canvases depicting round-headed creatures, which resemble humans with flabby bodies, blank eyes and large, glossy mask-like faces. Painted in bright, sparkling colours, usually against a black background, these “poster-like” garish images became a popular symbol in the West, as early as the 1970s, of the Soviet artistic underground: a caricature, in a sense, of Homo Soveticus. Tselkov himself stated that “I painted a portrait, so to speak; not a portrait of any individual subject, but, rather, a universal portrait of every human being, synthesised into one face, and one which is horribly familiar… This face is the face of modern humanity as a whole. I did not set myself the task of ‘ripping off the mask’: rather, I saw neither ‘good’ nor ‘bad’, but something which was more real, more than skin-deep. And it is what we all are under the skin that brings all of us closer together. I cannot make any specific accusations against any particular person, but I am making more than a specific accusation against the large numbers of people who degrade one another, torment one another, and do away with one another. I am entitled to make such charges in relation to the past, the present and the future …” Tselkov was forced to leave for the West in 1977, where his work was compared to that of Fernand Leger, Francis Bacon and Fernando Botero, and occasionally to the later work of Kazimir Malevitch. As a result of Dovlatov’s famous story, the artist himself became a semi-mythical hero of underground art. Since that time, Tselkov’s works have found their way into museum collections on both sides of the Atlantic; as well as into public and private collections in Russia, the United States, France and Japan. Solo exhibitions of his work have been held in the Russian Museum and the Tretyakov Gallery, and the value of the artist’s works has risen in proportion to the increasing size of the paintings, which between the 1980s and 1990s, reached truly gigantic, mural-like dimensions.

SIR ROBIN PHILIPSON R.A., P.R.S.A., F.R.S.A., R.S.W., R.G.I., D.LITT., L.L.D. (SCOTTISH 1916-1992), ATTENDANTS XII, Signed and dated 1986 verso, watercolour, 7.5 cm x 10.2 cm (3 in x 4 in), Exhibited: Scottish National Gallery of Modern Art, Robin Philipson, 1999, no. 69

A collection of 29 modern Royal Albert Beatrix Potter animals and 8 modern Beswick Beatrix Potter figures and one Border Fine Art `Squirrel Nutkin`. (38)

Modern Traveller (The); being a collection of travels, 6 vol., half-titles in vol.1, 3 & 4, engraved maps and plates, some folding, lightly browned, bookplate of Colonel Innes, contemporary sheep, a little rubbed, spines chipped at head and foot, T.Lowndes, 1776-77 - Piles (Roger de) The Art of Painting, third edition, contemporary calf, spine gilt, n.d.; and c.40 others, miscellaneous, v.s. Visit www.dnfa.com for condition reports

Sir Eduardo Paolozzi RA (1924-2005), `Corner`, a wooden relief, 23 x 25.5cm (8.97 x 9.95in). Provenance: The Paolozzi Foundation, Marcus Campbell Fine Art, London, Katharine House Gallery, Louise Kosman Modern British Art.

