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A Chinese art silk rug, modern, the green field with exotic bird motifs, within a complimentary border, approx 118cm x 62cm, together with a similar rug, approx 153cm x 92cm.

Wilhelmina Barnes-Graham (1912-2004) - Silk screen print - "Beach" - Abstract in black, orange, yellow, white and fawn, handmade paper, 11.5ins x 15.75ins, signed in full in pencil, dated 1999 and No. 52 of edition of 75, in modern white painted box frame and glazed, Provenance : Porthminster Gallery, Fernlea Terrace, St. Ives, Cornwall, TR26 1AD. Exhibition - "Hundred Years of Penwith Art 2006", complete with catalogue .

A modern 12 place setting of silver cutlery, the double struck handles in a floral art nouveau taste, comprising 6 table spoons, 12 soup spoons, 12 dessert spoons, 9 teaspoons, 12 dinner forks, 11 dessert forks, 12 dinner knives, 12 tea knives, 12 coffee spoons, 12 fish forks, 12 fish knives and a three piece silver-handled carving set - blades to knives in stainless steel - R&D, Sheffield 1963-1966 - 169oz of weighable silver (125)

A modern Art Nouveau style lamp with opaque glass shade above stylised lily pad foot. S/D.

COLLINS (IAN) "Bird on a Wire, The life and art of Guy Taplin", dj, 4to 2007 fine ; SINCLAIR (N.) "Kyffin Williams" dj, 4to 2004 fine plus 6 others on modern British Painters.

A modern limited edition Moorcroft vase, 2007, being of organic Art Nouveau form, decorated throughout with stylised flowers and foliage on a cobalt blue ground, height 32cm (Illustrated)

AN ART DECO JADE PENDANT of tapering oblong form carved and pierced with leaves, on silver flower mount, 1 3/4" long, on modern chain

A Modern Art Mask Sculpture in Patinated White Metal Signed Javier Marin. 65 cms High.

PRIESTLEY JOSEPH: (1733-1804) British Theologian and Dissenting Clergyman, Chemist and discoverer of Oxygen. Rare A.L.S., J Priestley, three pages, folio, Leeds, 13th June 1769, to Miss. Aikin (Anna Laetitia Barbauld) at Warrington Academy. Priestley announces 'You will be surprised when I tell you I write this on the behalf of Pascal Paoli and the brave Corsicans, but it is strictly true.' and continues to add that Mr. Turner of Wakefield ('who says he reads your poems not with admiration but astonishment') has insisted Priestley writes to her 'to request that a copy of your poem called Corsica may be sent to Mr. Boswell, with permission to publish it for the benefit of those noble islanders. He is confident that it cannot fail greatly to promote their interest, now that a subscription is open for them by raising a generous order in the cause of liberty, and admiration of their glorious struggles in its defence.' Priestley further writes 'It being written by a lady....will a circumstance very much in their favour, and that of the poem, but there is no occasion for Mr. Boswell to be acquainted with your name, unless it be your own choice some time hence....and therefore hope Miss. Aikin will not refuse so reasonable a request, which will at the same time lay a great obligation on friends in England, and contribute to the relief of her own heroes in Corsica.' and also remarks 'They may be the Coup de Grace to the French Troops in that island, and Paoli, who reads English, will cause it to be printed in every history of that renowned island.' He further urges his correspondent to comply with the request, explaining 'In this case you have only to send a corrected copy to me at Leeds, or to Mr. Johnson in London, and I will take care to introduce it to the notice of Mr. Boswell....The sooner this is done the better.' In concluding Priestley offers his own praise of his correspondent's poems and also makes a reference to his own work, 'My piece on Perspective is nearly ready for the press. Come an see me before it is quite printed, and I will engage to teach you the whole art....of it in a few hours. If you come a month after I may know no more about the matter than anybody else. I am about to make a bolder push than ever for the pillory....or something worse.' With integral address leaf. A letter of very fine content and excellent association. Lightly laid down and with two extensive, although neat, splits at the folds of the third page, slightly affecting one line of text. There is a small area of paper loss, affecting one word, caused by the removal of the seal. Two light stains to the final page and very light overall age wear. G. Anna Laetitia Barbauld (1743-1825) nee. Aikin. English Poet and Children's Author. Her work Corsica: And Ode was written in 1768. Barbauld and Priestley were associated with Warringon Academy, an early dissenters' college which ran from 1756-86. In Robert Schofield's book The Enlightenment of Joseph Priestley: A Study of His Life and Work from 1733-1773 (1997) he quotes Priestley as having written 'Mrs. Barbauld has told me that it was the perusal of some verses of mine that first induced her to write anything in verse.' Pasquale Paoli (1725-1807) Corsican Patriot and Leader, designed and wrote the Constitution of this first democratic republic of the modern age. In 1769 Paoli was taking refuge in England following his defeat at the Battle of Ponte Nevu. Corsica became a French province in 1770. James Boswell (1740-1795) Scottish Lawyer, Diarist and Author, best known for his biography of Samuel Johnson. Samuel Johnson (1709-1784) English Author, friend of Boswell. Priestley's A Familiar Introduction to the Theory and Practice of Perspective was published in London, 1770.

