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An Art Nouveau silver tripod bowl, by W.G. Connell, London, 1901, diameter 13cm, a later silver pedestal dish and modern silver sugar caster, 19cm, 11.4oz.

Shigekazu Nagae 2 Pc Container & Lid Modern Studio Art Porcelain Japan. Size: 9 x 7 3/4 x 5 3/4 in.

Josef Albers Silkscreen from the Albers Project "Interaction of Color" 1963. VII-3, Sheet size 10 x 13 in margins. Josef Albers is credited with influencing the movements of Geometric Abstraction and Minimalism. He was also one of the first modern artists to investigate the psychological effect of art on viewers, to challenge them to open their eyes, investigate color and space, and to question the nature of perception. Overall size: 14 x 17 in. Sight size: 9 x 12 in.

Josef Albers Silkscreen "Interaction of Color, 1963" XVIII-7 Sheet Size 10 x 13 inc margins. Josef Albers is credited with influencing the movements of Geometric Abstraction and Minimalism. He was also one of the first modern artists to investigate the psychological effect of art on viewers, to challenge them to open their eyes, investigate color and space, and to question the nature of perception. Overall size: 14 x 17 in. Sight size: 9 x 12 in.

Important large color relief painting consisting of pastel yellow, peach & orange colored wood panels within aluminum frame. Exhibited in 1968 at the ground breaking Interntational Contemporary Art Fair - documenta IV in Kassel, Germany. Provenance: Balthard Falk, Tiburon Ca. He purchased the painting from the artist and lent it to the exhibition in 1968. His check from the purchase and a letter of appreciation from Gerstner will accompany the lot. Pioneering post-war artist Karl Gerstner is most famous for his unorthodox approach to graphic design and typography, although he was also a celebrated painter. His paintings were inspired by the logic of mathematics and computer programming. Gerstner's work has been exhibited in museums worldwide including a solo exhibition at the Museum of Modern Art in 1973. Overall size: 64 1/2 x 64 3/4 in. Sight size: 62 x 62 in.

Exquisite ethereal portrait of a gamine young woman wearing a hat. Watercolor on paper, signed mid-left. Hinge-mounted in mat. Marie Laurencin, intimate of Braque, Picasso, Matisse and Appollinaire, held a celebrated place in the early part of the 20th century during a period when Art exploded with genius. She lived in the Montmartre District of Paris and became part of the circle revolving around the Steins. Though her early portraits show the imprint of the Fauves and Cubists, her romantic and delicate temperament asserted itself against these schools. She was prim, conservative and always wore a kitchen apron when she painted. She had a celebrated love affair with Guilliame Appollinaire, great French modern critic, but was never able to marry him because of demands of her domineering mother. Called the 'muse' by her fellow painters, her works are loved for their fragile beauty. Though they may be feminine in subject and execution, the distortion of form and the simplicity of expression mark her for a Modern Master. Laurencin painted girls in all kinds of poses and all had her personal mark, smooth young faces, pale skin and dark eyes. Her early work was not easily accepted; it showed the influence of Toulouse-Lautrec and of cubism. World War I took her out of the Paris circle for a while; she married a German painter, Otto von Waetjen, and they were forced to leave France. They lived in Spain, then she got a divorce and returned to Paris. In her later years, she became almost a hermit, although mothers with daughters in tow still came to her. Marie Laurencin died in Paris in 1956; she was buried in a white dress holding a rose in one hand and a love letter from Guillaume Apollinaire in the other. Overall Size: 17 1/2 x 13 1/4 in. Sight Size: 10 3/4 x 7 in.

Figural Landscape with Fish and Cat, Hand Colored Woodcut Print, matted,unframed. Shiko Munakata is by many regarded as one of the most significant modern Japanese artists of the twentieth century. His art work consists of paintings, prints, ceramics and calligraphy. He is most known for woodblock, hanga prints, watercolor and ink images. Overall size: 15 x 14 1/2 in. Sight size: 12 x 11 1/2 in.

Abstract studio glass sculpture with multicolor sommerso technique and organic form, by David Goldhagen (American, 20th C). Etch-signed near base and dated 1(?)/99. David Goldhagen’s sculptural forms and massive hand blown glass platters are distinguished by his unique style. His painterly approach to art glass marries bold colors to brilliant, clear crystal in a clean, modern style. Using traditional glassblowing methods thousands of years old, David Goldhagen creates each piece individually, working with molten glass at temperatures in excess of 2000°F. His pieces capture a palette that moves from subtle to bold by the incorporation of bits of colored glass made from various mixtures of metallic oxides and rare earth elements, such as silver, cobalt, gold, copper, dichroics and others. Each piece begins as a gathering of molten clear glass on the end of a five foot blowpipe. Colors are then meticulously layered and manipulated on the surface, creating intricate patterns and movement within the sculpture. Size: 13 x 3 1/2 x 9 1/4 in.

1957 Douglas Dragonfly 350cc ProjectReg. no. 988 YUFFrame no. 1307/6Engine no. 2043-6The Dragonfly was built to replace the Mk. V and although it shared many components, its frame, forks and suspension were completely new.  The new streamlined design included a large headlight nacelle that extended to meet the five gallon fuel tank, a single carburettor, modern coil ignition and state of the art Girling dampers. A total of approximately 1570 Douglas Dragonflys were produced between 1954 and 1957 before Douglas were taken over by Westinghouse and production turned exclusively to scooters.This bike has been in its present ownership since 1989 and is now being sold as part of a deceased estate. Prospective purchasers should note some parts have been removed so completeness and mechanical integrity is unknown.Comes with – a current V5C, an old VE60 logbook showing original registration number (TYP 55) some old MOTs and receipts and a Douglas maintenance manual.Estimate: £500 - 700To be auctioned along with a fantastic selection of other vehicles on March 5th at our Showell Farm site, SN15 2NU. Viewing is welcome prior to sale and all cars are sold as seen, condition reports can be requested on each lot by contacting us direct. Lots are not available to buy prior to auction. Fully illustrated catalogue is available on the Richard Edmonds Auction website. Bids can be made online, by telephone or live on site. All lots are subject to commission.Vehicles that are un-registered or on foreign plates may require Import Duty and Vat to be paid upon purchase via HMRC prior to registering with the DVLA for a UK plate, if you are not sure please ask. For classic cars over 30 years this equates to 5% Duty on the final value.

