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Miles, W. J. Modern Practical Farriery, A Complete System of the Veterinary Art, London: Gresham, [c. 1880]. Quarto, publisher's pictorial cloth lettered in gilt, illustrated with colour lithographic plates and wood-engravings. Good, clean, bright, lacking front free endpaper. Together with A History of the Meynell Hounds and Country 1780 to 1901, by J. L. Randall, in two volumes, London: Sampson Low, 1901, octavo, publisher's ribbed red cloth, contents good and bright, remnants of ownership label on front pastedowns, some discolouration/marks & slight wear to cloth (3)

Hendrik Goltzius - Magician Demogorgon in Cave of Eternity Oval Chiaroscuro woodcut from three blocks: The Magician; Demogorgon in the Cave of Eternity; he sits writing on a tablet and holding a wand with smoke coming out of his mouth; next to him is a serpent biting its tail symbolizing eternity, the Ouroboros, and a bubble containing a multi-breasted woman (Nature / Diana of Ephesus), with a hand pump spraying animals and plants . The subject is linked to the esoteric and alchemic tradition prevalent in the sixteenth century. Considered as the most accomplished chiaroscuro by Goltzius 35,00 x 26,50 cm Complete with the oval borderline. Flattened middle fold reinforced at backside. A very good well inked impression of this rare important chiaroscuro in very good condition. New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (294b) --- Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (374) --- Hirschmann 1921 / Hendrik Goltzius, Verzeichnis des graphischen Werkes (374) --- Strauss 1977 / Hendrik Goltzius: the complete engravings and woodcuts (418) --- Bartsch / Le Peintre graveur (III.73.238) --- Literature: N. Bialler, 'Chiaroscuro woodcuts: Hendrick Goltzius and his time', Rijksmuseum Amsterdam and Cleveland Museum of Art, ex.cat., 1993, no.26b; --- Susan Dackerman et al., 'Prints and the Pursuit of Knowledge in Early Modern Europe', Yale UP, 2011, cat.no.97 Chiaroscuro woodcut 1588

Konstruktivismus - - Katherine Dreier. Western Art and the New Era. Introduction to Modern Art. Mit farbigem Frontispiz (Kandinsky Composition Nr. 234) und 60 schwarz-weiss Abb. New York, Brentano's Publishers, 1923. XII S., 139 S. 4°. Zweifarbig illustr. OLeineneinband mit DTitel und hs. RTitel "Drier" (sic!, von Naum Gabo betitelt). Mit einer hs. dat. und unterzeichneten Widmung von Katherine Dreier an Naum Gabo (etw. fleckig, berieben u. bestoßen). Widmungsexemplar. Ex libris 3, 302, 5, 650. - Spalek 202. - Literatur: The Société Anonyme and the Dreier Bequest at Yale University (1984), S. 754. - Gross, J. The Société Anonyme (2006), S. 221. - Wichtige Publikation zum Verständnis der Kunst der Malerin, Mäzenin und Kunstsammlerin Katherine S. Dreier, welche zusammen mit Marcel Duchamp und Man Ray Mitbegründerin der New Yorker Kunstvereinigung "Société Anonyme Inc." war. Die hs. Widmung Dreiers an den russischen Bildhauer und Konstruktivisten Naum Gabo (eigentlich Naum Neemia Pevsner) und seine Frau Miriam auf dem fliegenden Vorsatz: "For / dear Gabo and Miriam / with the one desire than an / enlarged edition of this book / might appear so that those / two great Masters in Sculpture / Gabo and (Antoine) Pevsner might / be included and publicly / show my deep appreciation / of their contribution to the / new Forms of Beauty in Art. / Katherine S. Dreier / May 16th. 1938. This book are (sic!) the lectures given 1920-21 / for the Forum og Cooper Union , New York". - Je die ersten und die letzten 2 Bll. etw. stockfleckig, insgesamt sehr sauberes und wohlerhaltenes, mit Widmung Dreiers an Gabo in dieser Form einzigartiges Exemplar. Dedicated copy Western Art and the New Era. Introduction to Modern Art. With color frontispiece (Kandinsky Composition No. 234) and 60 black and white illustrations. Two-colour illustrated cloth binding with handwritten spine title "Drier" (sic!, titled by Naum Gabo). With a signed and dated dedication by Katherine Dreier to Naum Gabo (somewhat stained, rubbed and bumped). - Important publication of the painter, patron and art collector Katherine S. Dreier, who together with Marcel Duchamp and Man Ray was a co-founder of the New York art association "Société Anonyme Inc.". Dreier's dedication to the Russian sculptor and Constructivist Naum Gabo (Naum Neemia Pevsner) and his wife Miriam on the blank endpaper. - The first and the last 2 pages each slightly foxed, overall very clean and well preserved copy with Dreiers dedication to Gabo, a unique copy in this form.

Jugendstil - - Ernst Haeckel. Kunstformen der Natur. Mit 100 teils chromolithographischen Tafeln. Leipzig u. Wien, Bibliographisches Institut, 1904. 2 Bll., 100 Bll., 51 S. (Supplement). Folio. Dunkelgrüne ill. OLwd. (berieben und bestoßen, Rücken fehlend). Erste Ausgabe. - Nissen 1783 und II, 336ff. - Mit dem eingebundenen Supplementheft (Allg. Erläuterung und systematische Übersicht ). - Das bedeutende Tafelwerk schlägt eine Brücke zwischen Naturwissenschaft und Gegenwartskunst und stellt in überaus ästhetischer Form Kleinstorganismen aus dem Pflanzen- und Tierreich dar. "Dagegen ist den meisten Menschen größtenteils aber ganz unbekannt jenes unermeßliche Gebiet der niederen Lebensformen, die versteckt in den Tiefen des Meeres wohnen oder wegen ihrer geringen Größe dem unbewaffneten Auge verschlossen bleiben .. Die vorliegenden Kunstformen der Natur verfolgen den Zweck, jene verborgenen Schätze ans Licht zu ziehen und einem größeren Kreise von Freunden der Kunst und der Natur zugänglich zu machen." (Vorwort). Haeckels Mitarbeiter Adolf Glitsch schuf die Lithographien für dieses Vorlagenwerk der modernen bildenden Kunst. Seine Untersuchung der Formenwelt der Natur hatte bleibenden Einfluss auf das mit dem Jugendstil aufblühende Kunstgewerbe. - Papierbedingt zart gebärunt. Stellenweise etwas fingerfleckig, vereinzelt fleckig. With 100 partly chromolithographic plates. Folio. Dark green ill. orig. cloth (rubbed and bumped, spine missing). - First edition. - With the bound-in supplement. - This important work of plates builds a bridge between natural science and contemporary art and depicts in an extremely aesthetic form microorganisms from the plant and animal kingdoms. Haeckel's collaborator Adolf Glitsch created the lithographs for this model work of modern visual art. His study of the world of forms in nature had a lasting influence on the arts and crafts that blossomed with Art Nouveau. - Paper moderately browned. Somewhat fingerstained in places, sporadically stained.