A Mixed Collection of Postcards, both early and more modern, subjects include Irish topography, cathedrals, churches, castles, hotels, art cards, natural history, Tucks Oilettes, animals and birds etc.

Literature, modern. A collection including novels, architectural and art reference, wine, etc (a quantity)

An Art Deco Verart smoked glass vase deep cut and frosted decoration, and three modern glass vases incised Verart Paris to base 11 inched (28cm) high. (4)

A modern bronze in the Art Deco style depicting a dancing woman, impressed 'BARYE', on green marble effect plinth

Le Corbusier, The City of Tomorrow and Its Planning, John Rodker, London 1929, and Towards a New Architecture, John Rodker, London, 1927, Nikolaus Pevsner, Industrial Art in England, Cambridge, 1937, and Pioneers of Modern Design, 1949 (4). Visit www.sworder.co.uk for larger image and condition reports.

A pair of early 20th century Imari plates of traditional scallop design and a modern Art Nouveau style "tea for one" set in box

A modern art side table hand carved from a piece of well seasoned pine, the top quarter veneered, carved by local craftsman Adam Baguley

A modern art chair hand carved from a piece of redwood cut down from Burghley House in Stamford, carved by local craftsman Adam Baguley

A modern bronzed statue, in the Art Deco style of a classical male figure pulling back an arrow, the back signed S. Melani

Art Reference - Orpen, Sir William The outline of art. London, [no date]. 8vo, original green cloth gilt; Evans, Joan Art in mediaeval France 987 to 1498. London, 1948. 8vo, frontispiece, original blue cloth gilt, Glasgow Art Club bookplate; Tolkien, J.R.R. Pictures by… London, 1979. 4to, original brown cloth gilt, slipcase; Mellor, Dr. David (editor) Cecil Beaton. London: Barbican Art Gallery, 1986. 4to, original wrappers, some fading; Rewald, John Post -Impressionism. New York: Museum of Modern Art, 1978. 4to, original cloth gilt, dustwrapper; Horae, B.M.V. Les tres riches heures du Duc de Berry. Paris, 1943. Folio, 15 colour plates, original vellum gilt, inscription to front endpaper, erotic ink sketches throughout; and 24 others (30).

Faber, G.S. A dissertation on the mysteries of the Cabiri. Oxford, 1803. 2 volumes, 8vo, double-page engraved frontispiece, contemporary half calf;Dickens, Charles Master Humphrey's clock. 1841. 3 volumes, 8vo, contemporary half calf; Rogers, Samuel Italy. 1830; Poem, 1834, both 8vo, both presentation copies from the author, contemporary blindstamped morocco, gauffered edges; Tyrwhitt, R. St. J. A handbook of pictorial art. Oxford, 1868. mounted plates, contemporary maroon morocco gilt Alison, A. Travels in France during the years 1814-15. 1815. 2 volumes, 8vo, later half calf gilt; O3 volume 2 defective; Wodhull, M. Poems. 1804. 8vo, engraved portrait and engraved vignettes, modern half calf retaining original marbled boards; Dolby, A. Church vestments. 1868. 8vo, folding frontispiece and 36 plates, tan half morocco gilt by Morrell, g.e.; Hayter, C. An introduction to perspective, practical geometry, drawing & painting. 1832. 8vo, frontispiece and 23 plates, contemporary calf gilt, head of spine slightly rubbed; and 14 others (27) .