Yvette Brown: the nonchalance of wellies, metal and wood, 10cm high; David Cox: Modern Art, painted papier mache, signed, 33cm high; Mojo Toys of Cornwall: Passionate Pirate, pull cord, 25cm high; an Oberammergauer Schnurlkasperl Mr Frog, painted wood, pull cord, seal mark, 30cm; and Two Modern Tin Whistling Birds (6)

A Large Carved Wood Pineapple, 90.5cm. highProvenance:The Estate of Dame Elisabeth Frink and Lin JammetWoolley & Wallis Lot 45 26 August 2020 Modern British & 20th Century Art Including the Estate of Dame Elizabeth Frink & Lin Jammet

Paul-Émile Borduas (1905-1960) Canadian"Danse Irrégulière"Signed and dated (19)54, watercolour, 27cm by 35cmProvenance: Dominion Gallery, MontrealBonhams and Langlois, St Helier, Jersey, 29 November 2000, lot 1118Literature: Borduas Online Catalogue Raisonné, no. 2005-0166 Paul-Émile Borduas was one of the most important figures in modern Canadian art. A leader of the group known as the Automatists, he developed a spontaneous style of non-figurative painting. A technique first used by Surrealist painters and poets to express the unconscious in art. Borduas spent the first period of his career working primarily as a church decorator and teacher in Montreal. In 1948 he published the "Refus Global", an influential manifesto calling for freedom of expression. His views on Catholicism and nationalism caused uproar in the media which lead to his dismissal from his teaching post at the École du Meuble. In 1953, Borduas moved to New York which greatly influenced his artistic development. It was here he viewed works by the New York school of Abstract Expressionists, including Jackson Pollock, Franz Kline and Mark Rothko. Borduas began exclusively using a palette knife to paint and became preoccupied with light and space. In 1955, he moved to Paris, where he achieved some measure of international recognition. He continued to paint, write and travel, despite failing health. His name lends itself to the Prix Paul- Émile Borduas awarded each year to a distinguished Quebec visual artist. Glazed.On a creamy coloured paper. Some light surface dirt and debris. Slight time staining/ oxidisation to the paper, especially to the outer edges where it is darker and more pronounced. Slight cockling to the paper. Good colour depth. (see additional images)

Laurence Stephen Lowry RBA, RA (1887-1976)"The Sea"Signed and dated 1965, pencil, 24.5cm by 34cmProvenance: The Stone Gallery, Newcastle Upon TyneFor a related preparatory pencil study (1965) see Sotheby's London, "Modern and Post War British Art", June 10 2015 lot 144A highly comparable oil painting to the present work titled "The North Sea", was sold at Tennants Auctioneers, "Modern and Contemporary Art", 15 October 2022, lot 122, for £840,000 plus buyer’s premium (see image)Lowry was fascinated by the sea. At once both beautiful and dangerously powerful, it was a constant source of inspiration to the solitary artist and he painted it throughout his life. Whilst the majority of his seaside pictures depict bustling seafronts and boats on the North West coast, from the early 1940s he began to depict pure seascapes. These rare, seemingly simple yet highly sophisticated works are far removed from the bustling industrial streets scenes for which he is better known.After the death of his overbearing mother in 1939, Lowry frequently stayed for long periods of time at the Seaburn Hotel in Sunderland, to which he became deeply attached. Here he always stayed in the same room, which looked straight out at the empty expanse of the North Sea, sketching, and watching the water and sky melding at the horizon. The work is stuck down onto the back board of the mount. Some very light surface dirt. Slight shadow to the outer edges where the mount has been in position. Minor crease from left of top margin down the left edge into the sea (see image), another minor crease lower right corner and one upper right edge.

Laurence Stephen Lowry RBA, RA (1887-1976)"The Stepped Street" Signed and dated 1929, pencil, 38cm by 27.5cmProvenance: Phillips London, Tuesday 4th June 1991, British, Irish, Traditional Modern and Contemporary, lot 63 "The Stepped Street", 1929 is a superb example of Lowry’s mastery of drawing and comes from a golden period of productivity, creativity and artistic energy which formed the foundation of his successes to come . Shortly after leaving Art School in 1928, Lowry’s father suggested he sketch the nearby soon to be demolished St Simon’s Church in Salford and indeed a few days later the building was razed to the ground. This began Lowry’s search to record other locally threatened architectural gems such as Crowther Street, which was later partially demolished leaving only the right hand portion seen in the drawing which has since been restored. "The Stepped Street" is not a preparatory sketch for an oil painting, here Lowry gives us a detailed, complete, stand-alone and fully formed work in its own right in which he enjoys including many of his signature motifs, dogs, children, prams, smoking chimneys, porches and people in all their shapes and sizes make an appearance if you look hard enough…. In addition Lowry is also indulging his love of Steps as subject matter for his work as he says himself…‘Steps and things ... I liked doing steps, steps in Ancoats ... steps in Stockport ... steps anywhere you like, simply because I like steps and the area which they were in was an industrial area. I did a lot, you see. I've never found it interesting to paint pure landscapes. I'm not interested in pure landscapes'. - L.S. Lowry ©. Jonathan Horwich, January 2023The work is stuck onto the backboard of the mount. Pin holes to each corner. Slight time staining/oxidisation to the paper, most noticeable to the sky. Very slight cockling to the paper upper right. Feint, sporadic small sized foxing spots in evidence. In particular but not contained to areas of the sky. Small brown mark to the right of the top writing on the large sign, upper left. A more pronounced foxing spot within the dark grey right edge next to the window, a scattering of tiny slightly more pronounced spots, three next to the man lower left corner, a handful within the centre of the railings on the 4th step up. See additional images. For further information please contact the Picture Department.