Jean Shepeard (British, 1904-1989), Study of an Unknown Girl, Portrait of Josef Herman, RA (1911-2000), Portrait of Ronald Ossory Dunlop, RA (Irish, 1894-1973), all signed lower right with initials "JS", charcoal, 35 x 31cm; 28 x 19cm; and 29 x 23cm (3). Jean Shepeard was a noted beauty and a multi-talented Renaissance woman - an actress and painter, she captivated a range of admirers and the artists Frank Dobson and Ronald Ossory Dunlop were both her lovers, and they encouraged and supported her in her painting career. Shepeard first studied at the Slade School of Fine Art and then went on to RADA in 1925. Jean Shepeard`s first exhibition was in 1929 with her friend Francis Bacon. They shared the exhibition with Roy de Maistre, an Australian painter (1894-1968), and held it at Francis Bacon`s own house at 17 Queensbury Mews, South Kensington - it attracted critical acclaim with one critic writing: "Miss Shepeard`s drawings of heads show great sensibility and beauty of line and are, in their bold, unhesitating treatment, full of vigour and character". Later that year Shepeard exhibited at the Redfern Gallery in a joint exhibition with Augustus John, Lucian Pissarro, Paul Nash and Eric Gill. Constantly sketching, Shepeard`s drawings became sought after in theatrical and artistic circles. The Redfern Gallery exhibition was followed by an exhibition at the Modern Picture Library in Bloomsbury with Ben Nicholson, Frank Dobson, Ronald Ossory Dunlop and Epstein. The great collector Lucy Carrington Wertheim was a great admirer of her work. In 1920 Shepeard`s lover, Ronald Ossory Dunlop, founded the Emotionist Group, consisting of painters, musicians, philosophers, poets and actors, including Jean`s friend and flat mate, Peggy Ashcroft. Jean Shepeard had a one woman exhibition at the Alex Reid and Lefevre Gallery in 1933, when the art critic Gui St Bernard wrote: "Miss Shepeard is already mistress of the difficult art of elimination and art lovers who like the excitement of mild speculation should not miss the chance of what might prove very profitable investments in the near future. Why doesn`t everyone with a few spare pounds rush out and buy Jean Shepeard`s drawings?".

A Jan Eisenloeffel copper kettle and cover probably manufactured by F & R Fischer, cylinder form with flat top and angled spout, hinged handle with cane stamped mark to spout 15.5cm. wide Literature The Modern Art of Metalwork, Brohan Museum, page 154 catalogue number 130 for a comparable kettle

Art Nouveau silver case dressing table clock with blue and white enamel dial on wooden plinth, to/w modern pint baluster style mug engraved 1999, small trophy cup and jam spoon, approx. 11 ozs weighable

Postcards - large collection of postcards inc. 5 albums of modern Ireland (with a number of photos), plus others inc. worldwide & GB topographical, art treasures, some British modern advert cards (inc. Carry On Films), social history, a few souvenir booklets etc, various ages (100s)

Bond (Henry) The Boat-Swains Art 1676 2 parts in 1 32pp. small spot to title otherwise an excellent copy modern calf morocco label small 4to by W.Godbid for William Fisher... 1676. ***Very scarce. The second part has a separate title A Plain and Easie Rule to Rigge any Ship... 1677. Wing and COPAC list these titles but with the dates reversed the first 1677 and the second 1676 and many of these are in electronic form..

Military Dictionary (A) first edition paper flaw to E2 slightly affecting a few words of text old signatures of V.Wood on title modern calf “antique style” joints rubbed 12mo for J.Nutt 1702. ***First edition of a popular dictionary of military terms which was reprinted several times throughout the 18th century. It was designed as much for military personnel as for lay people reading news of the European wars “where there always occur some terms of art not intelligible to persons unskill`d in military affairs”..

MILES, W.J., Modern Practical Farriery, a complete system of the veterinary art, pub William Mackenzie, col plates (1)

Modern tinplate aeroplanes including; Schylling `Zeppelin`, `Luthansa` airliner, Flipover Training plane, Coca Cola pedal plane (these 4 NM-M,BVG), plus an older Japanese battery air liner Pan-Am, Kaytee Biplane make unknown, a Japanese Bristol Fighter type for restoration, an earlier flipover plane incomplete, and an unusual COBRA type helicopter made from Vietnamese Coca Cola tins (is this 1970s Trench Art?) (x9)

An assortment of early 20th century and modern glassware, to include a Caithness Art glass bowl, a vaseline lid glass bowl and stand, carnival glass and a modern etched glass vase

A pair of large Denby ware mottled blue ground vases, a large baluster vase designed by Mabel Leigh for Shorter, incised signature to the underside, a Royal Standard Ware fruit pattern vase, a Titian ware bowl, a Rubens ware bowl, a tall Art Deco chamber stick and two modern Moorcroft style vases