GRUPO AUSTRAL (Antoni Bonet, Juan Kurchan and Jorge Ferrari-Hardoy). Argentina, 20th century."Butterfly Chair. Original design from 1938. Edition of the 1970s.Light brown leather and tubular metal.Slight restoration, visible on the back of the seat.Slight damage to the leather.Measurements: 92 x 76 x 67 cm.The BKF chair, also known as "Butterfly", is an iron and leather chair created in Buenos Aires by the Austral Group, composed by Antoni Bonet, Juan Kurchan and Jorge Ferrari. Today it is considered the main symbol of Argentine design, and one of the most celebrated internationally. It was created in 1938, and presented at the Salón de Artistas Decoradores de Buenos Aires in 1940. It was the result of the happy meeting of three young architects who met in Paris, in Le Corbusier's studio. Antonio Bonet, Juan Kurchan and Jorge Ferrari-Hardoy spent a year studying with the master, absorbing his legacy. They were particularly influenced by the book "L'Art Décoratifs d'Aujourd'hui", in which Le Corbusier demolished the idea of decorative art in favour of modern design. In his book, the architect analyses new designs, from furniture and technical objects to mass-produced industrial products and solutions conceived in military contexts that could be transferred to the domestic environment. Upon their return to Argentina, the three young men founded Grupo Austral, a design collective ready to investigate new horizons in architecture. The precedent for the Butterfly chair was the Tripolina: a redesign of a classic piece of military furniture. The three designers studied its potential and redesigned it, improving its features to give it a place of honour in the new domestic environment. They focused on the structure, inspired by the international tubular metal trend of the rationalist movement. The wooden frame with metal joints was replaced by two curved metal elements to create a single loop. The structure is linear, pure and continuous like a Möbius strip. It is versatile, light and stackable like a chair, but also comfortable and spacious like an armchair. The level of comfort it offers is reminiscent of a hammock, the traditional Latin American chair that forms a cocoon-like womb and offers the lightness and cleanliness of a hanging canvas. Today, the Butterfly is still recognised as a modern classic that enjoys universal success.

EERO SAARINEN (Finland, 1910 - United States, 1961).Tulip Table, 1960s.White enamelled metal base and veined marble top.Marks of use on the base, especially noticeable on the shaft.Measurements: 71.5 x 120 cm.Around 1955 Eero Saarinen designed a collection of furniture for Knoll International in which the four legs of the tables and chairs disappeared, as the designer considered them "horrible". This was to become known as the Tulip Collection, now one of the international icons of 20th-century design. The one we present here is a side table model, with a white enamelled metal base and a circular tabletop in light veined marble.Saarinen initially studied sculpture at the Académie de la Grand Chaumière in Paris, and later architecture at Yale University. He then furthered his studies in Europe on a scholarship, and on his return took up a teaching post at Cranbrook Academy, one of the most important architectural and industrial design academies in the United States. In 1937 he began designing furniture in collaboration with Charles Eames, winning the 1940 prize in the "Organic Design in Home Furnishings" competition organised by the Museum of Modern Art in New York. Later, as an independent designer, Saarinen created furniture designs for Knoll International. As an architect, Saarinen became famous for his spaces with curved lines, especially in the roofs of his buildings, with which he managed to give them a great lightness. One of his most representative and well-known buildings is the TWA terminal at J. F. Kennedy Airport in New York. Today, his designs are present in the most important collections around the world, including the MoMA in New York.

CHARLES EAMES (USA, 1907 - 1978) for VITRA.Segmented table.Table with Santos rosewood veneered top. Chromed aluminium frame.Design 1964.Manufactured by Vitra. Labelled as such.Newly veneered by a professional cabinetmaker.Measurements: 72 x 170 x 100 cm.Table with top veneered in Santos rosewood, rectangular, without mouldings or ornaments, with rounded corners, raised on a chromed aluminium tripod structure with aerodynamic lines, creating an open base that gives lightness to the design. Charles Eames extracts poetry from the simple object, having learned from the modern movement the combination of rigour and originality.Charles and Ray Ames, a married couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for HERMAN MILLER."Lounge Chair", design 1956. Edition 1984.Black leather upholstery.Black polished aluminium base and wooden frame.With publisher's label.The leather is slightly worn.Measurements: 78 x 70 x 90 cmLounge" armchair, made in moulded wood, with leather upholstery, was designed by Charles and Ray Eames. Icon of 20th century design, this piece of furniture is part of important collections such as the MoMA in New York. This one was edited by Herman Miller in 1984.Charles and Ray Ames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for HERMAN MILLER."Lounge Chair", design 1956. Edition 1984.Black leather upholstery.Black polished aluminium base and wooden frame.With publisher's label.The leather is slightly worn.Measurements: 78 x 70 x 90 cm.Lounge" armchair, made in moulded wood, with leather upholstery, was designed by Charles and Ray Eames. Icon of 20th century design, this piece of furniture forms part of important collections such as that of the MoMA in New York. This one was edited by Herman Miller in 1984.Charles and Ray Ames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

NO RESERVE Maritime.- Fairbairn (William) Treatise on Iron Ship Building: Its History and Progress, first edition, modern half calf, 1865 § Young (J.R.) Navigation and Nautical Astronomy, modern calf-backed boards, 1858 § Gould (Lt.-Cdr. Rupert T.) The Marine Chronometer: It's History and Development, reprint, 1960 § Waters (David W.) The Art of Navigation in England in Elizabethan and Early Stuart Times, 1958 § Hydrographic Office, Admiralty. Pacific Islands, vol.III (Eastern Groups): Sailing Directions for the Tubuai, Cook, and Society Islands..., lightly water-stained, 1885, some plates and illustrations, all but the first two original cloth, the third with frayed dust-jacket, the last a little stained; and c.20 others, maritime, 4to & 8vo (c.25)

NO RESERVE Bibliography.- Hobson (Anthony) Humanists and Bookbinders: The Origins and Diffusion of the Humanistic Bookbinding 1459-1559..., reprint, Cambridge, 1992 § Nixon (Howard M.) Five Centuries of English Bookbinding, reprint, 1979 § Pearson (David) English Bookbinding Styles 1450-1800, London and New Castle, De., 2005 § Middleton (Bernard) A History of English Craft Bookbinding Technique, second edition, 1978 § Ayres (James) The Artist's Craft: A History of Tools, Techniques and Materials, light spotting to title, Oxford, 1985; Art, Artisans & Apprentices: Apprentice Painters and Sculptors in the Early Modern British Tradition, Oxford and Philadelphia, 2014 § Balston (Thomas) William Baslton: Paper Maker 1759-1849, 1954, illustrations, original cloth or boards, all but the third with dust-jackets, the last defective; and c.20 others on bookbinding, papermaking, and artists' crafts, 4to & 8vo (c.25)

NO RESERVE Russell (Frank) Art Nouveau Architecture, 1979 § Borsi (Franko & Paolo Portoghesi. Victor Horta, 1996 § Gere (Charlotte) Artistic Circles: Design & Decoration in the Aesthetic Movement, 2010 § Spours (Judy) Art Deco Tableware: British Domestic Ceramics 1925-1939, 1988 § Halèn (Widar) Christopher Dresser: A Pioneer of Modern Design, reprint, original wrappers, 2000, illustrations, all but the last original cloth or boards, all but the second with dust-jackets; and a quantity of others on modern design and interiors, including many Studio Yearbooks, 4to & 8vo (Quantity)

A modern ceramic table lamp in the form of an Art Deco style lady holding a globe aloft