A modern 18ct white gold emerald and diamond ring, in Art Deco style, set with 2.5ct emerald-cut emerald with baguette and modern round brilliant-cut diamond shoulders, setting height 10.1mm, size M, 3.9gNo damage or repairs, all stones present, emerald is a vivid green with typical internal inclusions, emerald untested for origin and treatment, diamonds bright white and fiery, settings extremely lightly abraded, mark clear, engraved 750

An Art Deco 18ct gold three stone sapphire and diamond crossover ring, set with square step-cut sapphire and modern round brilliant-cut diamonds, total diamond content approx 0.2ct, size P, 3gNo damage or repairs, all stones present, sapphire is a vivid dark blue with internal cloud inclusions, diamonds relatively bright and white with a few surface reaching fractures, settings quite tarnished, mark clear, engraved 18ct

A Modern Hallmarked Silver Mounted Bible, Art Norman, Sheffield 2001, 12.3cm high.

oil on board, signedframed and under glassimage size 30cm x 38cm, overall size 40cm x 49cmCollections include: Arts Council of Great Britain, Scottish Arts Council, Victoria and Albert Museum, Johnsonian Museum (New York), Scottish National Gallery of Modern Art, Elf Oil UK, The Hunterian, Aberdeen Art Gallery, University College Wales, Grampian TV, Bradford Art Gallery, Bolton Art Gallery, Inverness Art Gallery, Livingstone Development Corporation, Tayside Regional Council, Salford Art Gallery, Oldham Art Gallery, Provident, Eastern Airlines and The Hunting Group.

oil on canvas, signed, titled versoframedimage size 89.5cm x 85cm, overall size 92cm x 87cm Note: Jayant Parikh is an Indian artist, printmaker and muralist. He was a student of N.S. Bendre, K.G. Subramanyan and Sankho Chaudhuri. He lives and works in Vadodara, India. His work is held in the collections of the National Gallery of Modern Art (in New Delhi, Mumbai, and Bangaluru) and the Lalit Kala Akademi in New Delhi. Jayant Parikh was born on 2 April 1940 into a Gujarati Bania family in Bandhni village, Gujarat State, India. His family had a grocery shop in his village. He moved to Vadodara in 1957 to study art at the Faculty of Fine Arts, Maharaja Sayajirao University. In 1962, he achieved his Post Diploma in Painting under the teaching of N S Bendre. He has had more than 74 one-man shows. He has participated in national and international art exhibitions including the Third Triennale–India. His work has been sold at auction houses including at Christie's and Sotheby's. His work is held in the collections Jehangir Nicholson Art Foundation (Chatrapati Shivaji Museum, Mumbai)and the Chester and Davida Herwitz collection (The Herwitz Collection) and in numerous prestigious corporate collections including Taj Hotels (including in the TATA Presidential Suite at The Taj Mahal Palace Hotel, Mumbai) and Air India who have acquired at least twenty five works which are on display in their premises around the world. His work has also featured in Air India calendars. Jayant Parikh has won numerous prestigious awards including, most recently in 2022 when he was presented with The Raja Ravi Varma Award for Excellence by Her Highness Rajmata Shubhanginiraje Gaekwad.

limited edition giclee print on canvas, signed and numbered 43/150framedimage size 78cm x 71cm, overall size 91cm x 93cmNote: In 1986, John Myatt placed a classified advert in the satirical British current affairs magazine Private Eye. ‘19th and 20th-century fakes for £200’ stated the ad, heralding the birth of what was initially a legitimate business. Producing paintings to order, John painted his way through 20th century art history, commissioned by a man known as ‘Professor John Drewe’. His materials were unorthodox, including household emulsion mixed with K-Y Jelly, yet the quality of his work led Christie’s to value one of his paintings at £25,000. This was the moment that the business stopped and the crime began. Between 1986 and 1994, John faked as many as 200 works by artists like Marc Chagall and Alberto Giacometti, fooling collectors and experts at Christie's, Sotheby's and the Tate Modern alike. Many of these counterfeit works found their way into private collections and public institutions in the United Kingdom and abroad. Eventually the scheme was exposed by Scotland Yard, and Myatt was sentenced to a year in HM Prison Brixton for his role in this now-legendary art fraud. Upon his release from prison, John was persuaded to pick up his brush again by the detective who arrested him. In recent years, he has emulated the style of legendary artists like Henri Matisse, Pierre-Auguste Renoir, Paul Klee, Leonardo da Vinci and Vincent van Gogh. Comparing himself to an actor immersing himself in a role, he says he climbs into the mind of his chosen artist to adopt, rather than copy, their technique. In a 2005 interview with the Guardian newspaper, John explained: “I try to get the artist’s work to hypnotise me. I also surround myself with lots of books. I like to know everything…where he was, what he was doing…when he was painting.” Alongside television appearances on shows such as A Brush with Fame, Fame in the Frame, Fake! The Great Masterpiece Challenge and Fake or Fortune, John has worked with Oxford University, Cambridge University and the San Diego Museum of Art, and now advises the police on art fraud. A feature-length film about his incredible story is due to be released soon, while his wife Rosemary has also written a book - Genuine Fakes - based on the script.

BANKSY (born 1974); giclee print on 308 museum quality Hahnmuhle fine art paper, 'Post Modern Vandal/Girl with Heart Shaped Float (pink) (2021)', complete with certificate of authenticity from postmodernvandal.com, 6/85, 43 x 33cm. Provenance: A private Cheshire vendor.Condition Report: COA with unique QR verification system, condition as new. As stated in the main description the COA is from postmodernvandal.com

A collection of eleven modern Art Deco style occasional tables and table tops, comprising three tables, height 44cm, diameter 61cm, with seven table tops, and a larger table top , diameter 81cm (11)

DAVID HOCKNEY; a signed coloured lithograph poster, 'The Metropolitan Museum of Art, David Hockney Mount Fuji and Flower Department of Modern Art', signed in ink lower right, 90 x 60cm, framed and glazed.Provenance: With a printed copy of the certificate of authenticity.Condition Report: Image in good condition. Frame with minor wear.