Carter (Charles). The Compleat City and Country Cook: or, Accomplish`d Housewife. Containing Several Hundred of the most approv`d Receipts in Cookery, Confectionery, Cordials, Cosmeticks, Jellies, Pastry, Pickles, Preserving, Syrups, English Wines, &c... To which are added, Near Two Hundred of the most approved Receipts in Physick and Surgery..., 2nd ed., with large Additions, 1736, forty-eight (of forty-nine) eng. plts. of table plans, four folding, lacking plt. 30, most torn with loss, eng. head and tail-pieces and initial letters, 4pp. pubs. ads. at rear, modern qtr. calf with plts. loosely contained in pocket to rear pastedown, 8vo, together with Hammond (Elizabeth), Modern Domestic Cookery, and Useful Receipt Book. Containing... a Complete Family Physician; the Art of Making British Wines, Brewing, Baking, &c., 4th ed., with additions, 1820, eng. frontis. and addn. title-page, four eng. plts., lacking last 2 leaves of Index at rear, soiled and browned throughout, first few leaves washed, with consequent crystallisation to paper surface, several paper repairs, mostly at blank gutter but one or two affecting text, endpapers renewed, modern book ticket, rough-trimmed, contemp. half sheep gilt, rubbed, extrems. a little worn, 12mo in 6s, plus Smith (Mrs.), The Female Economist; or, a Plain System of Cookery: for the use of Families, containing Eight Hundred and Fifty Valuable Receipts... 3rd ed., 1810, lacking half-title and frontis., 4pp. pubs. ads. at rear, browned and foxed, modern book ticket, contemp. marbled calf, extrems. rubbed, 12mo in 6s, plus a defective copy of William Kitchiner, The Cook`s Oracle, 7th ed or later, lacking all before p.[iii]. First item is scarce: Bitting, p.78; Cagle 591; Maclean, p.23; Oxford, p.62. The present copy formerly belonged to cookery writer Lynda Brown, who lent it to Alan Davidson (Prospect Books) who used it to produce a facsimile, itself long out of print. Sold with all faults, not subject to return. (4)

Guegan (Bertrand). Le Cuisinier Francais ou les Meilleures Recettes d`Autrefois et d`Aujourd`hui Recueillies, 1st ed., Paris, 1934, half-title, title-page printed in blue and black, letterpress illusts., some full-page, sprinkled polished edges, modern dark green crushed morocco, gilt lozenge roll decorated raised bands, gilt lettered direct in second and fourth compartments, first and fifth compartments with onlaid red quatrefoil decoration, third compartment with wide pelmet roll, covers with gilt double fillet border and inner scrolling floral roll panel, dotted line roll on edges, gilt dec. turn-ins, large 8vo, together with [Lemery, Nicolas], Nouveau Recueil de Curiositez Rares & Nouvelles, dans les Plus Admirables Effets de la Nature & de l`Art [drop-title], new ed., c.1700, seven eng. plts., lacking all before Avertissement (. * 3), some staining and marks, lacking front free endpaper, later ms. ownership name on front pastedown, contemp. vellum, soiled, remains of leather spine label, with ms. title above, 12mo in 6s. Second item rare; sometimes attributed to Antoine d`Emery. Contains a mixture of recipes, including those for medicines, perfumes, cosmetics and fireworks. There are also some white magic recipes such as an ointment for horses legs made up of vipers heads and tails, mixed with wine and olive oil, and cooked with a small dog. (2)

Shackleford (Ann, of Winchester). The Modern Art of Cookery Improved: or, Elegant, Cheap, and Easy Methods, of Preparing most of the Dishes now in Vogue..., 1st ed., J. Newbery, 1767, pp.[i-ii]iii-xxiv, 1-284 [16] (last leaf O6 blank), some light browning to margins of initial leaves, very minor worming to fore-edge margins, recent additional free endpapers, contemp. calf, rebacked, 12mo. Bitting, p.430; Cagle 985; Maclean p.131; Oxford, p.95; Vicaire 791. (1)