A TRAY OF CLOCKS AND LIGHT FITTINGS ETC TO INCLUDE A MODERN CUCKOO CLOCK AND AN ART DECO LIGHT

Bas van Pelt (1900-1945),An oak dining suite, ca. 1938-40,Comprising an oak dining table and a set of six oak dining chairs, the table with a rectangular top above a pair of H-shaped supports joined by a plank stretcher, the throne chairs each with a high backrest with round wooden uprights, above a square cushion covered in light green silk, on four tapering plank legs joined by an H-shaped stretcher, the table and chairs marked 'bas van pelt'.These pieces are part of a dining room suite (comprising an oak table, six dining chairs and a sideboard [see lot 7513]), which was the last set of furniture Bas van Pelt designed before the arrival of World War II in the Netherlands. The striking play of vertical lines in the high backrests of the dining chairs are emblematic of the influence of the American architect and designer Frank Lloyd Wright. Wright's oeuvre impacted the work of a great number of The Hague designers such as Henk Wouda, Frits Spanjaard, Cor Alons and Jan Wils. Moreover, in Van Pelt’s choice for the warm and humble quality of wood we can also recognize the influence of Dutch Arts and Crafts tendencies, such as the work of Alexander Kropholler. It is this mindset that led Van Pelt to convert the simple steel tubular frame into a wooden equivalent. However, one key element that sets Van Pelt's designs apart from his colleagues is the element of doubt, as characterized by art historian Timo de Rijk. Van Pelt alternated modern influences with more traditional European forms and techniques, such as wicker seats and curved armrests. In these experiments, Van Pelt's work approaches much more the curvaceous style of designer Sybold van Ravesteijn, which deviated from the functionalist tendencies in the world of architecture and design during the 1920s and 1930s.This exact dining room suite was included in an exhibition of the Haagse Kunstkring (The Hague Art Circle) in the Gemeentemuseum, The Hague (the current Kunstmuseum) in 1941. While this exhibition was primarily organized to celebrate the 50th anniversary of the Kunstkring, it also facilitated the handover of the Kunstkring's building on the Lange Houtstraat to the German occupier. Moreover, the exhibition was also an opportunity to fill the empty rooms of the museum, a void that was a result of the removal and storage of undesirable art by the nazis. In 1949, the dining room suite was bought by the father of the current owner as a wedding gift for his wife, and has stayed in the family since.,Table: 75x180x99 cm, chairs: 117x55x62 cm,,Literature: This exact set was discussed and illustrated in the exhibition catalogue Jubileum Haagsche Kunstkring 1891-1941 (Gemeentemuseum, The Hague, 1941), and in P. Koomen, Binnenhuis: karakter en sfeer: het werk van Bas van Pelt (The Hague 1943).Provenance: Exhibition: Gemeentemuseum, The Hague, 1941, on the occasion of the 50th anniversary of the Haagse Kunstkring.Bought from the shop of Bas van Pelt in 1949 by the father of the current owner.With thanks to Karel Bodegom, Bas van Pelt, The Hague.

Ian Hamilton Finlay (1925-2006), In World War I, Many Ships Were Sunk By Submarines Which Disliked Modern Art, screenprint invitation card. H.26 W.31cm.

Rufus By Louise Luton Limited Edition 25/50 In A Glazed White Wood Modern Frame Born In Salisbury In 1971. She Gained Her Degree In Fine Art From Digby Stuart College, Roehampton, London (University Of Surrey) In 1992 PGCE Art And Drama University Of Exeter 1994. After Living And Working In London, Exeter And Bournemouth, Louise Returned To Her Hometown Of Salisbury In 2009 44 x 44cm

Hampshire Hog By Louise Luton Limited Edition 32/50 In A Glazed White Wood Modern Frame Born In Salisbury In 1971. She Gained Her Degree In Fine Art From Digby Stuart College, Roehampton, London (University Of Surrey) In 1992 PGCE Art And Drama University Of Exeter 1994. After Living And Working In London, Exeter And Bournemouth, Louise Returned To Her Hometown Of Salisbury In 2009 44 x 44cm

Mackenzie By Louise Luton Limited Edition 30/50 In A Glazed White Wood Modern Frame Born In Salisbury In 1971. She Gained Her Degree In Fine Art From Digby Stuart College, Roehampton, London (University Of Surrey) In 1992 PGCE Art And Drama University Of Exeter 1994. After Living And Working In London, Exeter And Bournemouth, Louise Returned To Her Hometown Of Salisbury In 2009 44 x 44cm

Grace By Ines Kouidis Signed Canvas Wall Art In Modern Blue Frame 72 x 72cm Ines Kouidis' Collages Are A Sight To Behold; Cut-Out, Scrapbook Hysteria, Tautly Expressed With A Masterly Skill. The Artist's Pop Culture Iconography Finds Agency Through Her Fascination With Matters Of Fame And Fashion. Every Single One Of Her Portraits Is A Rollercoaster Ride Through The Entangled Webs Of The Media, The Viewing Public, And The Artist's Keen Eye. Taking Her Raw Material From Vintage Magazines, Film Posters, And Publicity Prints, Kouidis' Aesthetic Is An Elegant Mish-Mash Of Spent Hopes, Fulfilled Dreams, And Yesterday's News. An Artisan In The Strictest Sense Of The Word, Kouidis Allows Her Work To Pay Witness To The Deconstructive Process Of Fame And Celebrity Culture. The Fragility Of The Human Body Is Often Emphasized, As The Artist Explores The Slightest Movements Of Dancers, Athletes, And Swimmers, And Reflects The Resonance Of These Snatched Glimpses.