Louis Le Brocquy, HRHA (1916 - 2012)Head (286)Oil on canvas, 73 x 73cm (28.5 x 28.5")Provenance: With The Dawson Gallery, Dublin, label verso; Private Collection, DublinLouis le Brocquy is widely recognised as one of the ‘most highly-regarded Irish-born artist[s] in the second half of the twentieth century.’(1) From the late 1940s, he was one of a number of significant artists based in Britain who retained an interest in the human figure at a time when abstraction had become the dominant mode of representation. His departure from illusionistic realism to a stylised approach to figuration ensured his continued relevance to the challenges of Modernism. In London, he became friendly with Irish-born artist Francis Bacon (1909-92), who observed:‘Le Brocquy belongs to a category of artists who have always existed – obsessed by figuration outside and on the other side of illustration – who are aware of the vast and potent possibilities of inventing ways by which fact and appearance can be reconjugated.’(2)These words could be applied to the ground-breaking ‘head’ series begun by Le Brocquy in 1964 following a visit to the Musée de l’Homme, the anthropological museum in Paris.  Le Brocquy had experienced something of an impasse as a painter and, dissatisfied with his recent efforts, destroyed many of his own artworks. The visit to the Musée, however, provided him with the impetus for a new direction. On witnessing the ritualised Polynesian heads on display, decorated with painted plaster, the artist recognised how prioritising the human head was also significant in Irish cultural history. He Identified a route that would enable him to explore his concept of humanity. As he observed:‘For me, as perhaps for our Celtic … ancestors, the human head can be regarded ambivalently as a box which holds the spirit prisoner, but which may also free it transparently within the face.’(3)This observation is revealing in how the artist saw the role of the head, at once containing the human spirit, but also providing a locus of the imagination, as well as a crucial means of communication, including through wordless physical expression.As the name applied to the Ancestral Heads series suggests, le Brocquy evoked connections through the generations between the present and the distant past. This series comprised anonymised individuals that would, in time, give way to his portrait heads of known creative practitioners, some of whom he knew personally. A common feature of his work, including all of the head series, was to undertake multiple versions on the basis that no one image could capture the range and complexity of any individual. Consequently, even with the anonymised Ancestral Heads, he addressed the theme repeatedly as the concept evolved over time. Head (286) demonstrates the essential principles evident as the series got under way, enabling the artist to explore dimensions of the human condition. The frontality of the head, emerging from a background of textured pigment – in this case a tone of white – was a common element throughout.  The earliest heads appear in subtle tones, like shadows or memories of dreams, almost within grasp, but not quite clear. As the series developed, while the upper part of the face remains shadowy, the nose and mouth take on a more defined form and colour as though emerging from depths in order to come into fuller existence. In this work, as in several carried out at this time, the mouth is shown open wide. The concentration on the mouth suggests also a familiarity with the work of his friend, the artist Francis Bacon. It is well recognised, however, that Louis le Brocquy’s approach to figuration was distinctly different from that of Bacon. In Head (286), the mouth plays a positive role, seeming to draw breath in order to instil both life itself as well as the condition of humanity in all its subtle frailty. For le Brocquy, elements of the body – like the mouth and hands – were vital human means of communication, through gesture, speech and text. Louis le Brocquy’s portrait head paintings are subtly exploratory and revealing. They suggest at once the inner life of contemplation and creativity, as well as the capacity to communicate through cultural expression. The Ancestral Heads series which initiated the series explores the idea of the very emergence of humanity.The words of Seamus Heaney, writing on the artist’s Head series, are relevant to the present Head painting.(4)‘ … ghostly yet palpable, familiar and other, a historical creature grown ahistorical, an image that has seized hold of the eye and will not let it go.’Dr Yvonne Scott, January 2023Obituaries, The Daily Telegraph, 28.4.2012.  Just two artists were identified in this source: Louis le Brocquy, and Francis Bacon (1909–92).Francis Bacon, exhibition catalogue, Louis le Brocquy: A Retrospective Selection of Oil Paintings 1939–1966, The Municipal Gallery of Modern Art, Dublin; Ulster Museum, Belfast, 1966, p.1. Quoted in ‘Biographical Note’ https://www.anne-madden.com/LeBPages/biography.html (accessed January 2023)Louis le Brocquy,’Notes on painting and awareness’, in Dorothy Walker, Louis le Brocquy, Ward River Press, Dublin, 1981, p.147.Seamus Heaney, ‘Louis le Brocquy’s Heads’, in Dorothy Walker, Louis le Brocquy, Ward River Press, Dublin, 1981, p.132.

Jack Butler Yeats RHA (1871-1957)The Ring Master and the Clown (1909)Watercolour, 25 x 35cm (10 x 13¾")SignedProvenance: Peter Katz; sold to Victor Waddington, London 1967; With Victor Waddington Galleries, London, label verso Allen Figgis (owner); Waddington Galleries Montreal label verso; Sale, these rooms, 14 July, 1983; Private Collection, DublinExhibited: Dublin 1909, Aonach, Exhibition of Paintings, Cat. No.21Literature: Yeats, Jack B., Life in the West of Ireland (1912, 1915) 75; Yeats, Jack B., And to You Also (1944, 1974) 120; Pyle, Hilary, Jack B. Yeats His Watercolours, Drawings and Pastels, Cat. No.681, p.161 illusBy the time The Ringmaster and the Clown was first exhibited in 1909, Jack Yeats had already achieved a significant degree of fame and appreciation. Hugh Lane, a few years earlier, in his quest to establish a gallery of modern art in Dublin had approached artists and friends in an effort to persuade them to present works to form a nucleus of a collection. Jack Yeats, while still living in Devon presented three watercolours, The Rogue, The Melodeon Player and The Day of the Sports. By January 1908, The Dublin Municipal Gallery of Modern Art had opened at 17 Harcourt Street. According to Hilary Pyle, Jack Yeats had given what he considered his most up-to-date important work – character studies of contemporary Irishmen of the West.Pyle continues … ‘From about 1906, when Yeats was painting a little more in oil, a new spirit is noticeable in his watercolours. The images and manner are much the same as before, but they are treated more seriously, often isolated pictorially in space; and the themes generate a greater breadth of purpose. Synge’s friendship has made the artist see his Western Irish imagery in a wider context, so that landscapes and figures plumb more deeply from the particular to the universal’.Yeats writing in And to You Also in 1944, described ‘the parasol of the auditorium’ of the circus tent. ‘The sad-faced clown stumbles along on the ring-master’s left, while up above the ring-master on his right, sits the beautiful girl … on the back of a grand old cream horse … ’.  The circus life theme stayed with Yeats throughout his career, the images from his childhood life in Sligo indelibly etched on his pictorial memory, notably in The Haute École Act and That Grand Conversation was under the Rose, the oils of 1925 and 1943. In the present work the clown is, as Hilary Pyle describes ‘…. in merry mood, looking coyly at the spectator’.