Schindler (Valentin). Epitome Bibliorum Continens Insigniora Veteris ac Novi Testamenti dicta Hebraice Chaldaice Syriace Graece Latine, et Germanice, In usum Scholarum collecta: et notis... illustrata, pub. Wittenberg: Joannis Cratonis, 1578, woodcut armorial to verso of title, few ink annotations & marks, some light staining, late 19th c. qtr. sheep, gilt dec. spine slightly worn, small 8vo, together with Cailliaud (M. Frederick), Travels in the Oasis of Thebes, and in the Deserts Situated East and West of the Thebaid; in the Years 1815,16,17, and 18, Translated from the French, 1822, eng. map frontis., fifteen plts. and one single-page eng. map (majority of plts. being uncol. aquatints, lacking one plt.), modern paper wrappers, 8vo, with Robson (Robert), The Mason`s Bricklayer`s, Plasterer`s, and Decorator`s Practical Guide, c.1840s, half-title (frayed to edges), litho title and numerous litho plts., modern tan half calf, 4to, plus other misc. books, including antiquarian and art reference, etc. (4 cartons)

Three modern Jane Charles Art Glass perfume bottles, a Langham Glass perfume bottle and a Stuart Ackroyd glass perfume bottle

MODERN ALBUM WITH A COLLECTION OF FRENCH THEMED COMICS, ART AND OTHERS SUBJECTS (96 APPROX)

Art and architecture reference. A collection of mainly modern reference, some still in original packaging

ILLUSTRATED MODERN ART AND LITERATURE, 1894 (October)–1895 (April), ills including full pge col`d, full pge and dbl pge black and white, fo, old cl worn

H DEAN: THE WHOLE ART OF LEGERDEMAIN OR HOCUS POCUS, circa 1750, 3rd edn, orig old cf, v worn, inner jnts split, lacks A2 and pp 93-120, some lls torn, 12 mo + LOUIS HOFFMANN: MODERN MAGIC, 1889, 7th edn, orig pict cl gt, slightly worn, (2)

A pair of modern electroplated candlesticks unmarked in the Art Nouveau manner tapering pierced form height 37cm. (2)