[Swift, Jonathan]A tale of a tub. London, 1704. Second edition, 8vo [including] A full and true account of the Battel fought last Friday, between the ancient and the modern books in St. James's library, contemporary panelled calf, rubbed at edge; Stone, Edmund Euclid's elements of geometry. London, 1728. 8vo, advertisement leaf at rear, contemporary calf, hinges splitting, rubbed, foxing; King, W. The art of love in imitation of Ovid. London, [no date]. 8vo, frontispiece, contemporary paneled calf, hinges cracking, rubbed; Goldsmith, Oliver The vicar of Wakefield. London, 1797. New edition, 8vo, later red morocco by Riviere, rubbed at edges; Jennings, Rev. David Jewish antiquities. London, 1766. 8vo, 2 volumes, contemporary calf, hinges cracking; [Ainslie, H.] A pilgrimage to the land of Burns. Deptford, 1822. 8vo, frontispiece, eratta slip, original boards, hinges strengthened inside and out; Buxtorf, J. Synagoga Judaica. Frankfurt, 1738. 16mo, title in red and black, contemporary calf, worn, pencil notes throughout; Wierx, H. A series of 13 small engravings by Hieronymous Wierx. [No place, no date], each approx 10.5 x 7cm, modern cloth; and 5 others (13) .

THE ART JOURNAL. New Series volume XVII, 1878. Folio, modern half blue leather. Engraved plates and text illustrations (ex library stamps, on versos of plates and text).

A modern Art Deco figure

A modern Art glass and a green glass German style mounted ewer and 2 LP picture discs

PROFESSOR HOFFMANN: MODERN MAGIC A PRACTICAL TREATISE ON THE ART OF CONJURING, circa 1900, 15th edn, orig decor cl, slightly worn

Joan Kathleen Harding Eardley RSA (1921-1963) One of the Macaulay children Pastel, circa 1959, 25x23cm Exhibited: Cyril Gerber Gallery 1985, Cat.No.37 SNG of Modern Art. Artist's Inventory No.ED916.

A modern 18ct almandine garnet and channel set diamond ring in the Art Deco taste to ribbed shoulders.

Art Deco Modern Stylists pink plastic picnic set having stylised decoration in relief depicting a mermaid and comprising: oval serving dish, 29cm wide and six circular plates, 15.5cm diameter

OSCAR FLORIANUS BLUENNER (American 1867-1938), Modernist townscape, signed lower right, crayon, watercolour and wash, 7" x 9" (see illustration). Note: Born in Prussia, Bluenner won the Royal Medal of Architecture at the Berlin Royal Technical Academy in 1891 before fleeing to the U.S. the following year. He notably designed the Bronx County Court House and became an active member of the modern art movement forming around Alfred Steiglitz's '291' Gallery.

A modern coloured art glass vase of shaped form together with a tall blue glass vase of flared form, (2).

JOHN MAXWELL R.S.A (SCOTTISH 1905-1962) FIGURE SUBJECT Mixed media 56cm x 37cm (22in x 14.5in) Exhibited:Scottish National Gallery of Modern Art, John Maxwell Memorial Exhibition, no.90

A George V Art Deco style caddy spoon, by S.L., Sheffield, 1934; and a modern sterling silver salt spoon. (2) See illustration

A pair of modern Art Glass candlesticks with silver mounts, marked 925 Israel

Peter Nagy (American, b. 1959) Study for 21st Century Rococo, 1988; Acrylic on paper (framed); Signed, dated and titled; 28'' x 37 1/4'' (sight); Provenance: Jay Gorney Modern Art, New York (label on verso); Private Collection, New York

Robert Indiana (American, b. 1928) Two works of art: Love from The Book of Love, 1996; Screenprint in colors (framed); Signed, dated and numbered 109/200; 18 1/4'' x 18'' (image), 21 1/6'' x 19 1/2'' (sight); Publisher: American Images Editions, New York; The American Four, 1970; Screenprint in colors (framed); Signed, dated, titled and numbered 57/200; 24'' x 24'' (image), 25 3/4'' x 25 3/4'' (sight); Publisher: Museum of Modern Art, New York; Provenance: Private Collection, Texas

Martin Kersels (American, b. 1960) Tossing a Friend (Melinda 1, 2, 3), 1996; Three c-prints on FujiFlex (framed separately); Edition 3/6; 27 1/4'' x 39 1/4'' (sight) each; Exhibition: ''Situation Comedy: Humor in Recent Art,'' Independent Curators International, New York, September 2005 - September 2007; Provenance: Sheheen Modern and Contemporary Art, Ohio (label on verso); Jay Gorney Modern Art, New York (label on verso); Private Collection, Michigan

An bronze Art Noveau style figure of a Girl, modern

Mixed lot; Ban Dai, Star Trek Starship Enterprise from the Next Generation, box damaged, plus Star Trek book 'The Continuing Mission', Palitoy Bradgate talking Z-Victor 4 police car (NM,BNM), box of Mini Art 1.35 scale Soviet Infantry figures (M,BM), 2 Minichamps catalogues and 2 modern Corgi catalogues

Schuco Modern Art, No.01720 Fex IIII clockwork car, red, in original window box, sold with 1006 Motodrill (x2) (M,BM)

Distler, Germany (DICKIE-SCHUCO modern issue), Art Nr873 0010 brewery wagon 'Paulaner', Munich, diecast and plastic barrel wagon and 4 horse team with 2 figures, fine detail model with instruction sheet, unchecked but appears complete (NM,B)

A modern lamp of Art Nouveau design retailed by Christopher Wrey, 60 cm high.