William Scott RA (1913 - 1989)Still Life No.2 (1970)Gouache on paper, 59 x 78cm (23¼ x 30¾")Signed and dated 1970Provenance: Collection of R.W. Wilson, DublinStill Life No.2 (1970) is representative of the approach to such themes painted by William Scott at this time.  Over the years, Scott had explored a range of thematic subjects, from the early biblical narratives and genre scenes, to the landscapes and nudes that featured repeatedly throughout his oeuvre. However, Scott consistently reverted to still life as the primary theme of interest across his life as an artist. William Scott’s earliest still life images are relatively naturalistic, though always stylised rather than strictly mimetic. Following a series of phases of exploration, the forms in Scott’s paintings became increasingly distilled, typically based on the familiar domestic objects typical of his childhood in Greenock, Scotland, where he was born. He later moved with his family to his father’s native Enniskillen, and remained in Northern Ireland where he began his education as an artist. He continued his education at the Royal Academy Schools in London, eventually settling in Somerset. Scott was ground-breaking in creating art that combined the familiar and mundane useful object with his perspective on Modernism abstracted form.Still life has attracted artists for centuries, providing an opportunity to represent a host of significant objects. The earliest examples in western art present still life elements in religious altarpieces, particularly in Northern Europe, prioritising the potential of objects, some ordinary, others precious, to carry symbolic meaning: thus this genre provided a readable array of distinctive ‘attributes’, by which the character of religious characters could be defined - a vital visual language in an era of low literacy. Over time, still life emerged as a subject in its own right, though it continued to embody a host of readable symbols for purposes of morality, intended as reminders of the perceived wisdom at the time.  In time, still life became a celebration of the ordinary, as artists began to focus on mundane objects for their own sake, to signify the familiar and to evoke nostalgia. From the late nineteenth century, towards the emergence of Modernism, the possibilities of forms of expression that challenged academic principles, provided an impetus for alternative methods of seeing: from the colours and shapes of the objects themselves, to how they could be located in space.William Scott had the opportunity to observe methods of expression through the work of artists encountered in exhibitions and art galleries, ranging from the Renaissance to the present, from Piero della Francesca to Henri Matisse, via Jean Siméon Chardin and Paul Cézanne. His visits to the United States from 1953, for his own exhibitions there, provided unique opportunities to observe the most contemporary developments and to meet some of the leading exponents as an equal – artists like Jackson Pollock, Barnett Newman – and Mark Rothko, who visited him in Somerset some years later. Still Life No.2 (1970) demonstrates characteristics that can be observed in iconic works by William Scott, such as Still Life Brown with Black Note (1969)(1). Still Life No.2 comprises colours and forms typified by the artist at the time: a flat black profile appears suspended, suggestive of the profile of a skillet, familiar in Scott’s work. A white circular object to the left is cut off by the edge of the painting, while on the right a white jug, another form that appears in Scott’s work, is presented like a stencil against the red-brown ground. The background shows the marks of the brush, and there is a suggestion of shadows thrown by some of the objects. The slight ‘bleeding’ of paint at the edges of objects, softens their otherwise austere profiles, and indicates the hand-crafted dimension of the artwork, and introduces a human dimension to the austerity of the arrangement. The composition is spare and spacious, a marked distinction from Scott’s still life paintings of the 1950s, which featured crowded, almost chaotic, ‘table top’ images connecting the artist and viewer more closely with the domestic realities of a busy kitchen environment. The present painting reflects the more abstract and symbolic nature associated with the later works of the painter. Once he divested his repertoire of the food items (fish, eggs, vegetables) evident in his earliest work, Scott’s particular selection of items reflects his stated preference for man-made over ‘natural’ things, perhaps identifying with durability despite repeated use, over organic fragility.William Scott is recorded as commenting on his practice in a lecture delivered at the British Council in 1961 that sheds light on his approach to still life:“My pictures now contained not only recognisable imagery but textures and a freedom to distort. I again painted a profusion of objects that spread themselves across the canvas, often clinging to the edges leaving the centre open …’.(2)Dr. Yvonne Scott, January 20231 William Scott, Still Life Brown with Black Note (1969), oil on canvas, 121.9 x 183 cm, Irish Museum of Modern Art, Dublin. See Norbert Lynton, William Scott, Thames & Hudson Ltd., London, 2004, p.313.2 William Scott, British Council lecture, quoted in Sarah Whitfield and Lucy Inglis (eds.), William Scott, Catalogue Raisonné of Oil Paintings,       Vol.2, 1952–1959, Thames & Hudson,in association with the William Scott Foundation, London, 1913, p.18.Condition Report: Very good overall conditionWe have no additional documentation, the painting was consigned from a deceased estate The edges or the hand made paper are a little scuffed in places, see images

To be sold without reserve Henri de Toulouse-Lautrec (1864 - 1901) Yvette Guilbert from Le Café Concert (1893) Original lithograph, printed in brownish black ink on cream wove paper, laid down on board Signed in monogram Dimensions: 16.25 in. (H) x 11.75 in. (W) In this portfolio, working with the artist Henri-Gabriel Ibels and the writer Georges Montorgueil, Lautrec created an ode to the café-concert. Montorgueil’s essay argued that the café-concert was not a den of iniquity, but rather a tonic for modern life and a place for people from all walks of life to relax and commune. Lautrec’s images capture a cross-section of people involved in Paris nightlife, from dancers and singers to spectators, staff, and nightclub impresarios including Aristide Bruant. cf. The same lithograph in the Museum of Modern Art (MOMA), object number: 1107.1964.2

Property of the late Marcello Violante Natalia Yakovlevna Danko (Georgian, 1892 - 1942)  A figurative female mug (c. 1930) With identifying marks to base LiteratureD. Elliot, Art into Production, exhibition. cat., Museum of Modern Art, Oxford in conjunction with the Crafts council of England and Wales and the Ministry of Culture, USSR, 1984;J. Milner, op. cit., Antique Collectors' Club, 1993. Dimensions: 7 cm (H) Natalia Danko was the most important Georgian artist specialising in figurative sculpture and ceramic. An article reviewing the Soviet porcelain exhibition in 1926 recorded that "N. Danko is predominant in this field." Born in Tbilisi, Natalia Danko studied at the Stroganov School of Art, and later at Vilnius under the sculptor Leonid Schervud. Her work was frequently painted by her sister, Elena Danko (1898-1942). She had personal exhibitions in Leningrad in 1929, 1932, and 1946.

Clermont [Menon]. The Professed Cook: Or, the Modern Art of Cookery, Pastry, and Confectionary, made plain and easy. Consisting of the most approved Methods in the French as well as English Cookery. In which The French Names of all the different Dishes are given and explained, whereby every Bill of Fare becomes intelligible and familiar .... Including a Translation of Les Soupers de la Cour; with the Addition of the best Receipts which have appeared in the French or English Languages, and adapted to the London Markets, 3rd ed., revised and much enlarged, London, 1776, contemporary ownership inscription to head of title ' A. H. Penruddocke, A Gift of a Dear Friend', additionally signed bu A. H. Penruddocke to front endpaper, a few minor spots, contemporary full calf, rubbed and some wear to joints and edges, with joints partly cracked, 8vo QTY: (1)NOTE:MacLean 99. Cagle 606. Simon 355.This is in part a translation and adaption of Menon's French work 'Les Soupers de la Cour' by B. Clermont, who describes himself for the first time in this third edition as having been for 'many Years Clerk of the Kitchen in some of the first Families of this Kingdom, and lately to the Right Hon. the Earl of Abingdon'. The French names of all dishes are given and explained. It was originally published 1767 in two volumes under the title 'The Art of Modern Cookery Displayed'.