? The Little Ranelagh House by Peter Hill Jones modern 366cm.; 144ins high by 225cm.; 88½ins deep by 303cm.; 119ins wide, together with chestnut picket fence, laid hedges entwined with hawthorn, guelder rose, hazel and field maple together with a miniature wooden seat and carved stone birdbath Quotations can be obtained for reconstructing the Little Ranelagh House and gardens in the UK Little Ranelagh House was so named because in it`s prime incarnation in May this year, it appeared within Ranelagh Gardens which forms part of the site that comprise the RHS Chelsea Flower Show. The building which is also considered to be a `Sculpted Casket for Diverse Purpose` by its creator, Peter Hill Jones, was exhibited as a Trade Stand and was complete "with an interior specifically designed to be hostile to children yet with an exterior that was appealing to them! The garden was designed to be appealing to passerine birds in particular and bryologists!" (Bryology is the study of mosses, liverworts and hornworts) "The building does not have an age or purpose bias", says Peter. "But there are 2 distinct entrances: the front door which is clearly for people under 30" in height and a `secret` side door which could accommodate a tall person or even a wheel chair bound adult. "In short it can be used for whatever you like: to keep the dogs, pigs, chickens or donkey in. As a hide, study - particularly for natural history, dark room, explosives factory or drug manufacturing unit! A wendy house - whatever that is - or an area for children to attempt to fulfil themselves or not, or just address the problems encountered from being a child! A den for adults to keep children out? A private cinema to watch dubious films or library to collect operatic scores or decent First Editions. A space to encourage bats to go when the Planning Authority has deemed the bat roost in your loft is going to really Muck Up your Application to demolish all/some/a bit of your house!"! The building/casket is designed to have an upstairs which is present in a basic form here in The Walled Garden. The building itself is constructed entirely from FSC accredited timber which means that it all comes from sustainable forests. The original building, Little Burndell House, which is the prototype of this one, is situated at Peter`s yard in Yapton, West Sussex and is largely constructed from recycled timber. The window design was extensively researched (despite it`s apparent simplicity) to achieve the `correct look` and designed by Peter and features a design of glazing bar based on the so-called Georgian `knife-edge` glazing bar. The undersized `Sussex Red` roof tiles and half round ridges were hand made as were the clay chimney stack and its 2 undersized pots (one of which is in fact a bird nesting box and other could function as a real pot). The `mortar` on the stack is specially coloured to mimic lime mortar. Such detail was of major importance to Peter! An important feature present are the two `Teddy windows` at either end of the the buildings upstairs area. The term is self explanatory (if you possess a pair of psycho-killer teds as Peter does: Teddy Binns and Hopscotch). Every quarter has a look out point and the house is equipped with three above ground `escape` points and the facilities for an underground tunnel. The `wall paper` at the opposite end to the `secret/adult` door comprises an original motif by Peter. The pattern consists of 4 squares with a central square - like the side depicting `5` on a dice. The 4 outer squares depict a man looking at his dog: the dog has the man`s eyes and the man`s eyes are dentures! The central motif depicts one of Michelangelo`s sculptural male heads but with inserts into the face of Walker`s `Special Edition Spice Girls` crisp packets! Peter`s stand and garden of Little Ranelagh House won an Award of Commendation at the RHS show and over 6,000 people viewed it including Prince Charles and the Duchess of Cornwall. (John Savings of Abingdon, who provided Peter with the plants for his laid hedge is Prince Charles` teacher in the methods of laying a hedge. The Prince is an enthusiast of this ancient country craft. Peter Hill Jones who has exhibited at the Royal Academy of Art Summer Exhibition twice and the Royal Society of British Artists some 4 times is a scrap metal merchant and general dealer by trade and botanist, free-lance journalist and occasional-artist by inclination! He was - he admits - born with an EPNS spoon in his mouth and was slightly over educated "on the proceeds of scrap" he is also on show in London 24 hours a day 365 days of the year as `Peas` one of the 120 sculpted motifs on the gates at The Globe Theatre.

ANDRÉ LHOTE (1885-1964) "Nature morte au pot de cactus", a still life study, oil on canvas, signed bottom left, 60 x 73 cm (painted circa 1958 sold together with a photocopy of handwritten authentication by the artist`s nephew Jean Gouin dated 27th December 1994) (Provenance : Sotheby`s Impressionist and Modern Art and Ceramics Sale New Bond Street London Wednesday 25th October 1995-sold with catalogue of same and various receipts and other paperwork) (ILLUSTRATED)

Smith.Snowden Slights Wildfowler 1912 York 1912 § Chapman (Abel) First Lessons in the Art of Wildfowling some foxing half-title loose 1896 § Macpherson (Rev. H.A.) A History of Fowling Edinburgh 1897 § Folkard (H.C.) The Wild-Fowler fourth edition engraved vignette title [c.1897] § Higson (Daniel) Seafowl Shooting Sketches second enlarged edition title foxed for the Author Preston 1909 § [Clement (Lewis)] Wildfowler . Public Shooting Quarters spotted and lightly stained modern cloth preserving original printed cloth 1881 the first three first editions plates and illustrations all but the last original cloth some pictorial gilt the first a little browned the third with small nick to spine the last two rubbed and stained; and 2 others on wildfowling 8vo & 4to(8)