Allen Jones R.A. (British, born 1937)Mezzo Mural, 1995Oil on MDF 272.5 x 243cm (107 5/16 x 95 11/16in).Footnotes:Commissioned for Sir Terence Conran's Soho restaurant Mezzo, at 100 Wardour Street, which opened in 1995. The mural was placed on the 'stage' of the downstairs restaurant and acted as a backdrop to music performances throughout the evening.For a preliminary sketch of the design by Allen Jones, see picture 2. ©Allen Jones. Courtesy of the artist.Exhibited: London, The Way We Live Now, Design Museum, November 2011 to March 2012.Germany, Allen Jones - Off The Wall: Pop Art 1957-2009, solo exhibition, Institut für Kulturaustausch: this exhibition travelled to Kunsthalle Tübingen, UNESCO World Cultural Heritage Site Völklinger Hütte, and Kunstsammlungen Chemnitz, June 2012 to September 2013.London, Allen Jones RA, solo exhibition, The Royal Academy, November 2014 to January 2015. Literature: O. Letze, M. Livingstone and N. Rosenthal, exhibition catalogue, Allen Jones - Off The Wall: Pop Art 1957-2009, 2012, pp.176-177.The Royal Academy, exhibition catalogue, Allen Jones, 2014, pp.98-99, no. 58.D. Sudjic, Terence Conran: Making Modern Britain, 2021, p. 141.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Allen Jones R.A. (British, born 1937)Mezzo Mural, 1995Oil on MDF 272.5 x 209cm (107 5/16 x 82 5/16in).Footnotes:Commissioned for Sir Terence Conran's Soho restaurant Mezzo, at 100 Wardour Street, which opened in 1995. The mural was placed on the 'stage' of the downstairs restaurant and acted as a backdrop to music performances throughout the evening.For a preliminary sketch of the design by Allen Jones, see picture 2. ©Allen Jones. Courtesy of the artist.Exhibited: London, The Way We Live Now, Design Museum, November 2011 to March 2012.Germany, Allen Jones - Off The Wall: Pop Art 1957-2009, solo exhibition, Institut für Kulturaustausch: this exhibition travelled to Kunsthalle Tübingen, UNESCO World Cultural Heritage Site Völklinger Hütte, and Kunstsammlungen Chemnitz, June 2012 to September 2013.London, Allen Jones RA, solo exhibition, The Royal Academy, November 2014 to January 2015. Literature: O. Letze, M. Livingstone and N. Rosenthal, exhibition catalogue, Allen Jones - Off The Wall: Pop Art 1957-2009, 2012, pp.176-177.The Royal Academy, exhibition catalogue, Allen Jones, 2014, pp.98-99, no. 58.D. Sudjic, Terence Conran: Making Modern Britain, 2021, p. 141.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Allen Jones R.A. (British, born 1937)Mezzo Mural, 1995Oil on MDF 272.5 x 243cm (107 5/16 x 95 11/16in).Footnotes:Commissioned for Sir Terence Conran's Soho restaurant Mezzo, at 100 Wardour Street, which opened in 1995. The mural was placed on the 'stage' of the downstairs restaurant and acted as a backdrop to music performances throughout the evening.For a preliminary sketch of the design by Allen Jones, see picture 2. ©Allen Jones. Courtesy of the artist.Exhibited: London, The Way We Live Now, Design Museum, November 2011 to March 2012.Germany, Allen Jones - Off The Wall: Pop Art 1957-2009, solo exhibition, Institut für Kulturaustausch: this exhibition travelled to Kunsthalle Tübingen, UNESCO World Cultural Heritage Site Völklinger Hütte, and Kunstsammlungen Chemnitz, June 2012 to September 2013.London, Allen Jones RA, solo exhibition, The Royal Academy, November 2014 to January 2015. Literature: O. Letze, M. Livingstone and N. Rosenthal, exhibition catalogue, Allen Jones - Off The Wall: Pop Art 1957-2009, 2012, pp.176-177.The Royal Academy, exhibition catalogue, Allen Jones, 2014, pp.98-99, no. 58.D. Sudjic, Terence Conran: Making Modern Britain, 2021, p. 141.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Allen Jones R.A. (British, born 1937)Mezzo Mural, 1995Oil on MDF 256 x 159cm (100 13/16 x 62 5/8in).Footnotes:Commissioned for Sir Terence Conran's Soho restaurant Mezzo, at 100 Wardour Street, which opened in 1995. The mural was placed on the 'stage' of the downstairs restaurant and acted as a backdrop to music performances throughout the evening.For a preliminary sketch of the design by Allen Jones, see picture 2. ©Allen Jones. Courtesy of the artist.Exhibited: London, The Way We Live Now, Design Museum, November 2011 to March 2012.Germany, Allen Jones - Off The Wall: Pop Art 1957-2009, solo exhibition, Institut für Kulturaustausch: this exhibition travelled to Kunsthalle Tübingen, UNESCO World Cultural Heritage Site Völklinger Hütte, and Kunstsammlungen Chemnitz, June 2012 to September 2013.London, Allen Jones RA, solo exhibition, The Royal Academy, November 2014 to January 2015. Literature: O. Letze, M. Livingstone and N. Rosenthal, exhibition catalogue, Allen Jones - Off The Wall: Pop Art 1957-2009, 2012, pp.176-177.The Royal Academy, exhibition catalogue, Allen Jones, 2014, pp.98-99, no. 58.D. Sudjic, Terence Conran: Making Modern Britain, 2021, p. 141.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Allen Jones R.A. (British, born 1937)Mezzo Mural, 1995Oil on MDF, in two panels One panel 172 x 241cm (67 11/16 x 94 7/8in); the other 272 x 207cm (107 1/16 x 81 1/2in)Footnotes:Commissioned for Sir Terence Conran's Soho restaurant Mezzo, at 100 Wardour Street, which opened in 1995. The mural was placed on the 'stage' of the downstairs restaurant and acted as a backdrop to music performances throughout the evening.For a preliminary sketch of the design by Allen Jones, see picture 3. ©Allen Jones. Courtesy of the artist.Exhibited: Germany, Allen Jones - Off The Wall: Pop Art 1957-2009, solo exhibition, Institut für Kulturaustausch: this exhibition travelled to Kunsthalle Tübingen, UNESCO World Cultural Heritage Site Völklinger Hütte, and Kunstsammlungen Chemnitz, June 2012 to September 2013.Literature: O. Letze, M. Livingstone and N. Rosenthal, exhibition catalogue, Allen Jones - Off The Wall: Pop Art 1957-2009, 2012, pp.176-177.D. Sudjic, Terence Conran: Making Modern Britain, 2021, p. 141.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Playford (John). An Introduction to the Skill of Musick. In Two Books. The first: the grounds and rules of musick, according to the gam-ut, and other principles thereof. The second: instructions & lessons for the Bass-Viol: and instruments & lessons for the treble-violin... To which is added, the Art of Descant or composing musick in parts. By Dr. Tho. Campion. With annotations thereon, by Mr. Chr. Simpson, 7th edition, corrected and enlarged, London: W. Godbid for J. Playford, 1674, 2 parts in one volume, two letterpress engravings (of a Bass-Viol. & Treble-Violin), advertisement leaf at end lacking the portrait frontispiece (as often), leaf M7 in second part with tear and small loss of text, a few other small marginal tears, some light toning and stains, early annotations and previous owner signatures (including Nicholas Golboy) to front and rear endpapers (rear endpaper torn with losses), contemporary sheep, small losses at spine ends, spine rubbed, some worming to edges, 8vo, together withBoyce (William). Twelve Sonatas for Two Violins: with a Bass for the Violoncello or Harpsicord, 3 parts in 3 volumes, 1st edition, London: printed for the author and sold by I. Walsh, 1747, 3 engraved titles, dedication to George II, list of subscribers (with 'His Grace the Duke of Ancaster' added in manuscript), engraved sheets of music, occasional light dust-soiling, modern marbled boards with paper labels to spines, folio, plusDonizetti (Gaetano, 1797-1848). Cavatina, con Rec:vo nella Linda di Chamounix, del Sigr. Maestro Cavalier Donizetti, circa 1842, 22pp of ink manuscript music in a contemporary Italian copyist's hand on 20-stave laid paper, with Neapolitan watermark of D. Giovanni G. and fleur-de-lys, closed vertical tear to lower margin of first leaf, without loss, generally in good condition, stitched as issued, oblong 4to, together with approximately 115 leaves additional pages of musical manuscript in a contemporary Italian copyist's hand for the vocal and orchestral parts of the Cavatina from Linda di Chamounix, brown ink on laid paper, ten staves per page, slightly larger oblong 4to, plus 3 other 19th-century music and related manuscripts: an album of songs from Handel, Scarlatti, and others compiled by Miss Cholmondely, early 19th century half red morocco with marbled boards, red morocco gilt ownership label to upper cover, rubbed and slight wear, 4to, a similar collection of songs compiled by Charlotte Katherine Harward, signed and dated April 24th, 1813 to front pastedown, contemporary calf, somewhat worn, 4to, and one other containing text only manuscriptQTY: (8)NOTE:First item: ESTC R11472; Wing P2480. Rare. First published in 1654 as A breefe introduction to the skill of musick eighteen editions were published, the last in 1730. According to Charles Burney, author of A General History of Music (1776-89), the book "contained no late discoveries, no new doctrines either in the theory or practice of the art; yet the form, price, and style were so suited to every kind of musical readers that it seems to have been more generally purchased and read, than any elementary musical tract that ever appeared in this or any other country."Second item: Inscribed by the composer and signed with initials 'W.B.' at foot of first volume and numbered 'No. 140'. Charles Burney wrote that these Sonatas were "more generally purchased and performed and admired than any productions of the kind in this kingdome except those of Corelli. They were not only in constant use, as chamber Music, in private concerts, for which they were originally designed, but in our theatres, as act-tunes, and in public gardens as favourite pieces, during many years."