Jay (Leonard). Letters of the Famous 18th Century Printer John Baskerville of Birmingham together with a bibliography of works printed by him at Birmingham, Birmingham: School of Printing, 1932, black & white portrait frontispiece, top edge gilt, later gilt decorated brown morocco bound by Hugh D. G. Burkitt, 8vo, together with:Rummonds (Richard-Gabriel), Nineteenth-Century Printing Practices and the Iron Handpress, 2 volumes, 1st edition, Delaware: Oak Knoll Press, 2004, monochrome illustrations, original uniform cloth in dust jackets, some minor rubbing to the head & foot of the covers, large 8vo, plusRhodes (Barbara & William Wells Streeter), Before Photocopying, the art & history of mechanical copying 1780-1938, 1st edition, Delaware: Oak Knoll Press, 1999, monochrome illustrations, original cloth in dust jacket, covers lightly rubbed to head & foot, folio, and other modern bookbinding reference & related, mostly original cloth, many in dust jackets, G/VG, 8vo/folioQTY: (3 shelves)

Richard Godfrey (1949-2014); a modern studio art pottery combination of a trophy-shaped lidded vase on a rectangular pottery tray with chamfered corners, both decorated in bright yellows, purple Autumn leaves and chequered tile effect, height of vase approx. 29cm, handle to handle 32cm, the tray approx. 47 x 30cm, the tray indistinctly signed to the underside.Condition Report: There is a repair to one of the handles on the urn and one of the handles on the tray.

A modern hand blown art glass centrepiece of naturalistic form featuring a large bowl with collapsed sides, with printed contemporary pattern, on a Venetian-style organic circular stem to a concave foot, with polished pontil to the base, unsigned, height 27cm, diameter 34cm.

A modern Art Deco style lady figure by Austin Sculpture. Condition - good, items appears free from any damage/repair, general wear including slight scratches to finish.

French school of the late 18th century."Portrait of a lady as Hebe".Gouache on vellum.It presents faults on the pictorial surface.It has an early 19th century frame with faults.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 10,5 x 9 cm; 26,5 x 24 cm (frame).Miniature in which a lady is represented carrying a cup, in such a way that she is identified with the goddess Hebe. This type of depiction of ladies adopting attributes of classical divinities became widely popular during the 18th century and later. From the Renaissance onwards, miniature portraits, framed in a circle or oval, were pieces for private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or as gifts, when they were mounted as jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was gradually lost from the second half of the 19th century onwards, in parallel with the development of photography.The most common type of work of this type in the 19th century were historicist representations, often set in the preceding century. However, the portrait we present here takes up the spirit of the eighteenth-century portrait-jewel and applies it to modern times, capturing the image of a real woman of her time, no longer an ideal recreation of the Romantic type.

EMILIO SALA FRANCÉS (Alcoy, Alicante, 1850 - Madrid, 1910)."Discóbolo", 1886.Graphite on paper.With faults.Signed and dated in the lower right-hand corner.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 67 x 37 cm; 82 x 52,5 cm (frame).Emilio Sala trained at the School of Fine Arts of San Carlos in Valencia, and in the decade of 1870 he began to participate in the National Exhibitions of Fine Arts, obtaining first medal in the editions of 1878 and 1881. In 1885 he travelled to Rome on a scholarship. He later exchanged his scholarship and travelled to Paris, where he took part in the Universal Exhibition of 1889, winning a second medal. In 1891 he won the Gold Medal at the Berlin Exhibition. He took part in the Salon des Beaux-Arts on the Champs-Elysées for several years. On his return to Spain he settled permanently in Madrid, and in 1906 the chair of Theory and Aesthetics of Colour was created for him at the San Fernando School of Fine Arts. He was appointed academician of merit at the Academy of Fine Arts in Rome, and was awarded the Cross of St Michael (Munich, 1885) and the Grand Cross of the Order of Isabella the Catholic (1899). Emilio Sala's work can be found in the Hispanic Society of New York, the Prado Museum, the Museum of Modern Art in Madrid, the Municipal Fine Arts Museums of Granada, Valencia, l'Empordà, Cáceres, Santander and Málaga, the Lázaro Galdiano, the Camón Aznar Museum, the Theatre Museum in Almagro and the National Museum of Fine Arts in Santiago de Chile, among many others.

Modern Art Deco style cocktail ring, the centre rectangular cut ruby is bezel set within a baguette diamond surround, panel size 16 x 13mm, stamped 750 and 18k, size M

Modern Motorcycle & Racing Car Models, including Protar 1:9 Ducati 851, TrueScale Miniatures 1:18 Porsche 935 K3 Twin Turbo Engine, Minichamps 1:43 Porsche 917/30 CanAm Champion 1973, 1:12 Yamaha YZR 500 Max Biaggi, trade box of six Paul's Model Art Cycle Line BMW R 1100 RS Motorcycles and other items, in original boxes, E, boxes F-E (15)

Mixed Marvel comics. Approx 25 Marvel Comics including Moon Knight #22 & #22, (1982), Bill Sienkiewicz cover art. Fantastic Four, X-Men, Amazing Spider-man, Black Panther, etc.. Modern Age Marvel Comics.

VÍCTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Una estrella presa más que dos lunas", 1990.Mixed media on paper.Signed in the lower central area. Signed, dated and titled on the back.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 37 x 27 cm.Painter, sculptor, engraver and writer, his training was basically self-taught. At the age of eighteen he had his first individual exhibition at the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition dedicated to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

HERNANDO VIÑES SOTO, (Paris, 1904 - 1993).Untitled, 1931.Watercolour on paper.Signed and dated in the lower left corner.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 31 x 24 cm; 44 x 52 cm (frame).Born into an upper-class bourgeois family, Viñes was introduced into the Parisian artistic circle by his uncle, the pianist and composer Ricardo Viñes. During the First World War he settled in Madrid, returning to Paris in 1918. There Pablo Picasso, a friend of his uncle's, after seeing his first drawings, advised him to continue along the same path and to perfect his knowledge as a self-taught artist. Viñes followed Picasso's advice, first entering the Academy of Sacred Art in Paris, where he was a pupil of Maurice Denis and Georges Desvallieres and then, in 1922, completing his training with André Lothe and Gino Severini. The following year he participated as a decorator in Manuel de Falla's "El retablo de Maese Pedro" and exhibited for the first time at the Salon d'Automne. That same year, 1923, he came into contact, through his friend Manuel Ángeles Ortiz, with the circle of young Spanish artists living in Paris: Francisco Bores, Luis Buñuel, Joaquín Peinado, Francisco García Lorca, Pancho Cossío, Rafael Alberti, Ismael de la Serna, etc. At the age of twenty he decided to devote himself fully to painting, and immediately obtained the support of two important critics, Tériade and Zervos, the latter being the director of "Cahiers d'Art". From then on he exhibited regularly at the Percier and Max Berger galleries in Paris. After the Second World War a very difficult period began for the painter, in which, despite numerous group and solo exhibitions, he did not achieve the notoriety that his brilliant beginnings had promised. It was not until 1965 and the major retrospective devoted to him by the Madrid Museum of Modern Art that he was finally recognised as one of the most brilliant painters of his generation. From that moment on, exhibitions followed one after the other in leading galleries all over Spain, such as Théo (Madrid and Valencia), Dalmau (Barcelona) and Ruiz (Santander). In the early eighties, important retrospective exhibitions were held at the Casa de España in Paris, the Museum of Fine Arts in Santander and the Bonnat Museum in Bayonne. In 1988 he was awarded the Gold Medal of Arts and Letters by King Juan Carlos I. At the same time, his international fame grew as a result of exhibitions held in Germany, Denmark, the United States, Czechoslovakia, England and Japan. Far from schools and any hint of boastfulness, Viñes's work continued its path in France, and museums all over the world began to acquire his works. He is currently represented in the Reina Sofía Museum in Madrid, the Georges Pompidou Centre in Paris, the Museums of Albi, Castres and Saint-Ouen in France, the Fine Arts Museums of Tel-Aviv, Buenos Aires and Prague, the Patio Herreriano Contemporary Art Museum in Valladolid and the ARTIUM in Vitoria, among many others.

MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Malaga, 1933 - Antequera, Malaga, 2006)."Loreley", 1981-1986.Polished and patinated bronze. Sample 134/500.A pearl is missing from the interchangeable piece of the mouth.The base and the coupling that form part of the mouth piece are missing.No maker's book.Signed and numbered on the back.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 30 x 14 x 20 cm.Round sculpture showing the face of an enigmatic character. The work is made up of pieces that complete a whole, some of them like the rose of the mouth. Miguel Ortiz Berrocal showed a special predilection for articulated and detachable bronze sculptures. Inspired by the main creative forces of the first half of the 1900s, the artist sought his own artistic path. He was inspired by science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space. Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and from 1968 he alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicettera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.

VICTOR VASARELY (Pécs, Hungary, 1908 - Paris, 1997)."Multicheyt", 1973Oil on canvas.Signed in the lower margin. Signed, dated and titled on the reverse.Provenance: Theo Gallery, Madrid; Private collection.Exhibitions: Madrid, Galería Theo, "Vasarely", May 1975.Bibliography: Catalogue of the exhibition "Vasarely", Galería Theo, Madrid, 1975, pg. 309.Auctions: at Alcalá Subastas, "Multicheyt" in Madrid fetched an auction price of 95000 euros (08/06/2017).Provenance: private collection conceived since the 1970s between London and Madrid.Size: 120 x 120 cm.The painting "Multicheyt" belongs to the Vega series, one of Victor Vasarely's most emblematic, which the Franco-Hungarian artist, the father of Op Art, produced at the height of his career. Vasarely chose for this series the name of the star Vega, the brightest star on summer nights in the northern hemisphere. It is based on the discovery that the deformation of a two-dimensional grid can generate an abstract three-dimensional landscape, with elevations and depressions, where squares are transformed into rhombuses and circles into ellipses. Thus, the illusionistic effect that combines convexity and concavity with dilation and contraction, contains a meditated cosmic symbolism, evoking the rhythm born of the stars, as well as the formation of galaxies by the expansion of the universe as a whole. Multicheyt's polychrome grid, composed of irregular octagons and rhombuses, manages to simulate a subjugating dynamic three-dimensionality.Considered the father of Op Art, Victor Vasarely began his artistic training at the Muheely school, founded in Budapest by a Bauhaus pupil. He settled in Paris in 1930, where he produced what is now considered the first Op Art work, "Zebra" (1937). In Paris he worked as a graphic designer for advertising agencies. During this period his artistic style shifted from figurative expression to a type of constructive and geometric abstract art, and he became interested in the representation of perspective without vanishing points. Between 1936 and 1948 he participated regularly in the Salon des Surindependants and the Salon des Nouvelles Réalités. From 1948 onwards he exhibited regularly at the Denise René gallery. In the 1950s his work moved towards the use of new materials and supports such as aluminium and glass. He also began to produce works that integrated with space, such as Homage to Malevich. In the 1960s he took part in numerous group exhibitions, such as The Responsive Eye at the Museum of Modern Art in New York, as well as solo exhibitions in Europe and America. Among the numerous awards he received during his lifetime, the Guggenheim Prize (1964), the Brussels Art Critics' Prize and the gold medal at the Milan Triennial are particularly noteworthy. In 1970 he was made a Knight of the Order of the Legion of Honour. He is represented in the museums dedicated to him in Aix-en-Provence, Pécs and Budapest, but also in the most important contemporary art centres in the world, such as the Tate Gallery in London, the MoMA in New York, the Guggenheim in Venice and the Reina Sofía in Madrid.