A modern French pewter shallow Dish of Art Nouveau design decorated with a female figure, flowers etc. the base inscribed "Etain". 13 1/2" (34cms) wide.

Modern blue-tinted Art Glass Bowl, a large Bowl, unmarked, (2).

Modern decorative pottery Plates, Candlesticks, pair of Art Pottery Vases, Teaware, etc.

A collection of books on Studio Pottery including; British 20th Century Studio Ceramics Christopher Wood Gallery, The New Ceramics by Peter Dormer and The Art of The Modern Potter by Tony Birks

HENRY HERBERT LA THANGUE R.A. (BRITISH, 1859-1929) An Alpine Village, St. Jeannet, France, signed 'H. H. LATHANGUE' lower left, oil on canvas, 21" x 24" (see illustration) Provenance: Purchased by Moses Nightingale Esq., (possibly from the Leicester Galleries, London, 1914); thence by descent Exhibited: London, Leicester Galleries, Exhibition of Paintings by H. H. La Thangue, R.A., April 1914, no. 22 Brighton, City Art Gallery and Museum, Memorial Exhibition of Works by the Late H. H. La Thangue R. A., September 1930, no. 27 Literature: Walter Sickert, 'Mr La Thangue's Paintings', The New Age, vol XV, no. 1, 7 May 1914, p.18 Anon, Watercolours and Oils at Hazeldene, Crawley, Sussex, 1919, no. 121 as An Alpine Village, St. Jeannett (sic), France, 1912 Osbert Sitwell ed., A Free House! Being the Writings of Walter Richard Sickert, 1947 (MacMillan), p. 272 Anna Gruetzner Robins, Walter Sickert: The Complete Writings on Art, 2002, (Oxford University Press), pp. 364-365 La Thangue was captivated by the picturesque hill villages of Provence and Liguria. St Jeannet, between Vence and Nice was a particular favourite, being painted from a number of vantage points. Nightingale owned at least six works painted in and around the village, two representing rose gardens. In concept, An Alpine Village reiterates La Thangue's earlier December in Provence, (fig 1, unlocated) shown at the Royal Academy in 1901. Both works portray groves lying at the foot of hillside villages. In the later work, he strategically places the tower of the church Saint-Jean-Baptiste, c.1666, as the focal point of the composition. St Jeannet is built on the slope leading to a precipitous coral crag which La Thangue's viewpoint omits. Like Bormes, this ancient village was renowned for its flower and fruit cultivation - particularly its fine local grapes (Guide to the Riviera from Hyères to Viareggio, c. 1930, Ward Lock, p. 82). Edwardian botanists who frequented the area admired its rare flora (Comerfield Casey, Riviera Nature Notes, 1903, pp. 169-73) and for Captain Richardson, writing in 1927, St Jeannet was simply 'a centre of bucolic bliss' (Richardson, 1927, p. 82). A further work, An Aqueduct, (fig 2) probably dating from the 1920s, continues the idea of foreground figure related to background village. The present canvas, is one of a number painted by La Thangue, not all of which have been identified. His painting expeditions along the Riviera into Liguria, Lombardy and across to Venice, cannot be securely documented and landscape locations often remain obscure. In the present instance however, he discovered a beautiful medieval village which had attracted artists since the seventeenth century. The village's name may not have been known to Walter Sickert when he singled out An Alpine Village as one of his selection of favourite works from La Thangue's Leicester Galleries show. In an article written for The New Age journal in May 1914 he wrote, An exhibition is like a library…take down one of the volumes at random, and settle down comfortably to read it, and you may light upon a paradise. Take any one of the following pictures…An Alpine Village (22)…A Sussex Hayfield (41)…Take it home and hang it up in a room where you can see it at breakfast, or while you are dressing. Hang it on a wall at right angles to a window, and more than halfway away from the window. Give it time to convey its message, and you will see how remote that message is from all the din of the aesthetic discussions of the moment. It has taken the whole history of art to produce modern painting, and it has taken the painter more than half a century to develop his skill in self-expression. Such canvases contain a message that will speak to many generations to come, and will certainly last us in pleasure, entertainment, stimulus, for the rest of our short lives. Such pictures were classics. The critics who attacked La Thangue were simply frightened of being despised by Henry Tonks, DS MacColl, Clive Bell or Roger Fry. Yet works like An Alpine Village stood outside the 'din' of 'aesthetic discussions' and were beyond 'the veriest tyro of criticism'. Sickert's eloquent endorsement may well have reinforced Moses Nightingale's confidence in forming his collection.