Millais (J.G.) British Deer and their Horns occasional browning and soiling some edges chipped original pictorial cloth darkened and rubbed spine ends and joints torn 1897 § Shirley (E. P.) Some Account of English Deer Parks original pictorial cloth gilt rebacked preserving original spine new endpapers 1867 § Scrope (William) The Art of Deer-Stalking new edition engraved additional vignette title water-stained modern leather-backed boards new endpapers 1839 § Edwards (Lionel) and H. F. Wallace. Hunting and Stalking the Deer modern half morocco spine gilt in compartments with deer motifs new endpapers 1927 plates and illustrations occasional foxing; and 5 others similar v.s.(9)

An American Art Deco 18K gold dress ring set small sapphires and rubies, in a shaped border surrounding a pierced cushion motif; a modern silver ring with applied pearl, amethyst and peridot motif in a scrolling gold mount; an emerald and diamond ring, the central rectangular cut emerald with a circular cut diamond to each shoulder claw set in platinum (3)

A collection of modern art and design catalogues

A modern bronze, after Chiparus ; an Art Deco dancer on circular base, 57 cm high.

A modern Art Deco style rug

A Waddington, G & Austin, R. Leicester: The Making of a Modern City. circa 1930. Small Folio. b. Howes, C Leicester: It`s Civic, Industrial and Social Life. 1927 Small folio. c. Leicester in 1891 illustrated. Historical and Descriptive Art, Commerce and Trade. Small folio

A modern piece of art work titled `Tree Of Tears` by the artist Shera Payne, the tree resembles an eye sorrowful and melancholic, the 10 inch square framed work made up of acrylic, gesso, gold and silver leaf, aquamarine, (approx 18.50cts) white sapphires, (approx 3.50cts) and diamonds (approx 0.55cts).

A Royal Worcester modern figure, "Masquerade", together with an iridescent modern art glass vase and a cut glass vase and one other piece.

A pair of modern Art Nouveau style marcasite set silver earrings, together with other silver and marcasite jewellery etc.

A modern, Art Nouveau style, enamelled pendant set with opaline.

Charles Potter (British, 1904-2002), Pedro Goes Home, signed on the reverse "Charles Potter 1985", oil on board, 51 x 76cm (19.89 x 29.64in). Charles Potter was an accomplished artist who studied at the Central School of Art, and at one of his college exhibitions his work was noticed by Campbell Dodgson, at that time Keeper of Prints and Drawings at the British Museum. At the Central School of Art exhibition Dodgson bought Potter`s "Power Station at Walthamstow". Several of Potter`s prints were then exhibited at the Royal Academy, and were bought by Campbell Dodgson for the Prints and Drawings collection at the British Museum, and were included in Fine Prints of the Year, 1936. Potter`s work was exhibited between 1939 and 1942 through the British Council in Oslo, Prague, Warsaw, Buenos Aires and Cairo.Dodgson wrote in 17 November 1939 in the London Evening Standard: "No collection of Modern British prints comparable to this has ever been assembled before. There is one exhibit which is of special interest to Londoners. It is an aquatint by Charles Potter entitled "Palace of Power - the Palace of Power being Battersea Power Station which is the biggest electrical Power Station and one of the finest pieces of modern architecture in London"

Two posters advertising Henri Matisse exhibition in the New York Museum of Modern Art, one other and after W A Bouguereau a coloured print "The Bathers".

A MODERN ART DECO STYLE, 18ct white gold diamond and sapphire dress ring. Ring size N

Modern Bronze Figure of Art Deco Dancing Lady on Marble Base Signed Joé Descomps

A Modern Art Sculpture in Patinated Bronze Entitled "Daddy`s Shoes" By Irwin Hyman on Marble Base with Title Plaque. 26cm High.

William Callow (1812-1908) - Watercolour - "Fishing boats, Ramsgate" - View of moored boats in the harbour, 12.75ins x 18.5ins, signed in brown and dated 1892, in modern gilt moulded frame and glazed Provenance: The Fine Art Society, 148, New Bond Street, London, W1, No. 6464, dated May 1957