Warde (Frederic). Printers Ornaments applied to the composition of decorative borders, panels and patterns, London: Lanston Monotype Corpn Ltd., 1928, printed decorative ornaments and borders throughout, with 19 leaves of patterned colour paper, printed endpapers, original gilt-blocked cloth, some fading and mottling to boards, small folio, together with other printing history reference and book collecting reference etc., including Reed (Talbot Baines & Johnson, A.F.), A History of the Old English Letter Foundries, new edition, London: Faber & Faber Ltd., 1952, Fahey (Herbert), Finishing in hand bookbinding: a reprint in facsimile of the 1951 edition with a new introduction by Alan Isaac and foreward [sic] by Maureen Duke, Oxford: Alan Isaac Rare Books with Maureen Duke, 2014, (three copies, limited edition of 500 copies printed), Middleton (Bernard C.), A Bookbinder's Miscellany, Oxford: Alan Isaac Rare Books, 2015, (three copies, limited edition of 500 copies printed), Morison (Stanley), Four Centuries of Fine Printing, 2nd revised (octavo) edition, London: Ernest Benn Ltd., 1949, (limited edition 69/200), Zapf (Hermann), Hermann Zapf & His Design Philosophy, Chicago: Society of Typographic Arts, 1987, The Studio Ltd. (publishers), Modern Book Production, London, 1928, Grosvenor, Chater & Co. Ltd. (publishers), A Specimen book of papers produced at Abbey Mills, Holywell in Flintshire, North Wales, with selected examples of printing by various processes, London: 1958, Keynes (Geoffrey), William Pickering Publisher, revised edition, London: Galahad Press, 1969, Selwyn (David G.), Edmund Geste and his books, reconstructing the library of a Cambridge don and Elizabethan bishop, London: Bibliographical Society, 2017, plus others similar and related pamphlets and periodicals including six issues of The Imprint, 1913, 12 issues of The Black Art & prospectus, 1962-65, and six issues of Printing & Graphic Arts journal, The Stinehour Press, 1958-61QTY: (approx. 150)

Richardson (Charles James). Architectural Remains of the Reigns of Elizabeth and James I, volume 1 only, published by the author, 1840, additional tinted lithographic title and 30 leaves of tinted and uncoloured lithographic plates, some old damp-staining, contemporary quarter morocco gilt, rubbed and partly faded, folio, together with: Remington (Frederic), Drawings, New York & London, 1897, black and white plates, original pictorial cloth, slightly rubbed and soiled, oblong folio, plusSelous (Henry C., illustrator), The Pilgrim's Progress... , by John Bunyan, edited by George Godwin and Lewis Pocock... , London: M.M. Holloway, 1844, engraved plates and illustrations, modern blue half morocco gilt, oblong folio, cloth solander case, plusDallas (Donald), James Purdey & Sons, Gun and Rifle Makers, 200 Years of Excellence, 1st edition, 2013, colour illustrations throughout, original cloth in dust jacket, 4to, plus other miscellaneous art reference, large format, etc.QTY: (2 cartons)

Antique Collectors' Club, publisher. Continental Church Furniture in England, A Traffic in Piety, by Charles Tracy, 1st edition, 2001, numerous colour & monochrome illustrations, original cloth in price-clipped dust jacket, minor rubbing to the head & foot of the covers, 4toVictorian and Edwardian Furniture, by John Andrews, 1st edition, 1992, numerous colour & monochrome illustrations, original cloth in dust jacket, 4to, together with:Fiedler (Jeannine, editor), Bauhaus, 1st edition, Cologne: Könemann, 2006, numerous colour & monochrome illustrations, original cloth in dust jacket, covers lightly rubbed to head & foot, large 4to, plusFairbrother (Trevor), John Singer Sargent, The Sensualist, 1st edition, New Haven: Yale University Press, 2000, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, and other modern art, furniture & interior décor reference & related, mostly original cloth in dust jackets, some paperback editions, G/VG, 8vo/4toQTY: (4 shelves)

Bond (Francis). An Introduction to English Church Architecture from the eleventh to the sixteenth century, 2 volumes, London: Humphrey Milford/Oxford University Press, 1913, numerous monochrome illustrations, bookplates & later inscriptions to the front endpapers, period inscription to the head of volume 1 title page, some light toning, top edges gilt, original uniform gilt decorated blue cloth, boards & spines lightly rubbed to head & foot, large 4to, together with:Bankart (George P.), The Art of the Plasterer, an account of the decorative development of the craft..., 1st edition, London: B. T. Batsford, 1908, numerous monochrome illustrations, bookplate to the front pastedown, some light toning throughout, top edge gilt, original gilt decorated grey cloth, rear boards slightly marked, spine slightly rubbed with a tear to the rear hinge, large 8vo, plusGuest (Montague J., editor), Lady Charlotte Schreiber's Journal..., 2 volumes, 1st edition, London: The Bodley Head, 1911, monochrome illustrations, some light spotting, top edges gilt, original uniform decorated blue cloth, volume 2 boards marked, lightly rubbed to head & foot, and other early 20th-century & modern miscellaneous literature & history reference, including The Diary of Samuel Pepys, 10 volumes, by Robert Latham & William Matthews, mixed editions, London: G. Bell and Sons, 1971-83, all original cloth in dust jackets, 8vo, mostly original cloth, some in dust jackets, G/VG, 8vo/4toQTY: (6 shelves)

Barber (Stephen & Michael Benson, editors). Hope, 1st edition, London: TeNeues, 2019, numerous colour and black & white illustrations, original cloth in dust jacket, lightly rubbed to foot, large 8vo, together with:Breitwieser (Sabine, Editor), Occupying Space, 1st edition, Vienna: Generali Foundation, 2003, numerous colour and black & white illustrations, original cloth in dust jacket, lightly rubbed to head and foot, large 4to, plusGiannetti (Claudia, Editor), El Discreto Encanto de la Tecnologia Artes en España, 1st edition, Spain: Meiac, 2008, many colour illustrations, original cloth in dust jacket, minor rubbing to head and foot, large 8vo, and other modern art reference and related including publications by Tate, Thames and Hudson and Skira, mostly original wrappers, G/VG, 8vo/4toQTY: (6 shelves )