A Fieldings Devonware Art Deco style figure of a dancer, painted in yellow, red and black, modern black printed mark, 11" high.

*Coins - Crystal Palace School of Art silver medal awarded 1893, by Pinchers, in case of issue, 64mm, International Exhibition medal 1873, WM gilt (BHM 2964), cased, other commemorative issues, mostly modern. (lot)

An Art Deco Alabaster, Bronze & Marble Occasional Lamp with Freidrich Goldscheider stamp to the underside. The lamp having a brown patinated bronze column with alabaster figures of a pierrot & dancer sat embraced on a pedestal bench with painted details to their costumes and raised on an oval grey & brown mottled marble base, 31½ ins (80 cms) overall in height including modern shade.

Modern Reproduction Oak Fire Surround with fern carved central decoration, carved corbels with break-front mantle shelf fitted with set of dark green & tube lined Art Nouveau style tiles, with pink flowers, with imitation fire to centre, mantle 56 1/2"L x 9"D (at centre) x 46 1/2"H

Ahmed Khan (born 1939 - Indian) - Mixed media - Caligraphy composition, board 12.5ins square, signed in full and dated ‘07, in modern gilt moulded frame. Note : Sold with letter of authenticity from The Native Art Gallery, Lahore, Pakistan, dated 14th July 2008

Brian Jull (20th/21st Century British) - Oil painting - "Cabourg" - Continental street scene with figures seated at an open air cafe, board 20ins x 24ins, signed, in modern gilt and painted moulded frame. Provenance : Royall Fine Art, 52 The Pantiles, Tunbridge Wells, Kent TN2 7TN. Purchased 24th July 2004.

Dutch School - Oil painting - Winter landscape with a frozen lake and windmills, oak panel 7.75ins x 15.5ins, in modern gilt moulded swept frame. Provenance : Bears label for Pawsey & Payne, Fine Art Dealers, 1 Bury Street, St. James Square, London SW1 to reverse

Circle of Thomas Barker (of Bath - 1769-1847) - Oil sketch - Still life - Urn and vase on a desk top, board 7ins x 9.5ins, unsigned, in modern gilt moulded and swept frame. Provenance : Lincoln Fine Art

BOX, POOLE Monica, Wood Engraving of John Farleigh, 2 illustrated by him, 15 Penguin Modern Painters, 1930 issues of Studio, and other modern art (45)

Andy Warhol (Amer.1928-1987)-Flowers, 1970, screenprint in colours on wove paper, the full sheet 36 x 36” (91.5cm2), signed in ballpoint pen and stamp numbered verso 82/250, from the portfolio published by Factory Editions, New York Andy Warhol is the artist most associated with Pop Art, and was dubbed by the media the ‘Prince of Pop’. He held his first one-man show in 1952 and was part of an important group exhibition at the museum of Modern Art, New York in 1956. He founded The Factory in 1962 and quickly became a household name due to his mass production of depictions of familiar ‘mass produced’ items.

Carlos Bracher (Braz. b.1940)-Green hills and houses, oil on canvas, signed lower left, dated verso 1974, 60 x 45cm. Carlos Bracher exhibited in 2006 in the Rio de Janeiro Museum of Modern Art. He is known for his distinct style of blending cubism, expressionism and mysticism This lot may be subject to Droit de Suite

A modern "monkey" Art Deco style table lamp

Modern Art Nouveau style silver necklace set with three lapis lazuli, to/w large oval malachite ring (2)

EDWARD BAWDEN. (1903-1989). Watercolour and ink, stylised figure of a jester on a black cartouche, signed in monogram, 11.5cm x 7.5cm, framed; an edition of “Edward Bawden” The Penguin Modern Painters, 1946, sixteen colour and sixteen black and white plates; a handwritten letter from Bawden’s mother discussing the issuing of the accompanying book, Bawden’s appointment as an Associate of the Royal Academy on 28th October 1947 and his receiving a CBE from the King for his war services, letter dated 19.12.47 from the artist’s parental home in Felsted, Essex. (3). The vendor’s family were close friends with the both the artist and his family. The vendor believes this work was executed early in Bawden’s career prior to 1928. As a student at the Royal College of Art Bawden studied heraldry and manuscripts and developed a strong interest in calligraphy and illumination. For his final diploma in book illustration he produced designs which were likened to playing card motifs.