A modern Art Deco style side board fitted four drawers

FOUR BOXES AND LOOSE HORSE RIDING AND SPORTING EQUIPMENT, COSTUME JEWELLERY AND SUNDRY ITEMS, comprising horse riding hats, pairs of modern riding boots size 3 and smaller, a vintage Slazenger wooden tennis racquet, a leather satchel, a cased poker set, an Art Nouveau pewter stamp box in need of some attention, assorted costume jewellery, The Battle of Egypt and The Army at War: Tunisia publications, together with a quantity of Images of War partworks, etc (4 boxes + loose) (sd)

VARIOUS ART ACCESSORIES, EASELS ETC, MODERN CROQUET SET IN BAG, CLOTHING ETC

Modern Art Glass Mottled & Ribbed Vases, height of tallest 25cm(3)

Modern Art Glass Mottled Vase, height 36cm together with Antique Copper Kettle ( height 27cm)

Art Deco-style beaded glass desk or table lamp and other similar glass ceiling light shades and a large modern Poole Pottery planter

A Modern Art Deco Style Nickel Plated Polar Bear Cocktail Shaker, probably by Lg Restoration Hardware, 25.5cm high

Gwen Raverat (1885-1957), woodcut on paper, The Bathers (1920), 15cm x 15cm, mounted, glazed and framed. From Modern Woodcutters 1, printed by W.Bradley at the Morland Press and published by Herbert Furst at the Little Art Rooms, Duke Street, London WC2 in October 1920

Graham Sutherland (1903-1980) Collection of ten catalogues on the artist, including dedication from the artist and limited edition catalogue. The original owners of these items were neighbours and friends of the artist and his wife and would act as housekeepers when they were away. Provenance: Lot 138, Roseberys Modern British and Twentieth Century Art sale 11.10.22

Ken Moroney (1949 - 2018), still life study, oil on board, 45cm x 60cm, framedGood original condition, provenance: Margate Modern Art

JOHN RUSKIN: MODERN PAINTERS, Orpington, Kent, George Allen, 1888, 6 vols 'complete' edition, 4to, original cloth worn + JULIUS MEIER-GRAEFE: MODERN ART BEING A CONTRIBUTION TO A NEW SYSTEM OF AESTHETICS, London, William Heinemann, 1908, 1st edition, 2 vols, 4to, original cloth worn, vol 1 split at spine (8)

An Art Deco style wool rug, modern, with geometric design in shades of brown with black and red183 x 122cmA modern rug made in India, in good condition with no apparent condition issues or stains.

A group of four Art Nouveau lithographic posters, late 20th century, to include works by Arthur Orr, Henri Meunier, Theo van Rysselberghe and Otto Fischerpublished by C.C. Meinhold & Sohne, Dresden for Sonsel's 1897 Das Moderne Plakat (Modern Poster) book, printed by Verlag von Gerhard Kuhtmann, Dresden; unframed29 x 21.5cm

§ John Banting (1902-1972) and Humphrey Spender (1910-2005) Vogue Fashion Set Up, composed by Banting and photographed by Spender, circa 193615 x 20cmtogether with an enlarged copy of the same subject 27 x 37cmand two facsimile copies of Banting drawings 20 x 25.5cm and 27.5 x 17cm (4)Literature:Andrew Wilson, British Surrealism & Other Realities: The Sherwin Collection, Middlesbrough, 2008, Middlesbrough Institute of Modern Art, p.24Silvano Levy and Tanja Pirsig-Marshall, British Surrealism in Context: A Collector's Eye, Huddersfield, 2009, Jeremy Mills Publishing, illus., p.34

§ Carel Weight CH, CBE, RA (1908-1997) Coldway, Teddington oil on board25.5 x 32cm Provenance:With The Piccadilly Gallery, LondonSale; Bonhams, Modern British and Irish Art, 15 March 2006, lot 63

§ A set of six Elizabeth II silver champagne flutes by Gerald Benney CBE (1930-2008),London, 1964, retailed by Hardy Brothers, Australia, with plain circular bases and gilt-lined bowls on cast bark pattern stems, 41.9ozt16cm highUnlike many artists and craftsmen, Gerald Benney did not have to wait until after his death, in 2008, to be widely regarded as one of the most renowned gold and silversmiths of the twentieth century. During his exceptional career which spanned over half a century, Benney received both critical and commercial success and was credited as the first British craftsman to simultaneously hold four royal warrants. Prized for its clean, minimalist designs influenced by modern Scandinavian aesthetics and for its characteristic ‘bark finish’, Benney’s work has remained highly sought after by both public institutions and private collectors across the world.Born into a creative family - his father a painter and his mother a silversmith - Benney spent his early years in Hull, before the family relocated to Brighton where his father became the principal of the College of Art. Between 1946 and 1948, Benney studied at his father’s college, though it was under the tutelage of Dunstan Pruden, the Roman Catholic ecclesiastical arts and crafts silversmith, that his talents truly flourished. After a two-year interruption to his studies due to national service, Benney was awarded the Prince of Wales scholarship to study at the Royal College of Art. It was during this time that Benney met fellow students and future silversmiths, David Mellor and Robert Welch. A lively social circle was quickly formed amongst the group of young silversmiths and whilst this proved fertile in the exchange of ideas and techniques, this was not reflected in Benney’s final examinations.Despite the blemishes to his academic transcript from the RCA, Benney continued to pursue his trade and was suitably rewarded with a number of notable commissions for patrons including Christie’s, the ICA and numerous Oxford and Cambridge Colleges. In the late 1950s, Benney was appointed as Consultant Designer to Viners of Sheffield, during which time he produced an enormously popular line of flatware. Celebrated both for its design credentials and its technical innovation, Benney’s mass-market wares utilised the 'no-scrap technique', which allowed Viners to produce items in great quantity with very little waste.His many significant roles included Royal Designer for Industry in 1971, a Professorship at the Royal College of Art (1974-83), the Chairmanship of the Government of India Hallmarking Survey (1981), export advisor to the Malaysian manufacturer, Selangor Pewter, and advisor to The Silver Trust. He was made a Freeman of the City of London and of the Borough of Reading and Honorary Fellow of the Royal College of Art, receiving a CBE in 1995.

Five books on Japanese Art comprising Bushell (Raymond), The Art of Netsuke Carving by Masatoshi, pub. Kodansha Int. Ltd., 1981, 1st Ed., with slip case; Hurtig (Bernard), Masterpieces of Netsuke Carving, pub. Weatherhill 1975, 1st ed. 2nd printing, with slip case; Bushell (Raymond), Netsuke Familiar & Unfamilar, pub. Weatherhill 1975, 1st ed.; Bushell (Raymond), The Inro Handbook, pub. Weatherhill 1979, 1st ed.; and Michiner (James A.), Japanese Prints from the Early Masters to the Modern, pub. Charles E. Tuttle Co. Ltd., 1975, eighth printing. (5)

A modern Italian silver twin handle ice bucket by Fratelli Cacchione, of Art Nouveau form with tapering free flowing design with twin split handles, 9¾in. (24.8cm.) high, weight 53.2 tr.oz.* Condition: Good with very little wear.