Amirsadeghi (Hossein, Editor). Contemporary Art Brazil, 1st edition, London: TransGlobe Publishing, 2012, numerous colour illustrations, original cloth in dust jacket, 4to, together with:D'Almeida (Neville), Cosmococa Programa in Progress, 1st edition, Argentina: Hélio Oiticica, 2005, numerous colour illustrations, original cloth in dust jacket, 4to, plusThames & Hudson, Publisher, Vision 50 Years of British Creativity, 1st edition, London: Thames & Hudson, 1999, 270 illustrations, ex-library with associated marks, some minor marginal toning, original cloth in dust jacket, large 4to, and other modern art reference and related including publications by Tate and Taschen, mostly original wrappers some original cloth in dust jackets, G/VG, 8vo/4toQTY: (6 shelves )

Kendall (Edward, Augustus). The Crested Wren, 1st edition, London: E. Newbery, 1799, 154pp. (lacking the second and last leaf of advertisements at rear), half-title present, engraved frontispiece, vignette to title-page attributed to Bewick (Osborne p.271), frontispiece offset to title, pencilled ownership inscription to front free endpaper, original quarter dark green vellum, paper label to spine (rubbed and chipped), 12mo, together with:Meeke (Elizabeth). Mamma's Gift; or, Pleasing Lessons, Adapted for Children of an Early Age, London: Dean and Munday, circa 1830, hand-coloured engraved frontispiece (outer corners creased), hand-coloured engravings throughout, early inscription to recto of original front pastedown bound in, modern brown cloth, slim 8vo,Sherwood (Mary Martha Butt). The History of the Fairchild Family; or, the Child's Manual..., London: J. Hatchard and Son, 11th edition, 1833, engraved frontispiece, 12pp. advertisements to rear, original paper spine label laid onto rear free endpaper, modern quarter calf, large 12mo, plus 9 other antiquarian children's books comprising: Fables for Children Young and Old, [1848]; Select Fables of Esop, 1793; An Easy Introduction ... Holy Scriptures, 1810; Stories for Children...Two Syllables, 1819; A Short System...Art and Sciences, 1810; The Cowslip, 1833; Little Jack of All Trades, Part II, 1805; The Moral Budget, 1835; and Little Paul and his Moss-Wreaths, [1861] QTY: (12)

‡Mary Fedden OBE, RA, RWA (1915-2012) The Sleeping Poet Signed and dated Fedden 1999 (lower right) Oil on canvas 40.7 x 51.2cm Provenance: Acquired from the artist by the previous owner; By whom sold, Bonhams, London, 3 December 2002, lot 94This work derives from Henri Rousseau's 'The Sleeping Gypsy' in the Museum of Modern Art, New York (no.646.1939).

‡Josef Herman OBE, RA (Polish 1911-2000) The Cockle Gatherers Oil on canvas 38.5 x 55cm Provenance Roland, Browse and Delbanco, London; Private Collection, by 1984; By family descent to the previous private collector; By whom sold, Sworders, Stansted, Modern British & 20th Century Art, 10 June 2020, lot 147, where purchased by the present private collector

‡Paul Feiler (1918-2013) Related Forms IV Signed, dated and inscribed PAUL FEILER/RELATED FORMS IV 1966/67 (to reverse) Oil on canvas 46 x 46cm Provenance: Geoffrey Harley (1937-2016); His posthumous sale, Woolley and Wallis, Salisbury, Modern British Art from the Estate of the Late Geoffrey Harley, 7 February 2018, lot 175, where purchased by the present private collector

Marie Lefèvre (French b.1840) The Maypole Signed Marie/Lefèvre (lower right) Oil on canvas 25 x 35.5cm Provenance: Woolley and Wallis, Salisbury, Modern British & 20th Century Art, 6 June 2018, lot 279

Andre Durand (Canadian b.1947) Study of Suleyman, a favourite lurcher Signed with monogram (lower left) and inscribed and dated Suleyman/March 1982 (lower right) Red and white chalk 88 x 69cm Provenance: Property of a nobleman; By whom sold, Woolley and Wallis, Salisbury, Modern British & 20th Century Art, 11-12 May 2021, lot 300, where purchased by the present owner

Etruskische Kleeblattkanne. Ende 7. Jh. v. Chr. H 19,2cm, ø Körper 12,8cm. Bucchero. Aus großen Fragmenten zusammengesetzt, kleine Fehlstellen sind retuschiert, Fuß modern ergänzt. Provenienz: Aus einer französischen Privatsammlung der 1960er Jahre; in Deutschland seit 2000; ex Gorny & Mosch, München Auktion 279, 2021, Los 584. Publiziert: Kunst der Antike - Ancient Art. Galerie Günter Puhze Katalog 28, 2014, Nr. 71.

XAVIER GOSÉ (Alcalá de Henares, 1876 - Lleida, 1915)."La barraca escola".Ink and chalk on paper.With an information label on the back of the Artur Ramon Gallery (Barcelona).Signed in the lower right-hand corner.Size: 18 x 18 cm; 31 x 31 cm (frame).Xavier Gosé has several works dedicated to the idea of the barraca, this type of building associated with the farmers, is presented in this case as a school, populated by young people who enjoy themselves happily in their free time. The architecture, the landscape and the costumes of the characters show us an everyday scene, a summary of 19th-century life, with an aesthetic close to Catalan noucentisme. This is visible not only through the characters, already mentioned, but also in the way the landscape is conceived, where we can appreciate the dominance of a sinuous line, tending towards curved and fluid finishes.Gosé was a voyeur of human passions and his work constitutes a documentary archive of bourgeois society at the beginning of the 20th century. Francisco Javier Gosé was an essential draughtsman and painter in the world of graphics and fashion in the transition from the 19th to the 20th century. He studied in Barcelona, where he was assistant to the draughtsman José Luis Pellicer. From a very early age he collaborated in Barcelona publications, from "La Esquella de la Torratxa" and "La saeta", in which his attachment to modernism is evident, to "Mundial Magazine" and "Fémina", where a pre-cubist line can already be seen. His first exhibition was held at Els Quatre Gats. During his Barcelona period he portrayed the proletariat, although in 1900 he travelled to Paris, where he collaborated with "La vie Illustrée" and "Le frou-frou", among others. He exhibited in the Barcelona galleries Parés and Dalmau, the Vilches gallery (Madrid), Georges Petit and Ritlinger (both in Paris). Up to this point his works showed a satirical and realistic view of the bourgeoisie, snobs and prostitutes, although this view changed in 1907, when he began a more stylised, less realistic and less ironic period, above all because of his entry into the world of fashion, in which Gosé sought to set a trend among women in society. His period in Paris was the turning point in his life and artistic production, as the French capital was the place where he broadened his knowledge, becoming a successful artist who would obtain interesting commissions as an illustrator in the best satirical magazines. In 1910 he began to collaborate with German magazines such as "Ulk". In 1914 the First World War broke out, a circumstance which, together with serious health problems, deprived him of the elegant Parisian environment, and he moved to the city of Vichy, famous for its spas. Shortly afterwards Gosé moved back to Barcelona, spending the last days of his life in Lleida. His posthumous exhibitions include the one at the Círculo Artístico in the same year as his death, the retrospective at the Rovira gallery (1970) and the one at the Fundación La Caixa (1984). He is represented in the Museums of Modern Art in Barcelona and Madrid, among others. Javier Gosé's style oscillates between modernism and French art-deco, reflecting the life of Parisian society. Inspired by the worldly life of the café-concerts, the prostitutes, the horse races, the sportsmen and the well-known Montmartre, his style reflects the finesse and delicacy of French society at the time, although it is not without a certain mischievousness characteristic of carefree Paris.

RAMÓN MARTÍ ALSINA (Barcelona, 1826 - 1894)."Female nude".Oil on canvas. Relined.Signed in the lower left corner.Period frame, with some faults in the stucco and polychromy.Measurements: 175 x 80 cm; 213 x 118 cm (frame).Seated on cushions upholstered in silk and trimmings, a woman of cimbreantes hips and turgid flesh tones acquires a sculptural presence, being outlined in front of a dark bottom. She adopts a modest gesture that accentuates her attractiveness. She tilts her head to one side and her black eyes give off a melancholic glow. The nude seems to be based on baroque models, but Martí Alsina counterbalances the carnal charge with an intimate, modern touch. The silky qualities of the hair, the luminous modelling of the forms, the soft cushions, etc. bear the mark of a master.Considered today as the most important figure of Spanish realism, Martí Alsina was part of the European avant-garde of the time. He revolutionised the Spanish artistic panorama of the 19th century, was a pioneer of the study of life and the creator of the modern Catalan school, as well as the master of a whole generation, with disciples of the importance of Vayreda, Urgell and Torrescassana. He began his studies in philosophy and literature, alternating them with evening classes at the Barcelona School of Fine Arts until 1848. After completing this first apprenticeship and deciding to take up painting, he took his first steps in the Maresme region, where he began to earn his living by painting portraits in a naturalistic style and landscapes "à plen air". In 1852 he became a teacher of line drawing at the Escuela de la Lonja in Barcelona, and two years later he began to teach figure drawing, a post he held until the accession of Amadeo of Savoy to the throne. In 1853 he travelled to Paris, where he visited the Louvre and became familiar with the work of Horace Vernet, Eugène Delacroix and French Romanticism. Later he became acquainted with the work of Gustave Courbet, the greatest exponent of realism. In 1859 he was appointed a corresponding member of the Sant Jordi Academy of Fine Arts in Barcelona. His first important exhibition was the General Exhibition of Fine Arts in Barcelona in 1851. From then on he exhibited regularly in Barcelona, Madrid and Paris, and was invited to the Universal Exhibition in the French capital in 1889. His prizes included medals at the National Exhibitions in Madrid, third in 1858 for his work Last Day of Numancia and second in 1860 for his landscape. In his last years he lived in seclusion, focusing his efforts on the search for new forms of expression, with an undone brushstroke close to Impressionism. His themes include numerous landscapes and seascapes, urban views (especially of Barcelona), portraits and human figures, genre scenes, temperamental female nudes, history painting and biblical scenes. He rarely devoted himself to still lifes, although he also painted some still lifes. Works by Martí Alsina are kept in the Prado Museum, the Thyssen-Bornemisza Museum, the National Art Museum of Catalonia, the Barcelona Museum of Contemporary Art, the Museum of the Abbey of Montserrat and the Museum of l'Empordà in Figueras.

FRANCISCO DE GOYA Y LUCIENTES (Fuendetodos, Zaragoza, 1746 - Bordeaux, France, 1828)."Los desastres de la guerra" (79 etchings).First edition. 1863. Published by the Real Academia de Nobles Artes de San Fernando. MadridEdition of 80 etchings on Guarro paper (79 etchings, copy number 47 is missing).Numbered and titled copies in plate.Hard cover.Presents marks of use and deterioration due to the passage of time.Size: 17,5 x 22 cm (print), 24 x 34 cm (paper), 25 x 37 x 6 cm (book).Belonging to the book published by the Real Academia de Bellas Artes de San Fernando of the collection of prints, the first edition of "Los desastres de la guerra" (1923). This first edition appeared in 1863, and others followed in 1892, 1903 and 1906, this one being the most sought after and sought after.Edition of prints in which Francisco de Goya reflected the horror unleashed during the War of Independence, which began in 1808. Enrique Lafuente Ferrari's contribution to the study of Goya's Disasters of War is considered fundamental. To him we owe the first attempt, with scientific criteria, to systematise the analysis of the Disasters, becoming an obligatory point of reference in subsequent studies."The Disasters of War", a work from the Aragonese painter's last period, have become over time a series of timeless prints that can be applied to any war in the world. Death, torture, hunger, disease, lack of solidarity... these are all disasters that are part of any war, showing the bitterest side of the human being. Goya began to engrave the plates around 1810, after returning from the front, and finished the series in 1815. "The Disasters" give free rein to one of the fundamental aesthetic categories of modernity: pathos. Unlike most of his contemporaries, Goya did not set up a systematic, serial chronicle of events, but transformed or eliminated the anecdotal in order to arrive at a universal vision.They exemplify a world in crisis, understood in the sense of change. Conceptually, they reveal the fissures of a socio-political structure based on an impeded stratification of the strata, and of a system of values based on the immobilism of customs and the tyrannical religious oppression of consciences.Aesthetically, they anticipate modern sensibility and the shift towards an art dominated by subjectivity and creative freedom. Biographically, the Caprichos appear in one of the most decisive decades in Goya's life and artistic production. This is why successive generations of writers, artists and intellectuals over the last two centuries have been unable to ignore its status as a symbol: a symbol of the end of the Ancien Régime, of the change in taste between Classicist and Romantic aesthetics, and of the crisis that occurred in the biography and art of a universal creator.The historiography specialising in Goya has established a sequence of events supposedly determining the creation of the Caprichos. This sequence appears to be characterised by a progressive departure from normative art and a consequent approach to the domain of invention. This new conception of art is linked to the biographical episodes of the serious illness that left him deaf, his intimate relations with the Duchess of Alba and his ties of friendship with the circle of enlightened intellectuals. The conclusion is that Goya needed a series of satirical prints that would provide a multiple response to his inventive perception of art, his progressive isolation, his distrust of human beings and his social concerns rooted in the Enlightenment.

Christopher Richard Wynne Nevinson A.R.A (1889-1946)Swooping Down on a Taube (Black 21; Leicester Galleries 28) Lithograph, 1917, on Holbein wove paper, signed in pencil, from the edition of 200, published by the Stationery Office, London, as part of the series Britain's Efforts and Ideals: Making Aircraft, with wide margins, framed Image 402 x 300mm. (15 3/4 x 11 3/4in.); Sheet 478 x 390mm. (18 3/4 x 15 3/8in.)Footnotes:Christopher Richard Wynne Nevinson was one of the great printmakers of the early twentieth century, most celebrated as a chronicler of modern warfare and a master of multiple print techniques. He was held in high esteem by contemporaries such as Walter Sickert and Paul Nash for his acute eye for detail, feeling for composition and technical skill. His experiences as an ambulance driver and medical orderly at the Front imbued his work with a strong emotional intensity and his depictions are regarded as some of the most powerful images of World War I.His first major exhibition held at Leicester Galleries in Autumn 1916 was a critical and commercial success and would lead to his commission as an official war artist in 1917. The Ministry of Information commissioned him to create six lithographs on the theme of Building Aircraft to be included in the propaganda series The Great War: Britain's Efforts and Ideals. These works were taken on tour around the country to boost morale and were sold to raise funds for the war effort.The Building Aircraft lithographs detail the process from manufacture, to assembly and finally to flight. Nevinson was particularly interested in aerial combat, which would play an important new role during the First World War and he produced three images of aircraft in flight. In preparation for the series, Nevinson was taken on his first flight in June 1917 and commented 'the whole newness of vision and the excitement of it infected my work and gave it an enthusiasm which can be felt'.In Banking at 4,000 feet he uses variations in tone and steep diagonals to convey the drama and exhilaration of flight, which is literally a white-knuckle ride as indicated by the hand gripping the side of the aircraft. He invites the viewer to share the experience of being in the air by placing them in the cockpit.Swooping down on a Taube depicts a British Sopwith Camel attacking a German Taube. Taube means dove and the plane was named for its bird-like profile. Nevinson conveys a sense of movement and tension using the sweeping arc of the plane's trajectory set against the strong diagonals, representing rays of light, emanating from the searchlights below. He added scratch marks through the crayon to create highlights which intensify the drama.The immediacy of these images and the unusual viewpoints proved popular with visitors to the Fine Art Society exhibition, with one critic commenting that the artist 'contrives to make the visitor almost giddy' and another that he had 'the power of expressing sensations rather than visual facts'.For further information on this lot please visit Bonhams.com

MANUSCRIPT. [Recollections in diary form of a European tour undertaken by two English ladies. London: N.p.:] October 1869. 15pp., manuscript, oblong 4to (173 x 260mm.) Unnumbered pages in a single, legible, calligraphic-style hand with hand-coloured decorative initials, elaborate floral borders and numerous pencil sketches, mainly of tourist sights and landscapes, 12pp. blank to rear. (Toning.) Original limp green cloth covers, gilt lettering to upper cover (spine worn). Note: the writer and a Mrs. French undertake a coach and train tour of Europe. The writer provides a very factual report of their trip as they go to the opera, see art ('An Exhibition of Modern Paintings'), cathedrals, services, and seek time to do their sketching ('but we were interrupted'), and, while sketching a street scene, they themselves become the centre of attention as a crowd forms which they 'persistently wished would keep at a little distance from us, but their remarks were sometimes very just and amusing'. They are busy, cultured ladies. For variety, there is always the threat of the weather ('a shower overtaking us'). They travel to Geneva, Berne, Frankfurt, Dresden and Brussels and the following year they take another trip to France.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Blüthner Phoenix (1920) A 9ft concert grand piano in a bright ebonised case on square tapered legs; together with a stool and an upholstered cover. This instrument has been comprehensively rebuilt to a very high standard and incorporates a 'state of the art' carbon fibre soundboard, a modern composite action with Abel hammers and innovative stainless steel wound bass strings. The case is in a bright ebonised finish which contrasts well with white maple detailing.A condition report for this Lot will be available on our website from Friday the 9th December 2022.

An Art Nouveau 3 branch epergne and a silver plated Danish modern candelabra; a cased set of tea knives

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

A Mid 20th Century Carved Wood Modern Art Sculpture, Numbered 7873, 34cms High

An Art Deco bar brooch in unmarked white metal set with central rectangular green stone with small round and baguette cut diamonds to either side; a 9ct yellow and rose gold bar brooch set two small aquamarines and a modern cabochon white metal brooch stamped silver (3)

Modern Moorcroft Art Nouveau design two-handled vase, decorated with stylised floral motifs, Collector's Club 802, 15 cm (boxed)

A large modern design Spanish art glass dish with galleon design decoration diameter 50cm

Modern Italian Murano Glass Art Pendant Light, 1950/60, h. 40 cm.Bruin met wit glazen vintage eenlicht Murano hanglamp, Italie 1950/60, h. 40 cm.

After Dominique Alonzo - a modern Art Deco style brown patinated cast bronze figure of a female dancer, balancing on one foot with a hoop, the circular base with cast signature 'D. Alonzo', raised on a marble and bronze circular plinth, height approx 49cm.

A QUANTITY OF CUT CRYSTAL AND OTHER GLASS WARES, to include a boxed pair of Edinburgh Crystal wine glasses, a pressed glass decanter, three crystal vases tallest 30cm (sd), cut crystal bowls by makers including Webb Corbett and Royal Brierley, an art deco pink pressed glass fruit bowl, a boxed Chinese reverse painted bottle, modern paperweights, sets and pairs of drinking glasses by makers including Royal Worcester and Stuart Crystal, an art glass clock depicting a tree, etc (Qty) (Condition report: most pieces appear in good condition, some chips, cracks and repairs)

A GROUP OF CERAMICS, GLASS WARES AND SUNDRY ITEMS, to include an Aynsley Pembroke fruit bowl diameter 26cm, two Porceval Spanish porcelain figurines, a Crown Devon Fieldings 'Spring' cheese dish and cover, a glass dressing table pot with embroidered lid, a modern Oriental ginger jar and cover, a turned wooden pedestal bowl, a small red art glass bowl with controlled bubbles, a boxed costume jewellery necklace, a Royal Vale trio printed 'Mother' (Condition report: most pieces appear in good condition, sd, would benefit from a clean)

BOOKS, twenty-five books and booklets relating to Art, Guns and other collectables, titles include Picasso & Modern British Art, The Shotgun, Ravilious & Co, The Aurelian Legacy and titles on Metallurgy

Ca. 100-300 AD.A beautiful, inverted teardrop-shaped gold pendant with an integral suspension loop and garnet cabochon setting. The edges of the object are embellished with intricate filigree decoration. This beautiful object may once have been worn by a Roman matron. Excellent condition; professionally restrung on a modern necklace cord; wearable.Size: L:20mm / W:7.9mm ; 2.86gProvenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market before 2000.

New Kingdom, Ca. 1550-1070 BC.A golden amulet in the shape of a tilapia fish. Fish pendants were worn as jewellery and were braided into the hair. A particularly famous story involving a fish pendant comes from the Westcar Papyrus, in which a female rower drops her fish pendant into the water and grieves until a magician splits the lake in half with magic to retrieve the item - a tale that highlights the precious nature of these pieces. The tilapia was a favourite in Egyptian art, and as an animal, it was revered for the way in which the females protect their young. By swallowing their own eggs in order to protect them until they were ready to hatch, these mother fish mimicked the goddess Nut swallowing the sun each evening before birthing it each dawn, and thus the tilapia became a symbol of regeneration. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:32mm / W:15mm; 4.2g.Provenance: Property of a London Gentleman; formerly in a private UK collection formed in the the 1990s.

Ca. 323-31 BC.A rare and wonderful miniature amphora-shaped pendant with a cobalt blue glass body, gold conical base, open work handles, tall neck with a beaded mouth, and a corrugated suspension loop. The shoulder and the base are intricately covered with filigree. This item is fully wearable and it comes with a modern necklace cord.Size: L:40.1mm / W:20.9mm ; 15.34gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.

Ca. 200-300 AD.A beautiful gold pendant featuring a ribbed loop and plaque with an openwork foliate border. The central cell displays a stone intaglio engraved with a left-facing portrait of Hermes, depicted in the Archaic Greek fashion. The back is plain and unworked. Adopted in the Roman pantheon as Mercury, he was the messenger of the gods and an important deity in the Graeco-Romano pantheon. This item is fully wearable and it comes with a modern necklace cord.Size: L:28.6mm / W:21.1mm ; 8.25gProvenance: Private London collector, acquired on the Austrian Art market; formerly in an old USA collection, formed since the 1970s.